Material Scripture

Stephen Prothero on America's Iconic Books

2012-06-17T11:59:00.003-07:00

[Note: Cross-published on the Iconic Books blog]

A few weeks back Boston University's Stephen Prothero wrote a piece for the Wall Street Journal, "Memorial Day and the American Bible." For Prothero, the notion of the "American Bible" has less to do, ultimately, with the texts of Scripture, and much more to do with the texts of our identity. The "American Bible" is comprised of those texts that help to answer the question, "What is (and is not) American?":

Americans [share] a collection of core texts that "we the people" regard as authoritative and a long-standing tradition of debating what these texts have to tell us about the meaning of "America"... This unofficial canon includes founding documents such as the Declaration of Independence and the Constitution as well as songs such as "God Bless America" and speeches by Washington, Lincoln, FDR and Reagan. It also includes novels from "Uncle Tom's Cabin" to "Atlas Shrugged."

For Prothero, it is the constant state of debate over this canon, and what it means, that is the most constant marker of what it means to be "American." Not the adherence to a certain political position, so much as the commitment to the struggle of pluralism among political positions. "Look Lincoln in the eye and tell him that liberty, not equality, is America's founding proposition. Tell King you have a different dream. But as you criticize these men, know what you are doing. You are not opting out of America; you are opting in," writes Prothero.

Prothero's hypothesis about the "American Bible" is much akin to what Jim Watts and Dori Parmenter have been saying for the past several years about the status of "Iconic Books" in national (not just American) consciousness. Indeed, Prothero's observation that "What makes these texts American scripture is not so much that Americans call them sacred or treat them like sacred objects (though in many cases we do both). What makes them scripture is the fact that Americans use these texts like Christians use the Bible," resonates strongly with Parmenter's work and Watt's "The Three Dimensions of Scriptures."

I find it especially interesting that this article appeared in the Wall Street Journal. I think it is a wonderful forum in which to raise the questions Prothero is pursuing. Unfortunately, from my glance at the comments section, the readers seem unwilling or ill-equipped to engage the issues Prothero has presented. Instead, there seems to be a preoccupation with the "atheism" of Obama and the "socialism" of our current policies, with little in the way of evidence or grammar in support.

But, at the end of the day, I suppose this only strengthens Prothero's main point. In abundant amounts, disagreement seems to be the quality we, as Americans, most universally share.

Typographic Book Covers

2012-06-17T07:40:00.000-07:00

Last week the Chronicle of Higher Education had a short article about the uses and history of typographic book covers. In the post, the author, Carol Saller, polls several designers regarding their reactions and thoughts about the practice.

You can read the full text of the article here.

The tone of the article is overwhelmingly positive. While it is admitted that an unimaginative design is a detriment whether the cover is imagistic or typographic, Saller also asserts that "Even when the title lacks pizazz, typography can deliver it."

"Smoke Screen" by Maciunas

While reading the article, I kept thinking about the work of George Maciunas, the avant-garde organizer and typographer who was the driving force in many ways behind the Fluxus art movement of the 1950s through the 1970s. His work - both for Fluxus events and for commercial design - is deeply felt but seldom acknowledged.

All of this ties in to a small but sturdy volume I picked up at a used bookstore this weekend. The book is called Thinking with Type: A Critical Guide for Designers, Editors, & Students. I haven't had a chance to give it a thorough going-over yet, but looking at its index, Maciunas's name does not appear. His influence, however - through the mashed-up type style and stark use of Helvetica and other sans-serif fonts - is definitely felt.

Certainly Maciunas was not the only one to use this approach. Kurt Schwitters, Russian Constructivists, and the Bauhaus all developed versions of this type-heavy graphic style. Using words as art, with either one or no graphic elements besides, is a long-standing mode of expression.

And this finally makes me think of Islamic art, where very often no graphic expression besides the words of the Qur'an themselves is allowed.

The West, in many respects, is an image-dense culture. It is interesting to see the way in which these text-dense approaches can catch us by surprise or strike us as a novelty. We seem to naturalize the image as the norm, and imagine text as the substrate of our visual lives. As these several examples show, this is hardly the actual case.

More resources from the 2012 SCRIPT Meeting - Paper by James Watts

2012-06-09T07:34:00.000-07:00

Jim Watts has posted the text of the paper he delivered at the 2012 EIR-AAR/Society for Comparative Research in Iconic and Performative Texts meeting over at the Iconic Books blog.

You can read the full text of his talk here.

SBL funds new Society for Koranic Studies

2012-06-09T07:20:00.000-07:00

An announcement appeared in the Chronicle of Higher Education earlier this week about the formation of a new scholarly society to "support scholarship and teaching about the Koran in its historical, religious, and cultural contexts."

This undertaking, headed by the Society for Biblical Literature, is supported by a $140,000 grant from the Henry Luce Foundation.

