2009年7月31日 星期五

Post-structuralism


Post-structuralism encompasses the intellectual developments of certain continental philosophers, sociologists and critical theorists who wrote within the tendencies of twentieth-century French philosophy.

The movement is difficult to define or summarize, but may be broadly understood as a body of distinct responses to structuralism (hence the prefix "post"). Many contributors, most notably Jacques Derrida, Michel Foucault, and Julia Kristeva, either inverted structuralist principles or set out to reject them outright.

In direct contrast to the structuralist claim of an independent signifier superior to the signified, post-structuralism generally views the signifier and signified as inseparable but not united; meaning itself inheres to the play of difference.

Theorists such as Roland Barthes and Jean Baudrillard merged traditional Marxian ideas relating to capitalist exchange value (e.g. commodity fetishism) with such novel principles, bringing into attention the relationship between consumerism and the realm of the sign. The movement is closely related to postmodernism but the two concepts are not synonymous.

Anti-humanism, as a rejection of the enlightenment subject, is often a central tenet. Similarly, existential-phenomenology is of considerable influence. One could argue that the post-structuralists might just as accurately be called the "post-phenomenologists".

Many so-called 'post-structuralist' theorists actively rejected the label. Indeed, the term came into being pejoratively through Anglo-American academe as a means to distinguish those continental philosophers who rejected traditional analytic standards. Further controversy owes to the way in which these loosely-connected thinkers tended to dispel with theories claiming to have discovered absolute truths about the world.

Although such ideas generally relate only to the metaphysical; for instance, metanarratives of assumed historical progress (e.g. dialecticism), many commentators discredited the movement as relativist, nihilist, or simply indulgent, to the extreme. One must reiterate that as few have willingly accepted the post-structuralist label, there is no single, unified manifesto.

Post-structuralism emerged in France during the 1960s as an antinomian movement critiquing structuralism. The period was marked by political anxiety, as students and workers alike rebelled against the state in May 1968, nearly causing the downfall of the French government.

At the same time, however, the French communist party's (PCF) support of the oppressive policies of the USSR contributed to popular disillusionment with orthodox Marxism. As a result, there was increased interest in alternative radical philosophies, including feminism, western Marxism, phenomenology, and nihilism.

These disparate perspectives, which Foucault later labeled "subjugated knowledges," were all linked by being critical of dominant Western philosophy and culture. Post-structuralism offered a means of justifying these criticisms, by exposing the underlying assumptions of many Western norms.

Two key figures in the early post-structuralist movement were Jacques Derrida and Roland Barthes. In a 1966 lecture "Structure, Sign and Play in the Discourse of the Human Science", Jacques Derrida presented a thesis on an apparent rupture in intellectual life. Derrida interpreted this event as a "decentering" of the former intellectual cosmos. Instead of progress or divergence from an identified centre, Derrida described this "event" as a kind of "play."

Although Barthes was originally a structuralist, during the 1960s he increasingly favored post-structuralist views. In 1968, Barthes published “The Death of the Author” in which he announced a metaphorical event: the "death" of the author as an authentic source of meaning for a given text.

Barthes argued that any literary text has multiple meanings, and that the author was not the prime source of the work's semantic content. The "Death of the Author," Barthes maintained, was the "Birth of the Reader," as the source of the proliferation of meanings of the text.

2009年7月11日 星期六

Interview with Ryken on ESV Literary Study Bible


What motivated you to organize this type of study Bible?

Dr. Ryken: The primary motivation was my awareness that the Bible is, in terms of its external format, a literary anthology. That being the case, it deserves to be printed with critical apparatus (as it is called in my discipline) that is literary in nature, along the lines of THE NORTON ANTHOLOGY OF ENGLISH LITERATURE.

Secondarily, I was motivated by my discontent with conventional study Bibles. Conventional study Bibles are useful as reference books, chiefly in their ability to solve localized difficulties in the text, but in my view they do not provide practical help in interacting with the biblical text. Our literary Bible helps readers enter the text and move through a passage.

How long has producing this study Bible been a desire of your heart?

Dr. Ryken: I have been an advocate of the literary study of the Bible for four decades, but it never occurred to me until recently that I could put my knowledge about the Bible as literature into the format of a study Bible. For me the exciting thing in the venture is that a literary study Bible has allowed me to provide literary commentary on the whole Bible.

I want to record a huge debt of gratitude to Lane Dennis, president of Crossway Books. Lane gave me two big breaks--the go-ahead to do a whole book on Bible translation and then to do a literary study Bible.

What need to you see it filling?

Dr. Ryken: Many Christians acknowledge in theory that the Bible is a literary book, but they do not know what this means. A literary study Bible shows plainly what it means that the Bible is literary in nature. Additionally, I view a literary approach to the Bible as a common reader's approach, in contrast to the highly specialized approaches of biblical scholarship.

