Danger and Desire: New course offering for Theology at Auckland

crowd

Those of you who have visited the blog before will be aware that I have a bit of a thing for exploring the Bible in the visual arts (see our annual December Advent offerings, for example, or some previous posts here, here, and here). So I’m thrilled this year to be teaching  on this very topic. Titled Danger and Desire: The Bible and Visual Culture, this brand new course will introduce students to the concept of visual exegesis, showing them how visual images (including art, film, TV, and advertising) can be valuable tools for the biblical interpreter to use in their readings of biblical stories, themes and, characters. These pictorial presentations of the biblical material are rather like biblical commentaries or scholarly articles in visual form – the image maker is an interpreter of the text, not merely its illustrator. And, through their particular visual media, they gift to us fascinating retellings of the biblical stories, multicoloured afterlives of biblical characters, and reflections on biblical themes that can at times be thrilling, surprising, and even challenging.

Robert Lentz
Robert Lentz, David and Jonathan (c. 2005)

Exodus-Gods-and-Kings-Poster-7

In case I’ve whetted your interest, I’ve listed the course description and lecture topics below, along with a very select bibliography of some resources we’ll be using. And, as the course progresses, I’ll share with you some of the insights that I get from each lecture, not to mention some of the wonderful images we’ll be looking at each week.

Franz-Von-Stuck-adam-and-Eve
Franz von Stuck, Adam and Eve

Danger and Desire: The Bible and Visual Culture

An exploration of the ways that biblical characters, themes, and stories have been represented in the visual arts, including fine art, advertising, and film. Students will consider the interrelationship between biblical and cultural texts, learning various methods of biblical interpretation which utilise visual images as interpretive tools to make new sense of the biblical traditions and their history of interpretation.

Lectures:

  1. Introduction to visual exegesis and hermeneutical aesthetics
  2. Sin, sexuality, and selling power: Adam and Eve in art and advertising
  3. Don’t lose your head: Judith and Salome as biblical femmes fatales
  4. Querying masculinities: exploring biblical ambiguities in the visual arts (David and Jonathan; Jacob wrestling with the man at Jabbok)
  5. Querying femininities: exploring more biblical ambiguities in the visual arts (Ruth and Naomi)
  6. Highlighting or hiding the abject body? Hagar in art
  7. Bathing beauties and peeping toms: Bathsheba and Susanna in art
  8. Giving shape to suffering: the book of Job in art (focus on William Blake and Samuel Bak)
  9. Retelling familiar tales: the parable of the good Samaritan in art and on screen
  10. Visualizing the (masculine) holy: Jesus and messiah imagery in art, film, and advertising
Samuel Bak Journey
Samuel Bak, Journey (1991)

Select bibliography

Adams, Ann Jensen. Rembrandt’s Bathsheba Reading King David’s Letter. Cambridge: Cambridge University Press, 1999.

Allison, Dale C. Jr., Christine Helmer, Thomas Römer,  Choon-Leong Seow, Barry Dov Walfish,  and Eric Ziolkowski (eds.) Encyclopedia of the Bible and its Reception. Berlin: Walter de Gruyter, 2009-

Clines, David J. and J. Cheryl Exum (eds.). Biblical Reception (2012-2013).

Clanton, Dan. Daring, Disreputable, and Devout: Interpreting the Bible’s Women in the Arts and Music. New York: T&T Clark, 2009.

Edwards, Katie B.  Admen and Eve: The Bible in Contemporary Advertising. The Bible in the Modern World, 48. Sheffield: Sheffield Academic Press, 2012.

Exum, J. Cheryl. The Bible in Film: The Bible and Film. Leiden: Brill, 2006.

Exum, J. Cheryl.  Plotted, Shot, and Painted: Cultural Representations of Biblical Women. Sheffield: Sheffield Phoenix Press, 2012 (2nd edn).

