The History of Hebrews’ Reception History: Methodological Considerations and a Review of the Scholarly Literature on Hebrews’ Reception

2022 ◽  
Keyword(s):  
Reception History ◽  
Scholarly Literature ◽  
History Of ◽  
Methodological Considerations

The Modernities of H. Lawrence Freeman

2019 ◽  
Vol 72 (3) ◽  
pp. 719-779
Author(s):  
David Gutkin
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Reception History ◽  
Black Press ◽  
Late Nineteenth Century ◽  
Starting Point ◽  
History Of ◽  
Late Nineteenth ◽  
White Press ◽  
Grand Opera

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.

John among the Apocalypses

2020 ◽  
Author(s):  
Benjamin E. Reynolds
Keyword(s):  
Gospel Of John ◽  
Central Place ◽  
Reception History ◽  
Genre Theory ◽  
Synoptic Gospels ◽  
Book Of Revelation ◽  
Distinctive Features ◽  
History Of ◽  
Definition Of ◽  
And Function

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.

St Theodore the Studite's Defence of the Icons

2018 ◽  
Author(s):  
Torstein Theodor Tollefsen
Keyword(s):  
Scholarly Literature ◽  
Innovative Thinking ◽  
History Of ◽  
The Subject

This book is an investigation of the icon theology of St Theodore the Studite, mainly as it is presented in his three refutations of the iconoclasts, even if some passages from his letters are also brought into the picture. The book fills a gap in scholarly literature since, even though treated by some scholars, his doctrine of the icon has never been the subject of such an extensive or in-depth investigation before. In addition to the main elements of his defence of the icon, like the Christological issue, the relation between image and prototype, the question of veneration, his explanation of why we may say of an image that ‘this is Christ’, and his innovative thinking on the representative character of icon production, there is an introduction that places Theodore in the history of Byzantine philosophy: he has some knowledge of traditional logical topics and is able to utilize argumentative forms in countering his iconoclast opponents. The book also has an appendix in which the author tries to show that the making of images is somehow natural given the character of Christianity as a religion.

The Gospel as Manuscript

2020 ◽  
Author(s):  
Chris Keith
Keyword(s):  
Crucial Role ◽  
Literary Tradition ◽  
Reception History ◽  
Early History ◽  
First Century ◽  
Interdisciplinary Work ◽  
The Public ◽  
History Of ◽  
New Material ◽  
Material History

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.

Narratology

2019 ◽  
Author(s):  
Genevieve Liveley
Keyword(s):  
Reader Response ◽  
Literary Theory ◽  
Chicago School ◽  
Reception History ◽  
First Century ◽  
Unreliable Narrator ◽  
Affect And Cognition ◽  
History Of ◽  
Ars Poetica

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.

Reception History and the Interpretation of Revelation

2020 ◽  
pp. 375-393
Author(s):  
Ian Boxall
Keyword(s):  
Visual Art ◽  
Textual Criticism ◽  
Reception History ◽  
Biblical Text ◽  
Music Drama ◽  
History Of Interpretation ◽  
History Of ◽  
Biblical Texts

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.

The Opera and the Omnibus: Material Culture, Urbanism and Boieldieu's La dame blanche

2020 ◽  
Vol 32 (1) ◽  
pp. 90-114
Author(s):  
Nicole Vilkner
Keyword(s):  
Material Culture ◽  
Business Model ◽  
Public Transportation ◽  
Reception History ◽  
Transportation Systems ◽  
Mass Transportation ◽  
Musical Work ◽  
The World ◽  
History Of

AbstractIn the summer of 1828, the Entreprise générale des Dames Blanches launched a fleet of white omnibuses onto the streets of Paris. These public transportation vehicles were named and fashioned after Boieldieu's opéra comique La dame blanche (1825): their rear doors were decorated with scenes of Scotland, their flanks painted with gesturing opera characters, and their mechanical horns trumpeted fanfares through the streets. The omnibuses offered one of the first mass transportation systems in the world and were an innovation that transformed urban circulation. During their thirty years of circulation, the omnibuses also had a profound effect on the reception history of Boieldieu's opera. When the omnibuses improved the quality of working- and middle-class life, bourgeois Parisians applauded the vehicles’ egalitarian business model, and Boieldieu's opera became unexpectedly entwined in the populist rhetoric surrounding the omnibus. Viewing opera through the lens of the Dames Blanches, Parisians conflated the sounds of opera and street, as demonstrated by Charles Valentin Alkan's piano piece Les omnibus, Op. 2 (1829), which combines operatic idioms and horn calls. Through these examples and others, this study examines the complex ways that material culture affects the dissemination and reception of a musical work.