Literary commentary is of practical use in such things as the structure and unity of a passage, the experiential content of a passage (inasmuch as the subject of literature is human experience), and the ways in which an author has embodied his content (the "how" of a piece of writing). I would hope that preachers would use this literary study Bible in their sermon preparation, inasmuch as just a modicum of literary awareness would add a lot to an expository sermon.

Has the literary appreciation of the Bible diminished over the centuries?

Dr. Ryken: Awareness of the Bible as being literary in nature has ebbed and flowed through the centuries. During the sixteenth and seventeenth centuries, scholars like Luther and Calvin, as well as most English literary authors, had a grasp of the literary dimension of the Bible. The Romantic movement of the nineteenth century represented another flowering of literary interest in the Bible, but it was unaccompanied by an evangelical view of the Bible's status as God's inspired word.

In the last half century there has been a discernible interest in the Bible as literature by literary critics and biblical scholars. It is fair to say that few Bible readers today read the Bible with literary awareness.

Do you see this study Bible being used in high school and college courses on the Bible as literature?

Dr. Ryken: It became evident early in the editorial process that an evangelical bias was evident in our commentary, even though our focus was on literary issues.

Realistically speaking, therefore, while our study Bible is ideally suited for Bible-as-literature courses, it is unlikely to find much use beyond Christian schools and colleges. But I will not prejudge the matter, since my books on the Bible as literature have regularly been used in secular universities, and an online course that I composed and taught for Barnes and Noble University built around one of my books on the Bible as literature was one of their most popular courses.

Speaking as a professor of English at Wheaton College, might you offer your top-ten list of great Christian fiction?

Dr. Ryken: Such a list always reflects personal taste, of course, and this is reflected in my list. Additionally, although in common parlance fiction is virtually synonymous with the novel, the realm of fiction actually extends well beyond the novel. With those provisos in place, here is my own list of top eight:

Homer's ODYSSEY; Shakespeare's MACBETH and HAMLET; Milton's PARADISE LOST; Hawthorne's THE SCARLET LETTER; Dickens' GREAT EXPECTATIONS; Tolstoy's THE DEATH OF IVAN ILYCH; C. S. Lewis' CHRONICLES OF NARNIA.

If I were to add two works to make the number ten, the additional two would not quite be at the high level of the works I have named.

What is the role of Christian literature in the spiritual lives of believers?

Dr. Ryken: Several years ago I agreed to compose an address on literature and the spiritual life. This was a different topic from the one on which I had written books and articles, namely, literature in Christian perspective. When I undertook research to uncover personal statements and anecdotes about how Christians had been spiritually influenced by their reading of literature, I was astounded to discover how important literature is in the lives of many Christians.

I had underestimated the degree to which Christian literature can nurture one's spiritual life and even become the instrument by which people come to faith. I am a Miltonist (specialist in John Milton) by profession, and out of the mass of scholarship that I have read on Milton, my very favorite piece of commentary is the opening statement of someone's testimony offered when he became a member of Tenth Presbyterian Church in Philadelphia: "I was led to the Lord by John Milton."

How should Christians interact with highly-regarded non-Christian literature?

Dr. Ryken: They should interact in the same way that they interact with all of life. They should affirm and be edified and entertained by what is true, good, and beautiful in such literature, and they should set up resistance to what is false and depraved.


2009年7月3日 星期五

The Interpretation of the Bible in the Church


I. METHODS AND APPROACHES FOR INTERPRETATION


A. Historical-Critical Method


The historical-critical method is the indispensable method for the scientific study of the meaning of ancient texts. Holy Scripture, inasmuch as it is the "word of God in human language," has been composed by human authors in all its various parts and in all the sources that lie behind them. Because of this, its proper understanding not only admits the use of this method but actually requires it.


1. History of the Method


For a correct understanding of this method as currently employed, a glance over its history will be of assistance. Certain elements of this method of interpretation are very ancient. They were used in antiquity by Greek commentators of classical literature and, much later, in the course of the patristic period by authors such as Origen, Jerome and Augustine. The method at that time was much less developed. Its modern forms are the result of refinements brought about especially since the time of the Renaissance humanists and their recursus ad fontes (return to the sources).


The textual criticism of the New Testament was able to be developed as a scientific discipline only from about 1800 onward, after its link with the textus receptus was severed. But the beginnings of literary criticism go back to the 17th century, to the work of Richard Simon, who drew attention to the doublets, discrepancies in content and differences of style observable in the Pentateuch--discoveries not easy to reconcile with the attribution of the entire text to Moses as single author.


In the 18th century, Jean Astruc was still satisfied that the matter could be explained on the basis that Moses had made use of various sources (especially two principal ones) to compose the Book of Genesis. But as time passed biblical critics contested the Mosaic authorship of the Pentateuch with ever growing confidence.


