Not exact matches
Behind the written documents is both an ancient,
oral tradition and some very particular historical circumstances and cultural phenomena
which have clearly shaped the
narratives.
Let us set down three observations: (a) Mark 15:40 - 16:8 possesses several features
which divide it so sharply from the Passion
narrative that it could hardly have been the natural continuation of that in the stage of
oral tradition, (b) this pericope, however, could not have existed in its present form as an independent tradition, (c) the pericope itself falls naturally into two parts, the first of
which can exist as an independent story, but the second of
which can not, for it depends upon the first.
The links,
which state that the women were observers from a distance at both the crucifixion and the burial, appear to be editorial additions made by a literary editor, rather than part of an original
narrative from
oral tradition.
Dibelius found them in the so - called «paradigm,» or example
narrative in
oral tradition,
which can be reconstructed behind the proclamation.
As a transcript of a living community tradition, the Gospel of Mark relies not only upon the early passion
narrative and the
oral records of Jesus» life and teachings, some of
which may already have been gathered into little collections, sequences, groups of sayings; it relies also upon the apostolic experience
which supplemented and interpreted those traditions.
This
oral tradition formed the basis or main body of the evangelic tradition up to but not including the passion
narrative; it was the common knowledge of Jesus as it circulated in Palestine during, and soon after, the lifetime of Jesus — «the report that spread all over Jewish Palestine, as you yourselves know, beginning in Galilee after «the baptism»
which John preached» and continuing down to the present.
Despite the popular insistence that each entry in the franchise takes place in a distinct chronology, Skyward Sword introduction reveals the mythos of the Zelda series: every game is a variant of a main theme, recalling the manner in
which oral narratives are transmitted.
Jonas» work,
which has been exhibited extensively across the globe since the early 1970s, is dedicated to the exploration of non-linear
narratives,
oral history, as well as past and current politics; it translates popular culture, anthropological influences, and literary sources into a reduced and minimalist language of gestures, objects, and signs as an expanded notion of sculpture.
It was, in other words, a form of ontological warfare meant to separate children from their roots in language, cultural practices and
oral narratives that fundamentally inform the way in
which a person interacts with their environment.