John Kutsko, executive director of the SBL, is reported in the Chronicle as saying the intention for this new Koranic Studies society is that it be "independent," and he says he and his fellow organizers are eager to avoid being seen as presumptuous or as exhibiting a colonialist attitude. "We have no preconceived and presumed ways of reading," he reiterates.

You can read the full text of the Chronicle article here.

[The above was paraphrased from the Chronicle article, and should not be understood to represent original reportage. Thank you to Professor Scott Newstock of Rhodes College for bringing the article to my attention.]

How a book is made

2012-06-02T21:59:00.000-07:00

A beautiful little film by Glen Milner. Enjoy.

Report from Eastern International Region SCRIPT Conference

2012-05-10T09:11:00.000-07:00

This is the second year that SCRIPT has held a meeting concurrently with the Eastern International Regional meeting of the AAR. Last year we met at Syracuse University. This year's meeting was held at Waterloo University, outside Toronto.

We had a slightly smaller footprint at this year's conference. Instead of several sessions, we had one. Despite the small size, however, it was well-attended, and the conversation was quite lively.

The following presentations were part of the session:

David Dault, Christian Brothers University: "On a Controlled Bibliographic Vocabulary for SCRIPT and its Related Organizations: A Response to Deirdre Stam"

James W. Watts, Syracuse University: "Relic Books"

Karl Ivan Solibakke, Syracuse University: "Identity, Mimesis and Script: Walter Benjamin's Mimetic Function Revisited"

I will reproduce my paper in a separate post.

Jim Watts's paper builds on the thesis he first put forth in his earlier paper, “The Three Dimensions of Scriptures.” In his discussion, Watts argues that a "Relic" text can be understood as a text where the iconic dimension has been hyper-emphasized, and the other two dimensions (the semantic and performative dimensions) have been largely or wholly eclipsed. He had a good supply of examples, from the Declaration of Independence on display in Washington, D.C. to several kinds of Bibles that are designed to be seen, but not read.

Karl Solibakke's paper attempted to bring the questions of Iconic Books into conversation with Walter Benjamin's corpus, particularly around the Benjaminian concept of the "script." According the the website of the International Walter Benjamin Society, "The term 'Script' (Schrift) emerges in the 1920’s as the center around which Benjamin’s meditations on the relationship between writing and image crystallize," and refers specifically to the act of writing as a graphic event, and not merely a textual one. Solibakke's paper added a rich dimension to the discussion that followed the three papers.

Despite our only having one session this year, we managed to attract a number of interested persons to the session, with some even pledging to join SCRIPT as a result. After the session, the participants and many of the attendees departed to the evening reception where, despite a loud jazz band, good conversation and conviviality lasted well into the night.

Conversation about Erasmus on BBC 4

2012-02-14T14:08:00.000-08:00

How much do I love the BBC? Quite a lot, actually. Where else would you find a radio program taking three-quarters of an hour to devote to a discussion of Erasmus of Rotterdam? On NPR, maybe, but even there you would have lots of interruptions and station breaks and such.

Not so, here. In the past couple weeks, BBC 4 has been re-broadcasting a wonderful conversation about Erasmus conducted by Melvyn Bragg on his show, In Our Time. The show, which can be heard in its entirely here, features the following esteemed scholars:

Diarmaid MacCulloch
Professor of the History of the Church at the University of Oxford

Eamon Duffy
Professor of the History of Christianity at the University of Cambridge

Jill Kraye
Professor of the History of Renaissance Philosophy and Librarian at the Warburg Institute, University of London.

In the course of the program, they discuss the history of Catholic-Protestant relations, the influence of Erasmus on Luther (and vice versa), and the role of Erasmus in the development of the 1611 King James Bible.

From the show's website:

In his lifetime Erasmus was almost universally recognised as the greatest classical scholar of his age, the translator and editor of numerous Latin and Greek texts. But above all he was a religious scholar who published important editions of the Bible which expunged many corruptions to the texts of the Scriptures.

Take a few minutes and give a listen. Well worth your time.

(My thanks to Professor Michael Leslie, of Rhodes College, for the link)

Pennsylvania declares 2012 "Year of the Bible"

2012-02-02T16:52:00.000-08:00

Pittsburgh's public radio station reports that state lawmakers in Pennsylvania have recently passed a resolution declaring 2012 to be the "Year of the Bible":

Sponsoring Representative Rick Saccone (R-Jeffrson Hills) said he’s been getting a bit of critical feedback on the measure. “One person put on the comments, ‘Why don’t you have a resolution honoring the Quran?’ Well, we could, but the Quran didn’t have an influence on the founding of our country,” said Saccone. “I’m honoring a document and reflecting on a document that had a significant impact on the foundation and throughout the history of our country.”

You can read the whole article about it here.