Exum, J. Cheryl and Ela Nutu (eds.). Between the Text and the Canvas: The Bible and Art in Dialogue. The Bible in the Modern World, 13. Sheffield: Sheffield Phoenix Press, 2009

Harvey, John.  The Bible as Visual Culture: When Text Becomes Image. The Bible in the Modern World, 57. Sheffield: Sheffield Phoenix Press, 2013.

Joynes, Christine E. (ed.). Perspectives on the Passion: Encountering the Bible through the Arts. London: T&T Clark, 2007.

O’Kane, Martin (ed.). Bible Art Gallery. The Bible in the Modern World, 21. Sheffield: Sheffield Phoenix Press, 2011.

________ (ed.). Imaging the Bible: An Introduction to Biblical Art. London: SPCK, 2008.

________. Painting the Text: The Artist as Biblical Interpreter. The Bible in the Modern World, 8. Sheffield: Sheffield Phoenix Press, 2009.

Renan, Ernest. Christ in Art. New York: Parkstone International, 2010.

Rowland, Christopher. Blake and the Bible. New Haven: Yale University Press, 2010.

Terrien, Samuel. The Iconography of Job through the Centuries: Artists as Biblical Interpreters. University Park: PSU Press, 1996.

Salome and John the Baptist John Vassos 1927
John Vassos, Salome and John the Baptist (1927)
Adam and Eve Underwear Ad
Adam and Eve imagery in Bench/ undies ad
banksy-graffiti-street-art-8
Banksy, Crucifixion


Advertisements

Caveant lectores

39wwy

For the last couple of years I’ve asked the stage 1 students for THEO104 to work on a library research assignment.

It’s meant to encourage them (a) to use the library – the longer I teach the more I realise that libraries are places of mystery and terror to many students – and (b) to use some common sense and a bit of discretion when they’re deciding whether or not a research resource is reliable, relevant and useful for their assignments.

Yesterday (in a moment of procrastinatory distraction) I came across an example that illustrates why it’s important to develop these skills and then use them both inside academia and outside.

A friend on Facebook posted a link to an article about a study in the February 2015 issue of the British Journal of Education, Society, and Behavioural ScienceThe article was billed: “New Research on Same-Sex Households Reveals Kids Do Best With Mom and Dad.” The article’s title is a bit more circumspect: “Emotional Problems among Children with Same-Sex Parents: Difference by Definition.”

I don’t want to discuss the content of the article here. I’m a historian, this paper’s by a sociologist so it’s obviously outside my field of competence.

What I do want to highlight is why it pays to exercise a bit of caution when your mates on Facebook and other internets outlets enthusiastically tout the results of a “peer reviewed study” that confirms their views about subject x.

It doesn’t take much googling to find this study picked up by various conservative websites in New Zealand and abroad, since it seems to provide “peer reviewed” academic support for their opposition to legislation in favour of same-sex marriage and adoption by same sex couples.

Peer review (as my stage 1 students will soon learn) is the process by which academics submit the work of other academics to critical scrutiny before it’s published. Books and articles are sent to two, three or more of the writer’s peers in the same academic field. The reviewers send back reports (usually anonymous) expressing an opinion on whether the book/article should be published, and usually what revisions should be made before it reaches the press.

Peer review isn’t infallible. Academics sometimes talk about it cynically. But like other things about which we express cynicism (e.g. parliament) it’s currently the best – or least bad – system we’ve got.

But in an era in which the number of your publications has become a criterion by which academics and universities are ranked, savvy publishers with access to the internet and the scent of academics’ desperation in their nostrils have spied an opportunity for providing all sorts of publications with a veneer of “peer-reviewed” respectability, but often without the rigorous scrutiny, and always at considerable expense to the author who wants his or her article published. This is known in the business as “predatory publishing” and plays on academics’ need to bag a long list of publications in order to advance through the university or, these days, even to get a job.

This brings us back to the article in the British Journal of Education, Society, and Behavioural Science mentioned above.