Transforming Historical Objectivism into Historical Hermeneutics: From “Historical Illness” to Properly Lived Historicality

2019 ◽  
Vol 61 (4) ◽  
pp. 490-515
Author(s):  
Thomas Tops
Keyword(s):  
Reception History ◽  
Biblical Studies ◽  
Historical Study ◽  
Necessary Condition ◽  
New Paradigm ◽  
History Of Interpretation ◽  
Critical Methodology ◽  
Recent Developments ◽  
History Of ◽  
Biblical Texts

Summary The present study analyses recent criticisms against the use of modern-historical methodologies in Biblical Studies. These methodologies abstract from the historical horizon of the researcher. In order to relate properly to the historicality of the researcher, historical objectivism needs to be transformed into historical hermeneutics. Recent developments in the historical methodology of biblical scholars are unable to reckon with the historicality of the researcher due to the partial or incorrect implementation of Gadamer’s views on reception history. I analyse the views of Nietzsche, Kierkegaard, and Gadamer on historicality and contend that the study of reception history is a necessary condition for conducting historical study from within the limits of our historicality. Reception history should not be a distinct methodological step to study the “Nachleben” of biblical texts, but needs to clarify how the understanding of these texts is already effected by their history of interpretation. The awareness of the presuppositions that have guided previous interpretations of biblical texts enables us to be confronted by their alterity. This confrontation calls for a synthesis between reception-historical and historical-critical methodology that introduces a new paradigm for conducting historical study in Biblical Studies in dialogue with other theological disciplines.

Reception Theory, H. R. Jauss and the Formative Power of Scripture

2012 ◽  
Vol 65 (3) ◽  
pp. 289-308 ◽  
Author(s):  
Anthony C. Thiselton
Keyword(s):  
Reader Response ◽  
Biblical Interpretation ◽  
Reception History ◽  
The Self ◽  
Reception Theory ◽  
1 Corinthians ◽  
Reader Response Theory ◽  
The Bible ◽  
History Of ◽  
Hans Georg Gadamer

AbstractFormation constitutes the key link between reception theory, Jauss and scripture. The Bible shapes readers by showing them what lies beyond the self. Hans Robert Jauss (1921–97) remains the effective founder of reception theory or reception history. He was a literary theorist, who specialised in romance literature. Following Hans-Georg Gadamer, he insisted that texts carry ‘a still unfinished meaning’, and focused on their historical influence. The exposition of how communities or thinkers have received texts includes de-familiarisation; sometimes the ‘completion’ of meaning, as in much reader-response theory; and instances of when a text ‘satisfies, surpasses, disappoints, or refutes the expectations’ of readers. Reception theory can often trace continuity in the reception of texts, as well as disjunctions, reversals and surprises. It offers a more disciplined approach to scripture than most reader-response theories. Clearly horizons of expectation play a major role in the interpretation of biblical texts. I suggest six direct parallels with biblical interpretation. (1) Like Francis Watson and others, Jauss rejects any value-neutral objectivism in interpretation. (2) The readers’ horizon of expectation derives partly from earlier readings of the text. (3) Horizons can move and change, and thus transform readers as these change. (4) Biblical genres display all of Jauss’ accounts of the responses of readers. For example, parables of reversal may surpass what the Christian believer expects, or disappoint the unbeliever. (5) Like Gadamer, Jauss emphasises the importance of formulating constructive questions in approaching texts. (6) Jauss’ ‘levels of reading’ correspond closely with Bakhtin's notion of polyphony. I compare Ormond Rush's work on reception and otherness, and Luther's insistence that the Bible often confronts us as our adversary to judge and to transform us. Finally, we illustrate the history of reception from Ulrich Luz on Matthew, from Childs on Exodus, and from my commentaries on 1 Corinthians and 1 and 2 Thessalonians.

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