Abstract
Abstract The use of a narrative imperfect in Am 7:10–17 after 7:1–9 and the abrupt shift to 8:1–3 frequently compelled critics to determine its literary form. For diachronic studies defining classifications include ‘third-party report’ and ‘apophthegma’. By contrast, synchronic studies emphasize the contextual integration of Am 7:10–17 and concentrate on a narrative analysis. Within this focus it is striking, that the passage is often associated with a ‘drama’ but without assessing the methodological ramifications of such a claim. The present article takes this ‘synchronic gap’ up and relates it to approaches to view drama as a possible genre for prophetic books. In doing so, a reading of Am 7:10–17 as part of a narrator-mediated discourse using a dramatic mode shows that the passage can be deemed an entrance with three speeches integrated into the wider context of 7:1–8:3. Particularly the classification of 7:10a, 12aα, 14aα as narrator’s discourse using a dramatic mode makes this claim plausible.
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