Although it is true that oral accounts may be composed as vernacular exegesis of the canonical Scriptural text and related apocryphal writings (i.e. The present author introduced the term Folk Bible to denote the oral, vernacular counterparts of the Scriptural text (in its either canonical, or apocryphal versions), thus challenging the above epistemological model and arguing that the intellectual lineage of the textual corpus of the Folk Bible transcends the ancestral pool of classical Jewish and Christian written sources and extends far beyond it. Literacy is thus assigned primary status over orality and the written is recognized as “the prototype” of the oral that is, the canonical Scriptural text and related apocryphal literature are examined as the ultimate template for folklore tradition. This type of academic discourse implicitly suggests the hierarchical division between written and oral it further conjectures a certain social subordination and extrapolates that the intellectual product created by men of letters ought to have supremacy (at least from a chronological perspective) over the one created by those who cannot read or write. Their function is thus understood only as instrumental in providing a somewhat laicised interpretation of the written accounts, with the inevitable “short-comings” of ethno-hermeneutics. Accordingly, oral accounts are considered to be fictional byproducts of a certain written corpus. The representatives of the first one maintain that the folklore tradition is but a derivative (be it embellished or distorted) from the Biblical text, or a spinoff of related apocryphal literature. Funny Girl features music by Jule Styne, lyrics by Bob Merrill and a book by Isobel Lennart.There have been two epistemological paradigms hitherto employed by scholars studying oral counterparts of Scriptures. Streisand was Tony Award-nominated for her performance and earned an Academy Award for repeating her work in the 1968 film. 2 on the Billboard 200 albums chart, just behind The Beatles’ Second Album." Funny Girl also won the Grammy Award for Best Original Cast Album.
Released one week later by Capitol Records, the album climbed to No. The original cast album, according to press notes, "was recorded in one session, 10 days into the show’s run, with seasoned Broadway cast recording producer Dick Jones at the helm. The album, in 192k and 96k high definition audio, will also be available for digital download. The deluxe edition box set will include a digitally remastered CD and vinyl LP, as well as a 48-page book featuring exclusive photos from the 1964 production and a new essay by Jay Landers.
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