scholarly journals Spurgeon, Byron, and the Contingencies of Mediation

Author(s):  
Tom Mole

The popular Victorian preacher Charles Haddon Spurgeon referred to Byron almost forty times in his published works. Drawing on first-hand examination of Spurgeon’s library, this essay shows how Byron’s words were mediated to Spurgeon through a variety of anthologies, primers, and collections of sententiae, and how Spurgeon mediated them to others in turn through his sermons and writings. In the process, Byron’s writing was broken into fragments, placed in new contexts, spliced with other people’s words, misremembered, misattributed and rendered strange. The essay suggests that analysing this contingent process of mediation reveals alternative possibilities for the study of reception history.

2019 ◽  
Vol 72 (3) ◽  
pp. 719-779
Author(s):  
David Gutkin

H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.


Author(s):  
Benjamin E. Reynolds

The central place of revelation in the Gospel of John and the Gospel’s revelatory telling of the life of Jesus are distinctive features of John when compared with the Synoptic Gospels; yet, when John is compared among the apocalypses, these same features indicate John’s striking affinity with the genre of apocalypse. By paying attention to modern genre theory and making an extensive comparison with the standard definition of “apocalypse,” the Gospel of John reflects similarities with Jewish apocalypses in form, content, and function. Even though the Gospel of John reflects similarities with the genre of apocalypse, John is not an apocalypse, but in genre theory terms, John may be described as a gospel in kind and an apocalypse in mode. John’s narrative of Jesus’s life has been qualified and shaped by the genre of apocalypse, such that it may be called an “apocalyptic” gospel. Understanding the Fourth Gospel as “apocalyptic” Gospel provides an explanation for John’s appeal to Israel’s Scriptures and Mosaic authority. Possible historical reasons for the revelatory narration of Jesus’s life in the Gospel of John may be explained by the Gospel’s relationship with the book of Revelation and the history of reception concerning their writing. An examination of Byzantine iconographic traditions highlights how reception history may offer a possible explanation for reading John as “apocalyptic” Gospel.


Author(s):  
Chris Keith

This book offers a new material history of the Jesus tradition. It shows that the introduction of manuscripts to the transmission of the Jesus tradition played an underappreciated but crucial role in the reception history of the tradition that eventuated. It focuses particularly on the competitive textualization of the Jesus tradition, whereby Gospel authors drew attention to the written nature of their tradition, sometimes in attempts to assert superiority to predecessors, and the public reading of the Jesus tradition. Both these processes reveal efforts on the part of early followers of Jesus to place the gospel-as-manuscript on display, whether in the literary tradition or in the assembly. Building upon interdisciplinary work on ancient book cultures, this book traces an early history of the gospel as artifact from the textualization of Mark in the first century until the eventual usage of liturgical reading as a marker of authoritative status in the second and third centuries and beyond. Overall, it reveals a vibrant period of the development of the Jesus tradition, wherein the material status of the tradition frequently played as important a role as the ideas about Jesus that it contained.


Author(s):  
S.C. Williams

Ministerial training throughout the nineteenth century was dogged by persistent uncertainties about what Dissenters wanted ministers to do: were they to be preachers or scholars, settled pastors or roving missionaries? Sects and denominations such as the Baptists and Congregationalists invested heavily in the professionalization of ministry, founding, building, and expanding ministerial training colleges whose pompous architecture often expressed their cultural ambitions. That was especially true for the Methodists who had often been wary of a learned ministry, while Presbyterians who had always nursed such a status built an impressive international network of colleges, centred on Princeton Seminary. Among both Methodists and Presbyterians, such institution building could be both bedevilled and eventually stimulated by secessions. Colleges were heavily implicated not just in the supply of domestic ministers but also in foreign mission. Even exceptions to this pattern such as the Quakers who claimed not to have dedicated ministers were tacitly professionalizing training by the end of the century. However, the investment in institutions did not prevent protracted disputes over how academic their training should be. Many very successful Dissenting entrepreneurs, such as Charles Haddon Spurgeon, Thomas Champness, William Booth, and Adoniram Judson Gordon, offered unpretentious vocational training, while in colonies such as Australia there were complaints from Congregationalists and others that the colleges were too high-flying for their requirements. The need to offer a liberal education, which came to include science, as well as systematic theological instruction put strain on the resources of the colleges, a strain that many resolved by farming out the former to secular universities. Many of the controversies generated by theological change among Dissenters centred on colleges because they were disputes about the teaching of biblical criticism and how to resolve the tension between free inquiry and the responsibilities of tutors and students to the wider denomination. Colleges were ill-equipped to accommodate theological change because their heads insisted that theology was a static discipline, central to which was the simple exegesis of Scripture. That generated tensions with their students and caused numerous teachers to be edged out of colleges for heresy, most notoriously Samuel Davidson from Lancashire Independent College and William Robertson Smith from the Aberdeen Free Church College. Nevertheless, even conservatives such as Moses Stuart at Andover had emphasized the importance of keeping one’s exegetical tools up to date, and it became progressively easier in most denominations for college teachers to enjoy intellectual liberty, much as Unitarians had always done. Yet the victory of free inquiry was never complete and pyrrhic in any event as from the end of the century the colleges could not arrest a slow decline in the morale and prospects of Dissenting ministers.