Literary criticism for a long time came to be identified with the attempt to distinguish in texts different sources. Thus it was that there developed in the 19th century the "documentary hypothesis," which sought to give an explanation of the editing of the Pentateuch. According to this hypothesis, four documents, to some extent parallel with each other, had been woven together: that of the Yahwist (J), that of the Elohist (E), that of the Deuteronomist (D) and that of the priestly author (P); the final editor made use of this latter (priestly) document to provide a structure for the whole.


In similar fashion, to explain both the agreements and disagreements between the three synoptic Gospels, scholars had recourse to the "two source" hypothesis. According to this, the Gospels of Matthew and Luke were composed out of two principal sources: on the one hand, the Gospel of Mark and, on the other, a collection of the sayings of Jesus (called Q, from the German word Quelle, meaning "source").


In their essential features, these two hypotheses retain their prominence in scientific exegesis today--though they are also under challenge.


In the desire to establish the chronology of the biblical texts, this kind of literary criticism restricted itself to the task of dissecting and dismantling the text in order to identify the various sources. It did not pay sufficient attention to the final form of the biblical text and to the message which it conveyed in the state in which it actually exists (the contribution of editors was not held in high regard). This meant that historical-critical exegesis could often seem to be something which simply dissolved and destroyed the text. This was all the more the case when, under the influence of the comparative history of religions, such as it then was, or on the basis of certain philosophical ideas, some exegetes expressed highly negative judgments against the Bible.


It was Hermann Gunkel who brought the method out of the ghetto of literary criticism understood in this way. Although he continued to regard the books of the Pentateuch as compilations, he attended to the particular texture of the different elements of the text. He sought to define the genre of each piece (e.g., whether "legend" or "hymn") and its original setting in the life of the community or Sitz im Leben (e.g., a legal setting or a liturgical one, etc.).


To this kind of research into literary genres was joined the "critical study of forms" (Formgeschichte), which Martin Dibelius and Rudolf Bultmann introduced into the exegesis of the synoptic Gospels. Bultmann combined form-critical studies with a biblical hermeneutic inspired by the existentialist philosophy of Martin Heidegger. As a result, Formgeschichte often stirred up serious reservations.
But one of the results of this method has been to demonstrate more clearly that the tradition recorded in the New Testament had its origin and found its basic shape within Christian community or early church, passing from the preaching of Jesus himself to that which proclaimed that Jesus is the Christ.


Eventually, form criticism was supplemented by Redaktionsgeschichte (redaction criticism), the "critical study of the process of editing." This sought to shed light upon the personal contribution of each evangelist and to uncover the theological tendencies which shaped his editorial work.


When this last method was brought into play, the whole series of different stages characteristic of the historical-critical method became complete: From textual criticism one progresses to literary criticism, with its work of dissection in the quest for sources; then one moves to a critical study of forms and, finally, to an analysis of the editorial process, which aims to be particularly attentive to the text as it has been put together. All this has made it possible to understand far more accurately the intention of the authors and editors of the Bible as well as the message which they addressed to their first readers. The achievement of these results has lent the historical-critical method an importance of the highest order.


2. Principles


The fundamental principles of the historical-critical method in its classic form are the following:


It is a historical method, not only because it is applied to ancient texts--in this case, those of the Bible--and studies their significance from a historical point of view, but also and above all because it seeks to shed light upon the historical processes which gave rise to biblical texts, diachronic processes that were often complex and involved a long period of time. At the different stages of their production, the texts of the Bible were addressed to various categories of hearers or readers living in different places and different times.


It is a critical method, because in each of its steps (from textual criticism to redaction criticism) it operates with the help of scientific criteria that seek to be as objective as possible. In this way it aims to make accessible to the modern reader the meaning of biblical texts, often very difficult to comprehend.


As an analytical method, it studies the biblical text in the same fashion as it would study any other ancient text and comments upon it as an expression of human discourse. However, above all in the area of redaction criticism, it does allow the exegete to gain a better grasp of the content of divine revelation.


3. Description


At the present stage of its development, the historical-critical method moves through the following steps:



Textual criticism, as practiced for a very long time, begins the series of scholarly operations. Basing itself on the testimony of the oldest and best manuscripts, as well as of papyri, certain ancient versions and patristic texts, textual-criticism seeks to establish, according to fixed rules, a biblical text as close as possible to the original.


The text is then submitted to a linguistic (morphology and syntax) and semantic analysis, using the knowledge derived from historical philology. It is the role of literary criticism to determine the beginning and end of textual units, large and small, and to establish the internal coherence of the text. The existence of doublets, of irreconcilable differences and of other indicators is a clue to the composite character of certain texts. These can then be divided into small units, the next step being to see whether these in turn can be assigned to different sources.


Genre criticism seeks to identify literary genres, the social milieu that gave rise to them, their particular features and the history of their development. Tradition criticism situates texts in the stream of tradition and attempts to describe the development of this tradition over the course of time. Finally, redaction criticism studies the modifications that these texts have undergone before being fixed in their final state, it also analyzes this final stage, trying as far as possible to identify the tendencies particularly characteristic of this concluding process.