In a spirit of curiosity, I decided that I’d have a look at the article my friend had mentioned. What struck me first about the website of this “British Journal” was that none of its editorial team was British. Most reside in America, one in China. I googled the details of these academics. As far as I can see, they’re legitimate. Although the article in question doesn’t yet appear on the journal’s website, most of the articles seem to be by scholars from African universities. This is not to suggest that there has to be anything substandard about scholarship from Africa, but it’s odd, once again, that African articles should be represented so disproportionately in something that bills itself as the “British Journal…”

Another thing I noticed on the top level of the journal’s website was that the publisher had a “special offer” reducing by 80-90% the amount that authors had to pay to get their articles published in its journals. As mentioned above, this suggests predatory publishing: it’s flourishing because of academics are often so desperate to get articles listed on their CVs that they’ll pay the US$500 this publisher charges for this privilege. At least in the academic fields with which I’m familiar (History, Theology, Religious Studies) legitimate academic journals don’t charge academics either for peer review or publication. I believe that’s also true of the sciences.

These features raised my suspicions and I decided to do a bit more poking around to find out about the publisher Sciencedomains International. Here I’ll refer to a 2012 review article by Jeffrey Beall in The Charleston Advisor [1] (which to the best of my knowledge and prudential judgement is a legitimate peer-reviewed journal in the field of Library and Information science – trust me, I’m an ex-librarian). Beal identifies Sciencedomains International as a predatory publisher.

Confirming my suspicions about the “British” journal Beall notes the following:

The journal titles are notable for gratuitously using geographic terms in their titles, e.g., American Journal of Tropical Medicine and Public Health, British Journal of Pharmaceutical Research. The word “International” appears in three other titles. The publisher lists offices in the U.K, the U.S., and India but is really an Indian company that operates out of India. Thus the geographical terms in the titles are an attempt to deceive potential authors.

In other words, it seems that “British” is used to lend the journal a gravitas (think British Academy, British Museum, British Medical Journal) which it might otherwise lack. In fact there’s nothing British about it.

Beall also offers the following observation about the publisher:

This publisher is a good example of a startup that tries to promote itself by closely attaching its mission and values to those of the Open Access movement itself. The message is that if you publish with them, you are a noble and benevolent researcher, making you work available to all, especially those from developing countries.

Sciencedomains lays claim to the mantle of the Open Access Movement – a legitimate attempt by academics and academic libraries worldwide to make research freely available to the communities and governments that paid for it in the first place. But this isn’t the business in which Sciencedomains finds itself. It charges its authors €375  or US$500 for publication, though it offers discounts to authors from developing countries provided that their institutions pay it $1000-4000 per year “institutional membership.” This perhaps explains the large number of journals from Africa in the British Journal of etc.

There is a conflict of interest involved in this publishing model. In Beall’s words: “the more articles a publisher accepts, the more revenue it earns.” This conflict isn’t present in genuine Open Access publishing, and it’s present to a lesser degree in the traditional user-pays model where the supply of articles – especially for the most prestigious journals – usually outstrips the demand (i.e. the filter of peer review).

Perhaps surprisingly in light of this Beall comments that Sciencedomain’s journals include some good articles among the bad ones (it’s a bit unclear about how he reached that assessment) and they do seem to be subject to some kind of peer review (the quality of which remains moot in light of the conflict of interest noted above).

As I say, I’m not really competent to judge the content of the article I mentioned at the outset – I’ll leave that to those who have some expertise in this area. Even so, the circumstances of the article’s publication do leave me darkly suspicious about its reliability.

The great cataract of information that assaults us through the internet every day is exhilarating, and I now remember with something close to astonishment my undergraduate days poking through the card catalogue and pulling books off the shelves of a rather small university library. But the caution required in trying to make some sense of the new deluge rises almost in equal proportion to its size.

Be careful out there.

References:

Beall, Jeffrey. “Five Scholarly Open Access Publishers.” The Charleston Advisor 13, no. 4 (April 2012): 5-10.

card-catalog-prehistoric-googling