(Thanks to Harold Hartger for the link)

A short note about a typeface (Caslon, specifically)

2012-01-25T20:37:00.000-08:00

I just received my copy of the Commonweal Associates Newsletter, an occasional publication for supporters of Commonweal magazine. In amongst the other news items was the following:

After redesigning the magazine in 2005, we fielded a good deal of compliments--and complaints. Reader response was mostly positive, but even fans of the revised look wondered whether the new typeface wasn't a touch too light. Well, as Jesus taught, ask and you shall receive, within at least six years. Our new new typeface, which debuted in the fall, is Caslon. It replaces the thinner-cut Goudy in headlines and body copy. You may recognize it from a little-known periodical called the New Yorker. If you haven't noticed, don't panic--the change is subtle. But important. A magazine as weighty as Commonweal ought not be printed in too light a typeface.

This assertion--that a "weighty" magazine demands a "weighty" typeface--is likely one we don't often think too much about. It brought to my mind a wonderful little book by E.R. Wendland and J.P. Louw, Graphic Design and Bible Reading,wherein they remind us that, "in the end, format does have meaning and people will assign a certain sense to the lay-out of a text according to how they happen to perceive it and interpret it" [37].

A typeface communicates more than just the words for which it is employed. It communicates a character, added-to those words. Erik Spiekermann, in his foundational Stop Stealing Sheep & Find Out How Type Works,makes clear that this type-character is expected to be a good match for the genre and purpose of the printed text. "Just as business people are expected to wear a suit (plus, naturally, a shirt and tie), text set for business has to look fairly serious and go about its purpose in an inconspicuous, well-organized way" [65]. Following this logic, it is only natural that "weighty" magazines are expected to sport "weighty" fonts. Serious is as serious does, after all.

Needless to say, I found it quite delightful that a magazine staff would actually come out and admit the rationale for choosing one typeface over another. While these decisions are invariably made with deliberation and care, it is not so often we get a glimpse behind the scenes into the machinations.

NPR Reports on "How the King James Bible 'Begat' English Idioms"

2012-01-24T14:32:00.000-08:00

A few weeks back NPR's Talk of the Nation featured a conversation with David Crystal regarding his recent book Begat: The King James Bible and the English Language. In the book, Crystal set out to answer the question, "How many English language idioms come from the King James Bible?" The answer? Not as many as most people think.

"I found 257," says Crystal.

Of particular interest to me is Crystal's observation that many of the phrases that folks attribute to the KJV actually come from other English Bible versions of the period, such as the Great Bible and the Bishops' Bible. The KJV did not originate them; it merely kept them and passed them on:

So, truly, the King James Bible popularized the expressions that were already in biblical use. The King James version was appointed to be read in all churches, so "people started not just to quote these expressions, but to play with them — 'What hath Google wrought,' indeed."

This matter of the "perception" versus the "reality" of the cultural influence of the KJV is worth pondering, especially given the rampant mis-perception that the KJV was the first English translation of the Bible, or the first translation at all (or the first Bible, period).

I haven't had a chance to read Crystal's book yet, but I'll post a report up here when I do.

You can listen to the whole conversation here.

Article in Christianity Today about the physical forms of Bibles

2012-01-19T14:32:00.000-08:00

David Neff, editor-in-chief of Christianity Today, has penned a brief article about the effects the physical forms of Bibles have on readers:

The physical form of the Bible matters because it influences the way Christians use their sacred book. In the countercultural 1960s, for example, publishers shucked the black leather uniform in favor of more contemporary dress. The aim was to reach those who might not otherwise pick up the Scriptures. The American Bible Society's Good News for Modern Man resembled a mass market paperback, and Tyndale House's Reach Out: The Living New Testament looked just plain "groovy."

While it is an informative article about some of the little-known facts of the history of Bible publishing and use -- for example, you might not have known that it was in 1791 that Isaiah Thomas published the first American Bible to contain genealogical pages -- the piece actually has very little to say about what it promises in its title: the effects of physical Bible forms on reading.

What an article like this shows is exactly the importance of work like what is going on with the Iconic Books project and here at Material Scripture. We need a language and a means of analysis that actually can track these effects of physical form when we notice them. Hopefully this article at Christianity Today is not just a flash in the pan, and Neff and others will begin to take an ongoing interest in these questions (and their answers)!

(Thanks to Allyn Harris Dault for sending me the CT article)

Adventures in Letterpress, part 1

2012-01-19T13:27:00.000-08:00

Last December I had a chance to visit briefly with Kyle Durrie, proprietrix of Portland's Power and Light Press, who is currently on a multi-month adventure, traveling from city to city and state to state in a tricked-out delivery truck that houses two medium-weight letterpresses. Durrie was visiting Memphis, and the graphic arts professor here at CBU arranged for her to come to campus and talk and give a demonstration of the truck and the project.

The project, dubbed "Moveable Type," is the realization of a vision Durrie had while visiting her musician boyfriend on the road during a cross-country tour. "Two of my favorite things in the world are printing and road trips," Durrie says. "I wanted to figure out a way to do both things at the same time." She then set a plan in motion to get the project off the ground:

The plan was hatched last year while on a cross country band tour, studying maps and staring out car windows and exploring new towns. It was furthered along by listening to lots of songs about cowboys and truckers. In November 2010, I launched a fundraising campaign through Kickstarter.com, which was met with surprising and overwhelming support and success. I more than doubled my original financial goal, which turned out to be a good thing, because it turns out I had a very poor understanding of the costs involved in pulling something like this off.

