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By Richard A. Horsley

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Additional info for Oral Performance, Popular Tradition, and Hidden Transcript in Q (Society of Biblical Literature Semeia Studies)

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Following what by now can be taken as a consensus in Q studies, Horsley assumed a Galilean provenance for the document. But Galilean culture, as Horsley described it, was by and large neither excessively parochial nor dominantly Hellenized. “The vast majority of Galileans were villagers” whose lives “were embedded in the traditional social forms of family and village community” (1999:59; Horsley 1995: chs. 8–10). In this situation, the imposition of Hellenistic culture by such Roman client kings as Antipas evoked hostility among the populace at large while at the same time deepening its commitment to Israelite heritage.

But the combined effect of promoting the “living Jesus” and the absence of a narrative syntax can be viewed as GT’s attempt to escape a sense of pastness that is inevitably created by a written narrative. Unen- 40 ORAL PERFORMANCE, POPULAR TRADITION, AND HIDDEN TRANSCRIPT IN Q cumbered by a narrative construction of space and time, the “living Jesus” claims present authority, eluding, or rather seeking to elude, entrapment in the past. Clearly, there are hermeneutical complications built into the GT that transform its indebtedness to the genre of list.

Two, both within and without the Christian tradition, logoi is not confined to wisdom sayings, but representative of a broadly inclusive range of sayings materials. Whether under such circumstances logoi can serve as a genre designation at all is truly questionable. Third, by no means do all the documents cited carry the designation logoi, and only one (Prov 22:17–24:22) is named logoi sophon. From this perspective, the crucial affiliation of logoi with sophon remains inexplicable, and the generic postulation of logoi sophon unverifiable.

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