Between Babel and Beast
(America and Empires in Biblical Perspective)

The Glory of Kings: A Festschrift for James B. Jordan

Fyodor Dostoevsky
(Christian Encounters Series)

Athanasius
(Foundations of Theological Exegesis and Christian Spirituality)

The Four: A Survey of the Gospels

Defending Constantine: The Twilight of an Empire and the Dawn of Christendom

From Behind the Veil: The Epistles of John

Deep Exegesis:The Mystery of Reading Scripture

1 & 2 Kings
Brazos Theological Commentary

The Promise Of His Appearing: An Exposition Of Second Peter

A Great Mystery: Fourteen Wedding Sermons

Deep Comedy: Trinity, Tragedy, And Hope In Western Literature

Miniatures & Morals: The Christian Novels of Jane Austen

The Priesthood of the Plebs: A Theology of Baptism

A Son To Me: An Exposition of 1 & 2 Samuel

From Silence to Song: The Davidic Liturgical Revolution

Ascent to Love: A Guide to Dante's Divine Comedy

Blessed Are the Hungry: Meditations on the Lord's Supper

A House For My Name: A Survey of the Old Testament

Heroes of the City of Man: A Christian Guide to Select Ancient Literature

Brightest Heaven of Invention: A Christian Guide To Six Shakespeare Plays

Wise Words: Family Stories That Bring the Proverbs to Life

The Kingdom and the Power: Rediscovering the Centrality of the Church
Plato worried that writing would spoil memory. He should not have. Jack Goody has found that verbatim memorization only appears in literate societies. As summarized by Ian Morris in 1 1986 Classical Antiquity article, Goody concluded that “It is only when mnemonic devices drawn from writing itself become available within a society that rote learning becomes possible; oral societies possess neither the elaborate techniques nor the necessity for such memorization.”
Morris elaborates further on: “there is no cultural demand for great accuracy [in oral cultures]. The idea of exact reproduction that we hold, as members of a literate society, does not exist in oral cultures. There can be no fixed, ‘original’ text of an oral poem, and hence one version cannot be more or less authentic than another, and cannot even be contrasted in practice. The only criterion is that the poem meets the demands of the singer and audience as it is performed.”
posted by Peter J. Leithart on Friday, June 22, 2012 at 12:41 pm
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