Durrie's success with Kickstarter allowed her to buy and retrofit a 1982 Chevy step van into a fully functional letterpress print shop. "I’ve outfitted the back of the truck with built-in cabinets and workspace, a sign press from the mid 20th century, and an 1873 Golding Official No. 3 tabletop platen press," Durrie writes on her website.

The result is a compact, functional, and very beautiful work space. The trip has consisted of Durrie pulling into towns on prearranged visits, parking her van and setting up shop. She invites people into the truck to try their hand at the press, to learn what printing is and what it feels like to make something with your worn hands and effort.

I got a chance to use the sign press, and was amazed. Despite all my research into printing and the publishing of Bibles, I realized I had never thought much about the actual process of printing of physical pages. Just the little time I spent in the Type Truck was eye-opening. Printing has a feel, and a sound, and a smell to it that is unique. I never would have known this if it hadn't been for Durrie and her vision of bringing letterpress to the masses.

You can contribute to Kyle Durrie's continuing travels here, and you can make arrangements for her to visit your town here.

New York Times features A.-J. Levine, Jewish Annotated New Testament

2012-01-17T13:40:00.000-08:00

I just saw a New York Times article, published back in late November 2011, that features Amy-Jill Levine and focuses on the new Jewish Annotated New Testament:

This volume is thus for anybody interested in a Bible more attuned to Jewish sources. But it is of special interest to Jews who “may believe that any annotated New Testament is aimed at persuasion, if not conversion,” Drs. Levine and Brettler write in their preface. “This volume, edited and written by Jewish scholars, should not raise that suspicion.”

The article balances both commentary about Levine's lifelong interest in New Testament, as well as the current culture of Bible publication, with its preoccupation with "lifestyle" themed editions.

"A Bible with an Appendix": Christophe Plantin's 1573 Polyglot Bible

2012-01-04T18:54:00.000-08:00

Over the past couple of weeks my wife and I have been watching the much loved Connections series, put together by James Burke for the BBC in the 1970s and 1990s. The whole series is now available for free online, and I highly recommend it if you haven't seen it. Burke reads historical events thematically, instead of chronologically, leading to some truly fascinating leaps and threads that start one place and, by the end of the program, pull together across cultures and centuries in surprising and very satisfying ways.

The episode we watched last night had this little section about the Belgian printer Christophe Plantin, who is famous for his ambitious work producing a "Polyglot Bible" - eight volumes that incorporated five languages (Hebrew, Greek, Latin, Aramaic, and Syriac), with the last two volumes comprised entirely of grammars, lexicographic aids, charts, lists, and maps. It is an absolutely amazing piece of work, and garnered Plantin much praise (and a little bit of trouble) for his efforts.

Here is the video. Enjoy!

Manifold Disappointments

2012-01-02T15:49:00.000-08:00

I just now got around to reading the June 2011 issue of Harper's Magazine, whose cover promised "King James, Revised: History's Best Seller Turns 400." This had been sitting in my pile of things for a while now, and I was glad to have some time over the Christmas break to give it a look.

I should have just left well enough alone. I'm not sure what I was expecting, but I think it involved some form of actual historical/literary discussion of, you know, the King James Bible. Whatever I expected, this was not that.

"Harper's Magazine marked the quadricentennial of the King James Bible by inviting some of our finest poets and novelists to select a verse or short passage from the translation and respond to it, with no restrictions on the form of response," says the introductory blurb [p. 33]. The panel of seven contributors consists of Paul Guest, Benjamin Hale, Dan Chiasson, Marilynne Robinson, Charles Baxter, John Banville, and Howard Jacobson.

I tried. I really did. But "no restrictions," in this case, was a recipe for disaster and disappointment. Of the lot, only Robinson's contribution (one page of prose) comes close to a satisfactory engagement. Her piece serves both as a meditation on the peculiar language of the KJV (she reflects on the phrase, "The twinkling of an eye") and how that language is largely the inheritance of the KJV from a handful of other vernacular English versions preceding it. The piece is erudite, informed, and all too brief.

All to brief especially in light of the space taken by the other contributors. Three are poems. The other three (Jackson's "A Mirror Up to Nothing," Banville's "Absalom Dies," and Hale's "Lower than the Angels") are each a tired rendition of Hitchens-esque agnosticism. Hale reminds us that "the one English book more important than the King James Bible" is, of course, Darwin's On the Origin of the Species. Um. Okay. Yawn.

I love Harper's. Given that this was the cover story, and that I usually am so edified by what I find beneath their covers, I was left shaking my head a bit. Is this the best they could muster? To honor what is arguably (ahem) the most important book in English? (Apologies to Messrs. Darwin and Hale.) I honestly expected a lot more, and a lot better, than what they offered.