While the preceding steps have sought to explain the text by tracing its origin and development within a diachronic perspective, this last step concludes with a study that is synchronic: At this point the text is explained as it stands, on the basis of the mutual relationships between its diverse elements, and with an eye to its character as a message communicated by the author to his contemporaries. At this point one is in a position to consider the demands of the text from the point of view of action and life (fonction pragmatique).


When the texts studied belong to a historical literary genre or are related to events of history, historical criticism completes literary criticism so as to determine the historical significance of the text in the modern sense of this expression.


It is in this way that one accounts for the various stages that lie behind the biblical revelation in its concrete historical development.


4. Evaluation


What value should we accord to the historical-critical method, especially at this present stage of its development?


It is a method which, when used in an objective manner, implies of itself no a priori. If its use is accompanied by a priori principles, that is not something pertaining to the method itself, but to certain hermeneutical choices which govern the interpretation and can be tendentious.


Oriented in its origins toward source criticism and the history of religions, the method has managed to provide fresh access to the Bible. It has shown the Bible to be a collection of writings, which most often, especially in the case of the Old Testament, are not the creation of a single author, but which have had a long prehistory inextricably tied either to the history of Israel or to that of the early church.


Previously, the Jewish or Christian interpretation of the Bible had no clear awareness of the concrete and diverse historical conditions in which the word of God took root among the people; of all this it had only a general and remote awareness.


The early confrontation between traditional exegesis and the scientific approach, which initially consciously separated itself from faith and at times even opposed it, was assuredly painful; later however it proved to be salutary: Once the method was freed from external prejudices, it led to a more precise understanding of the truth of sacred Scripture (cf. Dei Verbum, 12). According to Divino Afflante Spiritu, the search for the literal sense of Scripture is an essential task of exegesis and, in order to fulfill this task, it is necessary to determine the literary genre of texts (cf. Enchiridion Biblicum, 560), something which the historical-critical method helps to achieve.


To be sure, the classic use of the historical-critical method reveals its limitations. It restricts itself to a search for the meaning of the biblical text within the historical circumstances that gave rise to it and is not concerned with other possibilities of meaning which have been revealed at later stages of the biblical revelation and history of the church. Nonetheless, this method has contributed to the production of works of exegesis and of biblical theology which are of great value.


For a long time now scholars have ceased combining the method with a philosophical system. More recently, there has been a tendency among exegetes to move the method in the direction of a greater insistence upon the form of a text, with less attention paid to its content. But this tendency has been corrected through the application of a more diversified semantics (the semantics of words, phrases, text) and through the study of the demands of the text from the point of view of action and life (aspect pragmatique).


With respect to the inclusion in the method of a synchronic analysis of texts, we must recognize that we are dealing here with a legitimate operation, for it is the text in its final stage, rather than in its earlier editions, which is the expression of the word of God. But diachronic study remains indispensable for making known the historical dynamism which animates sacred Scripture and for shedding light upon its rich complexity: For example, the covenant code (Ex. 21-23) reflects a political, social and religious situation of Israelite society different from that reflected in the other law codes preserved in Deuteronomy (Chapters 12-26) and in Leviticus (the holiness code, Chapters 17-26).


We must take care not to replace the historicizing tendency, for which the older historical-critical exegesis is open to criticism, with the opposite excess, that of neglecting history in favor of an exegesis which would be exclusively synchronic.


To sum up, the goal of the historical-critical method is to determine, particularly in a diachronic manner, the meaning expressed by the biblical authors and editors. Along with other methods and approaches, the historical-critical method opens up to the modern reader a path to the meaning of the biblical text such as we have it today.


B. New Methods of Literary Analysis


No scientific method for the study of the Bible is fully adequate to comprehend the biblical texts in all their richness. For all its overall validity, the historical-critical method cannot claim to be totally sufficient in this respect. It necessarily has to leave aside many aspects of the writings which it studies. It is not surprising, then, that at the present time other methods and approaches are proposed which serve to explore more profoundly other aspects worthy of attention.



In this Section B, we will present certain methods of literary analysis which have been developed recently. In the following sections (C, D, E), we will examine briefly different approaches, some of which relate to the study of the tradition, others to the "human sciences," others still to particular situations of the present time. Finally (F), we will consider the fundamentalist reading of the Bible, a reading which does not accept any systematic approach to interpretation.


Taking advantage of the progress made in our day by linguistic and literary studies, biblical exegesis makes use more and more of new methods of literary analysis, in particular rhetorical analysis, narrative analysis and semiotic analysis.


1. Rhetorical Analysis


Rhetorical analysis in itself is not, in fact, a new method. What is new is the use of it in a systematic way for the interpretation of the Bible and also the start and development of a "new rhetoric."


