"Embedded in modern print culture, biblical scholars have been projecting the assumptions and concepts of print culture onto the texts they interpret. In the ancient world from which those texts originate, however, literacy was confined to only a small number of educated scribes. And, as recent research has shown, even the literate scribes learned texts by repeated recitation, while the nonliterate ordinary people had little if any direct contact with written scrolls. The texts that had taken distinctive form, moreover, were embedded in a broader and deeper cultural repertoire cultivated orally in village communities as well as in scribal circles. Only recently have some scholars struggled to appreciate texts that later became ""biblical"" in their own historical context of oral communication. Exploration of texts in oral performance--whether as scribal teachers' instruction to their protŽgŽs or as prophetic speeches of Jesus of Nazareth or as the performance of a whole Gospel story in a community of Jesus-loyalists--requires interpreters to relinquish their print-cultural assumptions. Widening exploration of texts in oral performance in other fields offers exciting new possibilities for allowing those texts to come alive again in their community contexts as they resonated with the cultural tradition in which they were embedded."

Embedded in modern print culture, biblical scholars have been projecting the assumptions and concepts of print culture onto the texts they interpret. In the ancient world from which those texts originate, however, literacy was confined to only a small number of educated scribes. And, as recent research has shown, even the literate scribes learned texts by repeated recitation, while the nonliterate ordinary people had little if any direct contact with written scrolls. The texts that had taken distinctive form, moreover, were embedded in a broader and deeper cultural repertoire cultivated orally in village communities as well as in scribal circles. Only recently have some scholars struggled to appreciate texts that later became "biblical" in their own historical context of oral communication. Exploration of texts in oral performance--whether as scribal teachers' instruction to their proteges or as prophetic speeches of Jesus of Nazareth or as the performance of a whole Gospel story in a community of Jesus-loyalists--requires interpreters to relinquish their print-cultural assumptions. Widening exploration of texts in oral performance in other fields offers exciting new possibilities for allowing those texts to come alive again in their community contexts as they resonated with the cultural tradition in which they were embedded.

In this innovative study, Horsley builds on his earlier works concerning the problematic and misleading categories of “magic” and “miracle” to examine in-depth the meaning and importance of the narratives of healing and exorcism in the Gospels. Incorporating his work on oral performance and turning to important works in medical anthropology, a new image emerges of how these narratives help us re-evaluate Jesus’s place in first-century Galilee and Judea. In his exorcisms and healings, Jesus-in-interaction was empowering the villagers in their struggles for renewal of personal and communal dignity in resistance to invasive Roman rule.

For the last two centuries biblical interpretation has been guided by perspectives that have largely ignored the oral context in which the gospels took shape. Only recently have scholars begun to explore how ancient media inform the interpretive process and an understanding of the Bible. This collection of essays, by authors who recognize that the Jesus tradition was a story heard and performed, seeks to reevaluate the constituent elements of narrative, including characters, structure, narrator, time, and intertextuality. In dialogue with traditional literary approaches, these essays demonstrate that an appreciation of performance yields fresh insights distinguishable in many respects from results of literary or narrative readings of the gospels.

Revised thesis (Ph.D.) - University, Durham, UK, 2003.

"The field of Synoptic studies traditionally has had two basic foci. The question of how Matthew, Mark, and Luke are related to each other, what their sources are, and how the Gospels use their sources constitutes the first focus. Collectively, scholarship on the Synoptic Problem has tried to address these issues, and recent years have seen renewed interest and rigorous debate about some of the traditional approaches to the Synoptic Problem and how these approaches might inform the understanding of the origins of the early Jesus movement. The second focus involves thematic studies across the three Gospels. These are usually, but not exclusively, performed for theological purposes to tease out the early Jesus movement's thinking about the nature of Jesus, the motivations for his actions, the meaning of his death and resurrection, and his relationship to God. These studies pay less attention to the particular voices of the three individual Synoptic Gospels because they are trying to get to the overall theological character of Jesus"--

When the Mahabharata and Ramayana are performed in South and Southeast Asia, audiences may witness a variety of styles. A single performer may deliver a two-hour recitation, women may meet in informal singing groups, shaddow puppets may host an all-night play, or professional theaters may put on productions lasting thirty nights. Performances often celebrate ritual passages: births, deaths, marriages, and religious observances. The stories live and are transmitted through performance; their characters are well known and well loved. Yet written versions of the Mahabharata and Ramayana have existed in both South and Southeast Asia for hundreds of years. Rarely have these texts been intended for private reading. What is the relationship between written text and oral performance? What do performers and audiences mean when they identify something as “Ramayana” or “Mahabharata”? How do they conceive of texts? What are the boundaries of the texts? By analyzing specific performance traditions, Boundaries of the Text addresses questions of what happens to written texts when they are preformed and how performance traditions are affected when they interact with written texts. The dynamics of this interaction are of particular interest in South and Southeast Asia where oral performance and written traditions share a long, interwoven history. The contributors to Boundaries of the Text show the difficulty of maintaining sharp distinctions between oral and written patterns, as the traditions they consider defy a unidirectional movement from oral to written. The boundaries of epic traditions are in a state of flux, contracting or expanding as South and Southeast Asian societies respond to increasing access to modern education, print technology, and electronic media.