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R. Edwards, Religion and Power, and my ` ``In Journeyings Often'' '; also my `Narrative Maps'. 64 Maddox, Purpose of Luke±Acts, 66±7. 65 Even where the dramatic audience is Roman (as in the hearings before Felix and Festus), the accusers and the charges are essentially Jewish; and by bringing on Agrippa as an interested observer in the ®nal court scene (ch. 26), Luke e€ectively turns Paul's last and fullest apologetic speech into a restatement and defence of his whole theological standpoint before a ®gure who can be identi®ed as a symbolic spokesman for Diaspora Judaism.

Altered the de®nition [sc. of the genre] itself': Historiography and Self-De®nition, 388. g. g. Acts 18: 4; 19: 9). 32 In this way, in fact, all the imaginary situations presupposed in the various apologetic readings outlined above are actually embedded in the text as dramatic scenes. Generically speaking, this means that it is the characters, not the narrator, who make these apologetic speeches, and that the narrator never intervenes in his own person to drive home the point to the text's inscribed audience.

Acts is a dramatized narrative of an intra-communal debate, a plea for a fair hearing at the bar of the wider Jewish community in the Diaspora, perhaps especially in Rome. It may be that one of the most signi®cant pointers to the apologetic scenario of the book as a whole is the neutral, uncommitted stance of the community leaders in Rome in the ®nal scene: `We have received no letters from Judea about you, and none of the brethren coming here has reported or spoken any evil about you. But we desire to hear from you what your views are; for with regard to this sect we know that everywhere it is spoken against' (28: 21±2).

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