Rhetoric is the art of composing discourse aimed at persuasion. The fact that all biblical texts are in some measure persuasive in character means that some knowledge of rhetoric should be part of the normal scholarly equipment of all exegetes. Rhetorical analysis must be carried out in a critical way, since scientific exegesis is an undertaking which necessarily submits itself to the demands of the critical mind.


A considerable number of recent studies in the biblical area have devoted considerable attention to the presence of rhetorical features in Scripture. Three different approaches can be distinguished. The first is based upon classical Greco-Roman rhetoric; the second devotes itself to Semitic procedures of composition; the third takes its inspiration from more recent studies--namely, from what is called the "new rhetoric."


Every situation of discourse involves the presence of three elements: the speaker (or author), the discourse (or text) and the audience (or the addressees). Classical rhetoric distinguished accordingly three factors which contribute to the quality of a discourse as an instrument of persuasion: the authority of the speaker, the force of the argument and the feelings aroused in the audience. The diversity of situation and of audience largely determines the way of speaking adopted. Classical rhetoric since Aristotle distinguishes three modes of public speaking: the judicial mode (adopted in a court of law); the deliberative mode (for the political assembly) and the demonstrative mode (for celebratory occasions).


Recognizing the immense influence of rhetoric in Hellenistic culture, a growing number of exegetes make use of treatises on classical rhetoric as an aid toward analyzing certain aspects of biblical texts, especially those of the New Testament.
Other exegetes concentrate upon the characteristic features of the biblical literary tradition. Rooted in Semitic culture, this displays a distinct preference for symmetrical compositions, through which one can detect relationships between different elements in the text. The study of the multiple forms of parallelism and other procedures characteristic of the Semitic mode of composition allows for a better discernment of the literary structure of texts, which can only lead to a more adequate understanding of their message.


The new rhetoric adopts a more general point of view. It aims to be something more than a simple catalogue of stylistic figures, oratorical stratagems and various kinds of discourse. It investigates what makes a particular use of language effective and successful in the communication of conviction. It seeks to be "realistic" in the sense of not wanting to limit itself to an analysis that is purely formal. It takes due account of the actual situation of debate or discussion. It studies style and composition as means of acting upon an audience.


To this end, it benefits from contributions made of late in other areas of knowledge such as linguistics, semiotics, anthropology and sociology.


Applied to the Bible, the new rhetoric aims to penetrate to the very core of the language of revelation precisely as persuasive religious discourse and to measure the impact of such discourse in the social context of the communication thus begun.


Because of the enrichment it brings to the critical study of texts, such rhetorical analysis is worthy of high regard, above all in view of the greater depth achieved in more recent work. It makes up for a negligence of long standing and can lead to the rediscovery or clarification of original perspectives that had been lost or obscured.


The new rhetoric is surely right in its drawing attention to the capacity of language to persuade and convince. The Bible is not simply a statement of truths. It is a message that carries within itself a function of communication within a particular context, a message which carries with it a certain power of argument and a rhetorical strategy.


Rhetorical analysis does have, however, its limitations. When it remains simply on the level of description, its results often reflect a concern for style only. Basically synchronic in nature, it cannot claim to be an independent method which would be sufficient by itself. Its application to biblical texts raises several questions. Did the authors of these texts belong to the more educated levels of society? To what extent did they follow the rules of rhetoric in their work of composition? What kind of rhetoric is relevant for the analysis of any given text: Greco-Roman or Semitic? Is there sometimes the risk of attributing to certain biblical texts a rhetorical structure that is really too sophisticated?


These questions--and there are others--ought not in any way cast doubt upon the use of this kind of analysis; they simply suggest that it is not something to which recourse ought be had without some measure of discernment.


2. Narrative Analysis


Narrative exegesis offers a method of understanding and communicating the biblical message which corresponds to the form of story and personal testimony, something characteristic of holy Scripture and, of course, a fundamental modality of communication between human persons. The Old Testament in fact presents a story of salvation, the powerful recital of which provides the substance of the profession of faith, liturgy and catechesis (cf. Ps. 78:3-4; Ex. 12:24-27; Dt. 6:20-25; 26:5-11).


For its own part, the proclamation of the Christian kerygma amounts in essentials to a sequence telling the story of the life, death and resurrection of Jesus Christ, events of which the Gospels offer us a detailed account. Catechesis itself also appears in narrative form (cf. 1 Cor. 11:23-25).


With respect to the narrative approach, it helps to distinguish methods of analysis, on the one hand, and theological reflection, on the other.


Many analytic methods are in fact proposed today. Some start from the study of ancient models of narrative. Others base themselves upon present-day "narratology" in one or other of its forms, in which case there can often be points of contact with semiotics. Particularly attentive to elements in the text which have to do with plot, characterization and the point of view taken by a narrator, narrative analysis studies how a text tells a story in such a way as to engage the reader in its "narrative world" and the system of values contained therein.


