Orality and Literacy in the Demotic Tales by Jacqueline E. Jay

By Jacqueline E. Jay

In Orality and Literacy within the Demotic stories, Jacqueline E. Jay extrapolates from the surviving old Egyptian written checklist tricks of the oral culture that should have run along it. The monograph’s major concentration is the intersection of orality and literacy within the super wealthy corpus of Demotic narrative literature surviving from the Greco-Roman interval. the various texts mentioned contain the stories of the Inaros and Setna Cycles, the parable of the Sun’s Eye, and the Dream of Nectanebo. Jacqueline Jay examines those Demotic stories not just together with previous Egyptian literature, but in addition with the global culture of orally composed and played discourse.

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14 Baines, “Prehistories of literature,” 29.  . if only because Egypt had fully continuous writing for about six hundred years, and more limited writing for a millennium, before there were certainly belles-lettres. If ‘literature’ is a near universal and relates to general human phenomena outside of itself, this gap should be investigated. ” Baines, “Prehistories of literature,” 19. Moreover, when Baines attempts to model oral “prehistories of literature,” his analysis is by necessity confined almost exclusively to material firmly embedded in the sphere of “high culture”: biographies, temple rituals, “fictional” speeches of the gods to the king, medical texts.

14 Baines, “Prehistories of literature,” 29.  . if only because Egypt had fully continuous writing for about six hundred years, and more limited writing for a millennium, before there were certainly belles-lettres. If ‘literature’ is a near universal and relates to general human phenomena outside of itself, this gap should be investigated. ” Baines, “Prehistories of literature,” 19. Moreover, when Baines attempts to model oral “prehistories of literature,” his analysis is by necessity confined almost exclusively to material firmly embedded in the sphere of “high culture”: biographies, temple rituals, “fictional” speeches of the gods to the king, medical texts.

To Lepper, both this intertextuality and the inclusion of three wisemen of the classical canon (Djedefhor, Djadjaemankh, and Ubainer) suggest that the text as written was intended for an elite audience. Lepper, Untersuchungen zu pWestcar, 307–309. 79 There are, of course, some stylistic differences distinguishing the different Late Egyptian stories. See, for example, Chapter 4 of my dissertation, where I argue that Two Brothers and Horus and Seth are the most creative in their use of grammar and formulae.

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