In this third edition of Mark as Story , Rhoads, Dewey, and Michie take their treatment of the Gospel of Mark to new levels. While retaining their clear and thorough analysis of Mark as a narrative, they now place their study of Mark in the context of orality. The new preface explains the role of Mark in a predominantly oral culture. Throughout the study, they refer to the author as composer, the narrator as performer, the Gospel as oral composition, and the audience as gathered communities. The conclusion hypothesizes a ...
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In this third edition of Mark as Story , Rhoads, Dewey, and Michie take their treatment of the Gospel of Mark to new levels. While retaining their clear and thorough analysis of Mark as a narrative, they now place their study of Mark in the context of orality. The new preface explains the role of Mark in a predominantly oral culture. Throughout the study, they refer to the author as composer, the narrator as performer, the Gospel as oral composition, and the audience as gathered communities. The conclusion hypothesizes a performance scenario of Mark in Palestine shortly after the Roman-Judean War of 66 to 70 CE. The new edition also highlights the dimensions of Mark that stand in contrast to imperial worldviews and values. The authors argue that the performance of Mark itself was a means to draw audiences into a non-imperial world based on mutual service rather than hierarchical domination. In so doing, they shift the Gospels center of gravity from the end of the story to the beginning, configuring it not as "a passion narrative with an extended introduction" but as "the arrival of the rule of God with an extended denouement." Performing Mark: The appendices for students at the end of the book that offer exercises to interpret the narrative of Mark now also include "Exercises for Learning and Telling Episodes" from the Gospel of Mark by heart as part of the learning process.
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