Several methods introduce a distinction between real author and implied author, real reader and implied reader. The real author is the person who actually composed the story. By implied author one means the image of the author which the text progressively creates in the course of the reading (with his or her own culture, character, inclinations faith, etc.). The real reader is any person who has access to the text--from those who first read it or heard it read, right down to those who read or hear it today. By implied reader one means the reader which the text presupposes and in effect creates, the one who is capable of performing the mental and affective operations necessary for entering into the narrative world of the text and responding to it in the way envisaged by the real author through the instrumentality of the implied author.


A text will continue to have an influence in the degree to which real readers (e.g., ourselves in the late 20th century) can identify with the implied reader. One of the major tasks of exegesis is to facilitate this process of identification.


Narrative analysis involves a new way of understanding how a text works. While the historical-critical method considers the text as a "window" giving access to one or other period (not only to the situation which the story relates but also to that of the community for whom the story is told), narrative analysis insists that the text also functions as a "mirror" in the sense that it projects a certain image--a "narrative world"--which exercises an influence upon readers' perceptions in such a way as to bring them to adopt certain values rather than others.


Connected with this kind of study primarily literary in character, is a certain mode of theological reflection as one considers the implications the "story" (and also the "witness") character of Scripture has with respect to the consent of faith and as one derives from this a hermeneutic of a more practical and pastoral nature. There is here a reaction against the reduction of the inspired text to a series of theological theses, often formulated in nonscriptural categories and language.


What is asked of narrative exegesis is that it rehabilitate in new historical contexts the modes of communicating and conveying meaning proper to the biblical account in order to open up more effectively its saving power. Narrative analysis insists upon the need both to tell the story of salvation (the "informative" aspect) and to tell the story in view of salvation (the "performative" aspect). The biblical account, in effect, whether explicitly or implicitly as the case may be, contains an existential appeal addressed to the reader.


The usefulness of narrative analysis for the exegesis of the Bible is clear. It is well suited to the narrative character which so many biblical texts display. It can facilitate the transition, often so difficult, from the meaning of the text in its historical context (the proper object of the historical-critical method) to its significance for the reader of today. On the other hand, the distinction between the real author and the implied author does tend to make problems of interpretation somewhat more complex.


When applied to texts of the Bible, narrative analysis cannot rest content with imposing upon them certain preestablished models. It must strive to adapt itself to their own proper character. The synchronic approach which it brings to texts needs to be supplemented by diachronic studies as well. It must, moreover, beware of a tendency that can arise to exclude any kind of doctrinal elaboration in the content of biblical narratives. In such a case it would find itself out of step with the biblical tradition itself, which practices precisely this kind of elaboration, and also with the tradition of the church, which has continued further along the same way.


Finally, it is worth noting that the existential subjective effectiveness of the impact of the word of God in its narrative transmission cannot be considered to be in itself a sufficient indication that its full truth has been adequately grasped.


3. Semiotic Analysis


Ranged among the methods identified as synchronic, those namely which concentrate on the study of the biblical text as it comes before the reader in its final state, is semiotic analysis. This has experienced a notable development in certain quarters over the last 20 years.


Originally known by the more general term structuralism, this method can claim as forefather the Swiss linguist Ferdinand de Saussure, who at the beginning of the present century worked out the theory according to which all language is a system of relationships obeying fixed laws. Several linguists and literary critics have had a notable influence in the development of the method. The majority of biblical scholars who make use of semiotics in the study of the Bible take as their authority Algirdas J. Greimas and the School of Paris, which he founded.


Similar approaches and methods, based upon modern linguistics, have developed elsewhere. But it is Greimas' method which we intend to present and analyze briefly here.


Semiotics is based upon three main principles or presuppositions:


--The principle of immanence: Each text forms a unit of meaning complete in itself; the analysis considers the entire text but only the text it does not look to any date "external" to the text such as the author, the audience, any events it describes or what might have been its process of composition.


--The principle of the structure of meaning: There is no meaning given except in and through relationship, in particular the relationship of "difference" the analysis of the text consists then in establishing the network of relationships (of opposition, confirmation, etc.) between the various elements; out of this the meaning of the text is constructed.


--The principle of the grammar of the text: Each text follows a "grammar," that is to say, a certain number of rules or structures; in the collection of sentences that we call discourse there are various levels, each of which has its own distinct grammar.
The overall content of a text can be analyzed at three different levels.


--The narrative level. Here one studies in the story the transformations which move the action from the initial to the final state. Within the course of the narrative, the analysis seeks to retrace the different phases, logically bound to each other, which mark the transformation from one state to another. In each of these phases it establishes the relationships between the "roles" played by the "actants" which determine the various stages of development and bring about transformation.


--The level of discourse. The analysis here consists of three operations: (a) the fixing and classification of figures, that is to say, the elements of meaning in a text (actors, times, places), (b) the tracking of the course of each figure in the text in order to determine just how the text uses each one; (c) inquiry into the thematic value of the figures. This last operation consists in discerning "in the name of what" (= what value) the figures follow such a path in the text determined in this way.


