By Professor of Religion Jacob Neusner PhD
This designated, systematic category of Rabbinic narrative offers those evidence in regards to the category of narratives and their regularities:  what are the kinds and varieties of narrative in a given rfile?  how are those special kinds and kinds of narrative allotted around the canonical records of the formative age, the 1st six centuries C.E.? The solutions for the documentary personal tastes are in Volumes One via 3, for the Mishnah-Tosefta, the Tannaite Midrash-compilations, and Rabbah-Midrash-compilations, respectively. quantity 4 then takes up the categories of Rabbinic narratives and indicates the documentary background of every of them, together with the actual narrative, the maxaseh and the mashal
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Extra resources for Rabbinic Narrative: A Documentary Perspective - Volume One: Forms, Types and Distribution of Narratives in the Mishnah, Tractate Abot, and the Tosefta
D. Just as eggs have to have the dam [to keep them warm], so the fledglings are those that have to have their dam [to feed them], E. thus excluding those that can fly, since they do not have to have their dam. 8. A. “… and the mother sitting over the fledglings or on the eggs:” B. The law applies when the mother is sitting over them, thus excluding a case in which she is fluttering about. C. Might one then exclude a case in which her wings are touching the nest? D. Scripture says, “…and the mother sitting over the fledglings,” E.
The historical question is framed in terms of sequences of activity and continuities and changes exhibited by those sequences. 21 They concern types of data and the inner “logic”—the definition of self-evidence and the givens—that generates them. We cannot describe the process, 21 I initially proposed to argue in Making the Classics in Judaism: The Three Stages of Literary Formation that documentary writing is consequent upon, and comes later than, pre-, extra-, and non-documentary writing, but that argument led nowhere and persuaded no one, in the end not even me.
The outcome, in chapter fifteen, allows us to make some progress toward the announced goals of the project. 23 VII Through the use of diverse margins, broad for the narrative, indented for the context, I indicate my views on the form-analytical data of a given composition. In that way I preserve the narrative in its larger context while signaling its formal limits. The visual signal permits us to see very clearly the way in which authentic narratives are distinguished from their documentary context—if they are to be so distinguished.
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