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Scholars have long understood that the texts we now know as the Gospels were read aloud in the Greco-Roman world, but few have actually envisioned what a performance of the Gospel of Mark would have been like in the first century and how it would have shaped the experience of its audience. Proclaiming the Gospel shows us. Oral performances in the New Testament world were lively affairs. In the performance of Greco-Roman theater, readers lose their voices from the stress of emotional passages. Audiences cheer for philosophers as if at a rock concert, and in law courts, they are paid for their responses. Storytellers compete for attention with jugglers, and some speakers must fend off hostile crowds. Congregations at churches and synagogues cheer as if at the theater. Shiner reveals the ways that Mark wrote his Gospel to compete in this arena and how his audiences would have responded: applause for the miracles of Jesus, then an altogether different response at the cross. Whitney Shiner is Assistant Professor of Christian Origins at George Mason University, Fairfax, Virginia, and the author of Follow Me: Disciples in markan Rhetoric.
Cicero was speaking like everybody, but better than anybody. Far from confining himself to the so-called 'periodic style', Cicero was a master of a thousand shades. This synopsis, followed by examples, shows in detail, why a study of Cicero's style might be rewarding even today.
A Companion to Roman Rhetoric introduces the reader to the wide-ranging importance of rhetoric in Roman culture. A guide to Roman rhetoric from its origins to the Renaissance and beyond Comprises 32 original essays by leading international scholars Explores major figures Cicero and Quintilian in-depth Covers a broad range of topics such as rhetoric and politics, gender, status, self-identity, education, and literature Provides suggestions for further reading at the end of each chapter Includes a glossary of technical terms and an index of proper names and rhetorical concepts
In Cicero’s Use of Judicial Theater, Jon Hall examines Cicero's use of showmanship in the Roman courts, looking in particular at the nonverbal devices that he employs during his speeches as he attempts to manipulate opinion. Cicero's speeches in the law-courts often incorporate theatrical devices including the use of family relatives as props during emotional appeals, exploitation of tears and supplication, and the wearing of specially dirtied attire by defendants during a trial, all of which contrast strikingly with the practices of the modem advocate. Hall investigates how Cicero successfully deployed these techniques and why they played such a prominent part in the Roman courts. These "judicial theatrics" are rarely discussed by the ancient rhetorical handbooks, and Cicero’s Use of Judicial Theater argues that their successful use by Roman orators derives largely from the inherent theatricality of aristocratic life in ancient Rome—most of the devices deployed in the courts appear elsewhere in the social and political activities of the elite. While Cicero’s Use of Judicial Theater will be of interest primarily to professional scholars and students studying the speeches of Cicero, its wider analyses, both of Roman cultural customs and the idiosyncratic practices of the courts, will prove relevant also to social historians, as well as historians of legal procedure.
A new, comprehensive bibliography of books and articles on the rhetoric of the New Testament published since AD 1500. The bibliography is arranged by categories, which include Jewish heritage, invention, arrangement, style, hermeneutics, with specific listings for each book of the NT. It is prefaced with a select bibliography of primary and secondary sources on classical and modern rhetoric. An invaluable research tool.
The first book to examine closely how the relationship of Cicero's oral and written skills bears on his legal argumentation. Enos argues that, more than any other Roman advocate, Cicero developed a "literate mind" which enabled him to construct arguments that were both compelling in court and popular in society. Through close examination of the audience and substance of Cicero's legal rhetoric, Enos shows that Cicero used his writing skills as an aid to composition of his oral arguments; after the trial, he again used writing to edit and re-compose texts that appear as "speeches" but function as literary statements directed to a public audience far removed from the courtroom. These statements are couched "in a mode that would eventually become a standard of literary eloquence." Enos explores the differences between oral and literary composition to reveal relationships that bear not only on different modes of expression but also on the conceptual and cultural factors that shape meaning itself.