--The logico-semantic level. This is the so-called deep level. It is also the most abstract. It proceeds from the assumption that certain forms of logic and meaning underlie the narrative and discursive organization of all discourse. The analysis at this level consists in identifying the logic which governs the basic articulations of the narrative and figurative flow of a text. To achieve this, recourse is often had to an instrument called the "semiotic square" (carre semiotique), a figure which makes use of the relationships between two "contrary" terms and two "contradictory" terms (for example, black and white; white and non-white; black and not-black).


The exponents of the theory behind the semiotic method continue to produce new developments. Present research centers most particularly upon enunciation and intertextuality. Applied in the first instance to the narrative texts of Scripture, to which it is most readily applicable, the use of the method has been more and more extended to other kinds of biblical discourse as well.


The description of semiotics that has been given and above all the formulation of its presuppositions should have already served to make clear the advantages and the limitations of this method. By directing greater attention to the fact that each biblical text is a coherent whole, obedient to a precise linguistic mechanic of operation, semiotics contributes to our understanding of the Bible as word of God expressed in human language.


Semiotics can be usefully employed in the study of the Bible only insofar as the method is separated from certain assumptions developed in structuralist philosophy, namely the refusal to accept individual personal identity within the text and extratextual reference beyond it. The Bible is a word that bears upon reality, a word which God has spoken in a historical context and which God addresses to us today through the mediation of human authors.


The semiotic approach must be open to history: first of all to the history of those who play a part in the texts; then to that of the authors and readers. The great risk run by those who employ semiotic analysis is that of remaining at the level of a formal study of the content of texts, failing to draw out the message.


When it does not become lost in remote and complex language and when its principal elements are taught in simple terms, semiotic analysis can give Christians a taste for studying the biblical text and discovering certain of its dimensions, without their first having to acquire a great deal of instruction in historical matters relating to the production of the text and its sociocultural world. It can thus prove useful in pastoral practice itself, providing a certain appropriation of Scripture among those who are not specialized in the area.


C. Approaches Based on Tradition


The literary methods which we have just reviewed, although they differ from the historical-critical method in that they pay greater attention to the internal unity of the texts studied, remain nonetheless insufficient for the interpretation of the Bible because they consider each of its writings in isolation. But the Bible is not a compilation of texts unrelated to each other; rather, it is a gathering together of a whole array of witnesses from one great tradition. To be fully adequate to the object of its study, biblical exegesis must keep this truth firmly in mind. Such in fact is the perspective adopted by a number of approaches which are being developed at present.
1. Canonical Approach


The "canonical" approach, which originated in the United States some 20 years ago, proceeds from the perception that the historical-critical method experiences at times considerable difficulty in arriving, in its conclusions, at a truly theological level. It aims to carry out the theological task of interpretation more successfully by beginning from within an explicit framework of faith: the Bible as a whole.


To achieve this, it interprets each biblical text in the light of the canon of Scriptures, that is to say, of the Bible as received as the norm of faith by a community of believers. It seeks to situate each text within the single plan of God, the goal being to arrive at a presentation of Scripture truly valid for our time. The method does not claim to be a substitute for the historical-critical method; the hope is, rather, to complete it.


Two different points of view have been proposed:


Brevard S. Childs centers his interest on the final canonical form of the text (whether book or collection), the form accepted by the community as an authoritative expression of its faith and rule of life.


James A. Sanders, rather than looking to the final and fixed form of the text, devotes his attention to the "canonical process" or progressive development of the Scriptures which the believing community has accepted as a normative authority. The critical study of this process examines the way in which older traditions have been used again and again in new contexts before finally coming to constitute a whole that is at once stable and yet adaptable, coherent while holding together matter that is diverse--in short, a complete whole in which the faith community can find its identity.


In the course of this process various hermeneutic procedures have been at work, and this continues to be the case even after the fixing of the canon. These procedures are often midrashic in nature, serving to make the biblical text relevant for a later time. They encourage a constant interaction between the community and the Scriptures, calling for an interpretation which ever seeks to bring the tradition up to date.


The canonical approach rightly reacts against placing an exaggerated value upon what is supposed to be original and early, as if this alone were authentic. Inspired Scripture is precisely Scripture in that it has been recognized by the church as the rule of faith. Hence the significance, in this light, of both the final form in which each of the books of the Bible appears and of the complete whole which all together make up as canon.


Each individual book only becomes biblical in the light of the canon as a whole. It is the believing community that provides a truly adequate context for interpreting canonical texts. In this context faith and the Holy Spirit enrich exegesis; church authority, exercised as a service of the community, must see to it that this interpretation remains faithful to the great tradition which has produced the texts (cf. Dei Verbum, 10).


The canonical approach finds itself grappling with more than one problem when it seeks to define the "canonical process." At what point in time precisely does a text become canonical? It seems reasonable to describe it as such from the time that the community attributes to it a normative authority, even if this should be before it has reached its final, definitive form. One can speak of a "canonical" hermeneutic once the repetition of the traditions, which comes about through the taking into account of new aspects of the situation (be they religious, cultural or theological), begins to preserve the identity of the message.