A "Natural History of the Book": Joshua Calhoun's "The Word Made Flax"

2011-12-26T06:41:00.000-08:00

A few months ago my colleague Katy Scrogin passed along to me an article for the MLA Journal. I've been meaning to comment on it for some time now, as I found it thought-provoking and, at many points, exquisite.

Joshua Calhoun's "The Word Made Flax: Cheap Bibles, Textual Corruption, and the Poetics of Paper" [PMLA 126.2 (March 2011): 327-344] takes as its central concern the question of "a printed Bible made of culturally processed natural resources, a Bible that is a palimpsest of plants and animals, social circulation, religious tradition and textual production" [341]. Calhoun's thesis is that Bibles throughout the history of their production have carried in their physical forms the traces of the materials and conditions from which they were produced. Moreover, Calhoun finds clear evidence that readers through the ages have been quite adept at decoding these markings of material provenance, and using that knowledge as part of a rhetoric of interpretation.

To demonstrate his point, Calhoun offers a reading of a 1655 poem by Henry Vaughn, "The Book," which "engages in sixteenth- and seventeenth-century debates about cheap media and the production of a vernacular Bible in England" [329]. Take, for example, the following lines from the second stanza of "The Book":

[God] knew'st this papyr, when it was
Meer seed, and after that but grass;
Before 'twas drest or spun, and when
Made linen, who did wear it then:
What were their lifes, their thoughts & deeds
Whither good corn, or fruitless weeds [329].

"Like many seventeenth-century readers," Calhoun explains, Vaughn "still lives in close proximity to the materials that make his paper" [337]. Unlike the paper stocks of today, made primarily of wood pulp, the linen papers of Vaughn's day were made primarily of rags--that is to say, they consisted of well-worn, cast-off garments. "Vaughn, like his contemporaries, comprehended the natural origins of paper and understood that flax had to be literally inhabited--broken in as clothing--before it could be used in papermaking" [333].

Calhoun demonstrates that this close proximity to the life-cycle of paper made readers like Vaughn highly attuned not only to the provenance of books, but moreover to the relative qualities of paper employed in fashioning those books. In the sixteenth- and seventeenth-centuries Bibles (for demonstrably economic reasons) began to be printed on cheaper and cheaper grades of paper. Calhoun observes that "scholars have focused on the increased portability, distribution, and ownership of cheaper Bibles. What tend to be overlooked, at least in current criticism," he continues," are the rhetorical effects of the surfaces on which words appear" [328].

Drawing not only on his masterful reading of Vaughn, but also contemporaneous critics who despaired that the words of God were now to be found printed on thin papers far inferior to papers on which Shakespeare's plays were printed, Calhoun makes a well-supported claim that the rhetorical effect of printing cheaper Bibles was often to cheapen the reverence for the Bible itself. "[T]he Protestant Reformation made the Bible--and, by extension, other books--more vulgar" [328]. The Bible was now literally in the hands of the readers, graspable, and "graspability had interpretive consequences" [328].

"Examining the poetics of paper in Renaissance English texts, I assert the value of a critical approach that accounts for the rhetorical effects of what might be called a 'natural history of the book,'" Calhoun states. Upon reading his article, I was struck by the similarities that exist between his "natural history of the book," arising out of the disciplines of English literary criticism and bibliographic studies, and my own concerns of "material scripture," which arise out of the disciplines of theology and biblical criticism.

I recently contacted Joshua Calhoun, who is at present finishing his dissertation in English at the University of Delaware, Newark. He was very receptive to my description of what SCRIPT is up to, and I am pleased to report that he was quick to see the similarities in our methodologies, and very open to staying in contact and perhaps getting involved in some of the work we do at the conference level. We have made a first foray into cross-disciplinary conversation. I am hopeful that others who read this blog, and who are involved in the Iconic Books conversations and SCRIPT, will also begin to engage Calhoun's work (out of privacy and spam concerns, please get in touch with me directly for contact information). I have no doubt that he will be an excellent and valuable interlocutor as these conversations move forward.

All I want for Christmas is a Controlled Vocabulary...

2011-12-24T02:55:00.000-08:00

...or, at least, to start a conversation about one.

A "controlled vocabulary" is a standard used in taxonomies to help control ambiguity about objects and resources. It cuts down on syntactic clutter.

What sort of clutter? Consider the word "football." The term means one thing in America, sure. As soon as we are out of the US, however, it could easily refer to what we yanks call "soccer," or even (in other parts of the world) rugby. As a descriptor, "football" is a poor one.

In the worlds of Iconic Books and Material Scripture, we have a similar problem. Our terms, especially terms like "book" and "text," are imprecise and (at worst) utterly confusing. Since these are the core objects of our discussions, it makes sense to take up discussions to adopt a standard of terms, a "controlled vocabulary," that will allow us to reduce ambiguities as we move forward in our research.