Author(s):  
Genevieve Liveley

This book explores the extraordinary contribution that classical poetics has made to twentieth- and twenty-first-century theories of narrative. Its aim is not to argue that modern narratologies simply present ‘old wine in new wineskins’, but to identify the diachronic affinities shared between ancient and modern stories about storytelling, recognizing that modern narratologists bring particular expertise to bear upon ancient literary theory and offer valuable insights into the interpretation of some notoriously difficult texts. By interrogating ancient and modern narratologies through the mutually imbricating dynamics of their reception it aims to arrive at a better understanding of both. Each chapter selects a key moment in the history of narratology on which to focus, zooming in from an overview of significant phases to look at core theories and texts—from the Russian formalists, Chicago school neo-Aristotelians, through the prestructuralists, structuralists, and poststructuralists, to the latest unnatural and antimimetic narratologists. The reception history that thus unfolds offers some remarkable plot twists. It unmasks Plato as an unreliable narrator and theorist, and offers a rare glimpse of Aristotle putting narrative theory into practice in the role of storyteller in his work On Poets. In Horace’s Ars Poetica and in the works of ancient scholia critics and commentators it locates a rhetorically conceived poetics and a sophisticated reader-response-based narratology evincing a keen interest in audience affect and cognition—and anticipating the cognitive turn in narratology’s mot recent postclassical phase.


Author(s):  
Sara M. Koenig

The biblical texts about Bathsheba have notorious gaps, even by the laconic standards of Hebrew narrative. Post-biblical receptions of the story flesh out the terse chapters of 2 Samuel 11–12 and 1 Kings 1–2, ascribing feelings and motives to Bathsheba and David that are not contained in the Hebrew text. This essay examines the intersection of reception history and feminist biblical scholarship by considering eleven novels about Bathsheba from the twentieth and twenty-first century. These novels expand Bathsheba’s character beyond the text, but in fairly gender stereotypical ways, such that feminist readers of the novels may be left wanting more.


Author(s):  
Kelly J. Murphy

As one of the most famous figures from the Historical Books of the Hebrew Bible, rivaled perhaps only by King David, the reception histories of Samson and the women of Judges 13–16 are extensive. The major events in the narrative found in Judges 13–16 involve not only Samson but also the women of the story: an unnamed mother, an unnamed Philistine wife, an unnamed prostitute, and, perhaps most illustrious of all, the named Delilah. This essay briefly outlines some of the major questions and concerns voiced by the many later readers and interpreters of Samson, revealing how the story of Samson, both in and outside the biblical text, is also a story about the women who appear in this account.


Author(s):  
Konrad Huber

The chapter first surveys different types of figurative speech in Revelation, including simile, metaphor, symbol, and narrative image. Second, it considers the way images are interrelated in the narrative world of the book. Third, it notes how the images draw associations from various backgrounds, including biblical and later Jewish sources, Greco-Roman myths, and the imperial cult, and how this enriches the understanding of the text. Fourth, the chapter looks at the rhetorical impact of the imagery on readers and stresses in particular its evocative, persuasive, and parenetic function together with its emotional effect. And fifth, it looks briefly at the way reception history shows how the imagery has engaged readers over time. Thus, illustrated by numerous examples, it becomes clear how essentially the imagery of the book of Revelation constitutes and determines its theological message.


Author(s):  
Ian Boxall

The chapter describes the discipline of reception history as the study of the ongoing use, interpretation, and impact of a biblical text. If the history of interpretation has often focused on the ways biblical texts are understood in commentaries and theological writings, reception history also considers how a book was received in spirituality and worship, in music, drama, literature, visual art, and textual criticism. Criteria for selecting and organizing materials useful for reception history are discussed, and there is a review of recent attempts to provide broad overviews of Revelation’s reception history, along with specific examples of the value of the discipline for interpreting Revelation.


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