I am by no means the first person to call for such a move. Those who attended the third Iconic Books symposium in 2010 will remember Deirdre Stam's "Talking About 'Iconic Books' in the Terminology of Book History." I feel now - as I said then, as we were commenting on her paper - that this is the single most important matter facing our research. Hands down.

Now that SCRIPT is viable and attracting new members, we are at a perfect point to undertake a serious conversation about finding a scholarly standard for our bibliographic terms - a shared, controlled vocabulary that we can endorse and encourage the use of in all SCRIPT-related endeavors and publications. (Think of this is terms of the SBL Style Guide, for example - in principle if not in execution - offering a standard reference to writers in the field.) Now, precisely when things are still small and manageable, is the ideal time to put such standards in place.

I speak from bitter experience. In the process of writing my dissertation, I concocted an 80-page chapter where - in my utter ignorance - I attempted to develop a vocabulary out of whole cloth for theologians to talk about physical books. It was terrible; a Frankenstein's monster sort of affair. Moreover, it was executed in complete ignorance of the excellent groundwork in bibliographic studies that already exists.

It is my fear, if we don't establish such a standard, that my experience will be shared by many SCRIPT scholars to follow. Each will take their turn at the attempt to define their subject from the ground up, wasting time and effort that could be spent advancing the conversation in new directions.

For those who have never thought about these issues before, let me suggest two starting points for discussion. The first (shorter) is G. Thomas Tanselle's "The Arrangement of Descriptive Bibliographies," from Studies in Bibliography, Volume 37 (1984) and available online here. In the article, Tanselle suggests the second (longer) starting point, which I'd like to also include here, Principles of Bibliographic Description, by Fredson Bowers.

What is needed, ultimately, is a set of terms upon which we agree, that we will use moving forward to reduce ambiguity in our scholarly conversations. Tanselle and Bowers are two sources I have come across in my own research, but I have no doubt many readers of this blog have encountered others that they might suggest. Please do.

My hope (my Christmas wish!) is that this discussion will be taken up across all quarters of the SCRIPT universe in the next couple of years. I encourage my colleagues to follow Deirdre Stam's lead, and to present papers and perhaps whole conference panels where options for standards can be presented and debated. I also encourage robust discussion on these blogs about the question.

There are well-established, robust standards of bibliographic description out there. Let's share them, search out new ones, and eventually decide on the one that will best serve our scholarship. Then let's agree on it, use it, and move forward to the frontiers.

I'm very interested in suggestions and responses. Please share them in the comments below! Thank you, and happy holidays,

David Dault, Washington, PA

Call for Papers - "From Text(s) to Book(s)" - International conference

2011-12-11T08:47:00.000-08:00

CALL FOR PAPERS

An international and SHARP-sponsored conference
‘From Text(s) to Book(s)’
21-23 June 2012
Nancy-Université (Université de Lorraine from Jan. 2012), France

Deadline for proposals: 15 December 2011

I.D.E.A. (‘Théories et pratiques de l’Interdisciplinarité Dans les Etudes Anglophones’ / Interdisciplinarity in English Studies), the research group of the Nancy-Université English Department, will be hosting an international and SHARP-sponsored conference on the subject ‘From Text(s) to Book(s)’. This conference will provide a forum to discuss the ways in which texts are materialised for consumption by the reading public, both historically and in the contemporary context.

Full call for papers can be found here. Conference website is here.

An extended interview with Bible translator Robert Alter

2011-12-11T08:39:00.000-08:00

The Jewish Daily Forward has an interview with Robert Alter posted recently.

"Alter argues that the KJV is frequently inaccurate, and that both the King James and its successors fail to convey in English the refined narrative style and linguistic rhythms of the Hebrew original. It is an argument that is all the more persuasive because it is backed by groundbreaking contemporary scholarship on the literary artistry of the Bible — namely, his own."

Read the rest of the interview here.

Society for Textual Scholarship 2012 Call for Papers

2011-12-10T14:54:00.000-08:00

CALL FOR PAPERS

The Society for Textual Scholarship

International Interdisciplinary Conference

31 May 2 June 2012

The University of Texas at Austin

Program Chairs: Coleman Hutchison & Matt Cohen, The University of Texas at Austin

KEYNOTE SPEAKERS:
George Bornstein, The University of Michigan
Jeffrey Masten, Northwestern University
Phillip H. Round, The University of Iowa

Deadline for Proposals: January 2, 2012

This off-year conference will bring the Society for Textual Scholarship to a campus with internationally significant archival holdings, in one of the most interesting cities in the United States. A number of on-campus resources–the Harry Ransom Center, the Dolph Briscoe Center for American History, and the Benson Latin American Collection, among others–and the vast multicultural attractions of Texas¹s capital city and technology hub make this an exciting venue for the meeting.

The Program Chairs invite a broad set of proposals on the discovery, enumeration, description, bibliographical analysis, editing, annotation, and mark-up of texts in disciplines such as literature, history, musicology, classical and biblical studies, philosophy, art history, legal history, the history of science and technology, computer science, library and information science, archives, lexicography, epigraphy, paleography, codicology, cinema studies, new media studies, game studies, theater, linguistics, women¹s studies, race and ethnicity studies, indigenous studies, and textual and literary theory.

Given the local context of the conference, we especially encourage submissions dealing with issues of race, ethnicity, cross-cultural textual questions, and translation–issues reflected in our choice of keynote speakers. As always, the conference is particularly open to considerations of the role of digital tools and technologies in textual theory and practice. Papers addressing aspects of archival theory and practice as they pertain to textual criticism and scholarly editing are also most welcome.

Submissions may take one of the following forms:

1. Papers. Papers should be no more than 20 minutes in length. They should offer the promise of substantial critical or analytical insight. Papers that are primarily reports or demonstrations of tools or projects are discouraged.

2. Panels. Panels may consist of either three associated papers or four or five roundtable speakers. Roundtables should address topics of broad interest and scope, with the goal of fostering lively debate between the panel and audience following brief opening remarks.

3. Workshops. Workshops should pose a specific problem, tool, or skill set for which the workshop leader will provide expert guidance and instruction. Examples might include an introduction to forensic computing or paleography. Workshop leaders should be prepared to offer well-defined learning outcomes for attendees, and describe them in the proposal. Proposals that are accepted will be announced on the conference website <http://www.textual.org> and attendees will be required to enroll with the workshop leader(s). NB: All workshops will be scheduled for Thursday, 31 May 2012.

Proposals for all formats should include a title; abstract of the proposed paper, panel, seminar, or workshop (500 words maximum); and the name, e-mail address, and institutional affiliation for each participant. Workshop proposals in particular should take care to articulate the imagined audience and any expectations of prior knowledge or preparation.

***All proposals should indicate what, if any, technological support will be required.***

*NB: We have secured on-campus housing for the conference at the rate of $70 per night. Conference participants who wish to arrive early and/or stay late–perhaps to take advantage of UT’s vaunted archival resources or Austin’s music scene–are welcome to do so.*

Inquiries and proposals should be submitted electronically to:

Professor Coleman Hutchison

STSTX2012@gmail.com

Additional contact information:

Department of English
1 University Station B5000
University of Texas at Austin
Austin, TX 78712

Phone: (512) 471-8372
Fax: (512) 471-4909 (marked clearly to Coleman Hutchison¹s attention)

All participants in the 2012 STS conference must be members of STS. For information about membership, please contact Secretary Meg Roland at <mroland@marylhurst.edu> or visit the Indiana University Press Journals website and follow the links to the Society for Textual Scholarship membership page: <http://www.iupress.indiana.edu/>.

For conference updates and information, see the STS website at <http://www.textual.org>.

Call for Papers for a special issue of English Language Notes

2011-12-06T07:43:00.000-08:00

The following Call for Papers was passed on to me by S. Brent Rodriguez Plate, president of SCRIPT:

ELN 50.2 (Fall/Winter 2012): “Scriptural Margins: On the Boundaries of Sacred Texts.”

English Language Notes

Contact email: eln2@colorado.edu

Deadline: March 15, 2012

This special issue invites nontraditional examinations of sacred texts from major religious traditions, including those of Judaism, Christianity, Islam, Hinduism, or Buddhism. We seek readings of scriptures that carve out an interpretive space between religious and secular modes of response. Such readings may be informed by recent critical movements – queer theory, affect theory, ontotheology, biopolitics, etc..

They may investigate the usually complex and uncertain process by which a text moves from sacred to secular status (or from sacred back to secular). They may engage the question of how traditional interpretations bend, mutate, or sustain themselves in the wake of cultural changes or political exigencies.

They may examine the dynamic and mutually transformative exchanges between religious hermeneutics and secular modes of interpretation (e.g. legal, literary, psychoanalytic). Papers submitted for this issue may theorize on the relationship between commentaries, treatises and sacred texts - - on the ways, for example, that commentaries enter into the historical lives of scriptures, inscribing them with meanings that become naturalized. Or they may explore the paths by which scripture flows into non-scriptural writings -- poetry, fiction, or song – and how such paths reconfigure or coexist with the division between a sacred and a non-sacred text. Or they may track the fate of a sacred text as it moves across cultural and geographical boundaries, finding new communities of believers and generating new readings, whether as recognitions or misrecognitions of the readings adopted by preceding schools of believers. In all cases, contributors will be motivated by a desire to operate outside the engrained opposition between religious and secular discourses and by the desire for a mode of reading that isn’t reducible to spiritual or anti-spiritual programs, to immediately recognizable acts of heterodoxy or piety. Consideration will be given to critical essays, creative writings, and to writings that are combinations of the two. We also welcome round-table discussions on particular sub-topics and reviews or review articles of recent books relevant to the issue’s theme.

Please send double-spaced, 12-point font contributions adhering to the Chicago-style endnote citation format in hard copy and on CD-ROM to the address below:

Special Issue Editor, “Scriptural Margins”
English Language Notes
University of Colorado at Boulder
226 UCB
Boulder, CO 80309-0226

Specific inquiries may be addressed to the issue editor, Sue Zemka, zemka@colorado.edu. The deadline for submissions for the first issue is March 15, 2012

Report from the AAR pre-conference meetings

2011-11-18T15:37:00.000-08:00

I arrived Thursday afternoon, and have been having a very fruitful set of discussions with colleagues as part of the Society for Scriptural Reasoning pre-conference plenary.

Peter Ochs, the organizer, has characterized the discussions as "the first Abrahamic revival meeting." Our sessions were divided between time spent doing SR around a collection of texts on music, and discussions of the future of SR practice in Europe and North America.

For the music study, we looked at several Suras from the Qur'an, a passage from Chronicles, and a passage from the Book of Revelation. What I found most fascinating (and had not known before beginning the study) is that there is no mention of music in the Qur'an. I found that incredibly surprising, but as time went on, that fact opened up an amazing discussion about the way in which interpretive traditions will insinuate and "read" things into texts that are not literally present, and the hermeneutic problems (and possibilities) that ensue.

This evening I will participate in a second (and unrelated) pre-conference symposium dealing with the upcoming edited anthology from the Liturgical Press's Rock and Theology project, to which I have contributed a chapter.

Exhausting day, but a really good day as well.

Several interviews with Robert Alter

2011-11-09T19:28:00.000-08:00

Robert Alter is speaking at the University of Memphis tomorrow evening (Thursday, November 10th, 2011 at 6:30pm in the University Theater). As a result of his visit, several local blogs and publications are printing interviews.

"Working as a translator of the Bible," Alter says, "has paradoxically increased both my admiration for the KJV and my reservations about it. The grandeur of the seventeenth-century translation and, at least in the prose, its adherence to the wonderful simplicity and concreteness of the original, have become more vividly clear to me. At the same time, as I look over my shoulder at my fellow-translators of four centuries past, I am sometimes exasperated with them for deploying wordiness where the Hebrew is beautifully compact, for ignoring the expressive rhythms of the Hebrew poetry, and for introducing ecclesiastical terms alien to the original."

You can read the full interview at the Chapter 16 blog, run by the Nashville Public Library.

Leonard Gill's &tcetera blog also has an interview. One question Gill asks Alter in particular was of great interest to me:

Gill: What do you think of the proliferation of "niche" Bibles today — loose translations to appeal to a particular group of contemporary readers?
Alter: The King James had become more or less canonical for English readers, but in the late 19th century, when it was thought there were problems — that it was archaic; that it was inaccurate — there was a revised version, which still tried to preserve the general translations of the King James Bible.

But after the Second World War, there were various committees producing different translations: the New English Bible, the Catholic Jerusalem Bible, the Jewish Bible from the Jewish Publication Society. All these were guided — or, I would say, misguided — by the principle that you have to render the Bible in ways that are entirely compatible with modern idiomatic usage. They abandoned word-for-word translation drastically. They repackaged the syntax. They substituted modern idioms for biblical ones.

Stylistically, the consequences of that strategy have been pretty disastrous. In my own translations, I've gone back much closer to the word-for-word strategy.

Again, you can read the whole interview at the &tcetera blog, run by the Memphis Flyer.

SCRIPT call for papers for EIR 2012

2011-11-09T05:53:00.000-08:00

Just got this announcement from Jim Watts:

Call for Papers

SCRIPT will meet concurrently with the Eastern International Region of the AAR again on May 4-5, 2012, in Waterloo, Ontario.

We invite paper proposals in all areas of interest to SCRIPT. Each proposal should contain the following in a single e-mail attachment in MS Word format:

One-page abstract (300 words maximum) describing the nature of the paper or panel
Current CV for the participant(s)
Cover page that includes the submitter’s full name, title, institution, phone number, fax number, e-mail, and mailing address. For panel proposals, identify the primary contact person.

Send proposal to scriptsecretary@gmail.com. The deadline for submissions is January 31, 2012. Only those proposals received by the deadline will be considered for inclusion in the program. Scholars must be members either of SCRIPT or the AAR in order to register for the conference and present papers.

Presentations are limited to twenty minutes, with ten minutes allowed for questions. If you require technological support for your presentation/panel (such as an Internet connection or audio and projection equipment), you must request it with your proposal.

Make a wish...

2011-11-09T05:41:00.000-08:00

The other day my friend Maria and I were discussing what she called the "Magic 8 Ball" approach to the Bible - basically where you express magical thinking by assuming that whenever you open a Bible randomly, it will answer your question and tell you what to do.

So I was very pleased to run across this cartoon by David Hayward this morning:

You can see this image in its original post, and see other works by Hayward, by clicking here.