But a question arises: Should the interpretive process which led to the formation of the canon be recognized as the guiding principle for the interpretation of Scripture today?


On the other hand, the complex relationships that exist between the Jewish and Christian canons of Scripture raise many problems of interpretation. The Christian church has received as "Old Testament" the writings which had authority in the Hellenistic Jewish community, but some of these are either lacking in the Hebrew Bible or appear there in somewhat different form. The corpus is therefore different. From this it follows that the canonical interpretation cannot be identical in each case, granted that each text must be read in relation to the whole corpus. But, above all, the church reads the Old Testament in the light of the paschal mystery--the death and resurrection of Jesus Christ--who brings a radical newness and, with sovereign authority, gives a meaning to the Scriptures that is decisive and definitive (cf. Dei Verbum, 4).


This new determination of meaning has become an integral element of Christian faith. It ought not, however, mean doing away with all attempt to be consistent with that earlier canonical interpretation which preceded the Christian Passover. One must respect each stage of the history of salvation. To empty out of the Old Testament its own proper meaning would be to deprive the New of its roots in history.
2. Approach Through Recourse to Jewish Traditions of Interpretation


The Old Testament reached its final form in the Jewish world of the four or five centuries preceding the Christian era. Judaism of this time also provided the matrix for the origin of the New Testament and the infant church. Numerous studies of the history of ancient Judaism and notably the manifold research stimulated by the discoveries at Qumran have highlighted the complexity of the Jewish world, both in the land of Israel and in the Diaspora, throughout this period.


It is in this world that the interpretation of Scripture had its beginning. One of the most ancient witnesses to the Jewish interpretation of the Bible is the Greek translation known as the Septuagint. The Aramaic Targums represent a further witness to the same activity which has carried on down to the present, giving rise in the process to an immense mass of learned procedures for the preservation of the text of the Old Testament and for the explanation of the meaning of biblical texts.


At all stages, the more astute Christian exegetes, from Origen and Jerome onward, have sought to draw profit from the Jewish biblical learning in order to acquire a better understanding of Scripture. Many modern exegetes follow this example.
The ancient Jewish traditions allow for a better understanding particularly of the Septuagint, the Jewish Bible which eventually became the first part of the Christian Bible for at least the first four centuries of the church and has remained so in the East down to the present day. The extracanonical Jewish literature, called apocryphal or intertestamental, in its great abundance and variety, is an important source for the interpretation of the New Testament.


The variety of exegetical procedures practiced by the different strains of Judaism can actually be found within the Old Testament itself, for example in Chronicles with reference to the books of Samuel and Kings, and also within the New Testament, as for example in certain ways Paul goes about argument from Scripture. A great variety of forms--parables, allegories, anthologies and florilegia, rereadings (relectures) pesher technique, methods of associating otherwise unrelated texts, psalms and hymns, vision, revelation and dream sequences, wisdom compositions--all are common to both the Old and the New Testaments as well as in Jewish circles before and after the time of Jesus.


The Targums and the Midrashic literature illustrate the homiletic tradition and mode of biblical interpretation practiced by wide sectors of Judaism in the first centuries.


Many Christian exegetes of the Old Testament look besides to the Jewish commentators, grammarians and lexicographers of the medieval and more recent period as a resource for understanding difficult passages or expressions that are either rare or unique. References to such Jewish works appear in current exegetical discussion much more frequently than was formerly the case.


Jewish biblical scholarship in all its richness, from its origins in antiquity down to the present day, is an asset of the highest value for the exegesis of both Testaments, provided that it be used with discretion. Ancient Judaism took many diverse forms. The Pharisaic form which eventually came to be the most prevalent, in the shape of rabbinic Judaism, was by no means the only one. The range of ancient Jewish texts extends across several centuries; it is important to rank them in chronological order before proceeding to make comparisons. Above all, the overall pattern of the Jewish and Christian communities is very different.


On the Jewish side, in very varied ways, it is a question of a religion which defines a people and a way of life based upon written revelation and an oral tradition; whereas, on the Christian side, it is faith in the Lord Jesus--the one who died, was raised and lives still, Messiah and Son of God; it is around faith in his person that the community is gathered. These two diverse starting points create, as regards the interpretation of the Scriptures, two separate contexts, which for all their points of contact and similarity are in fact radically diverse.


3. Approach by the History of the Influence of the Text (Wirkungsgeschichte)


This approach rests upon two principles: a) a text only becomes a literary work insofar as it encounters readers who give life to it by appropriating it to themselves; b) this appropriation of the text, which can occur either on the individual or community level and can take shape in various spheres (literary, artistic, theological, ascetical and mystical), contributes to a better understanding of the text itself.


Without being entirely unknown in antiquity, this approach was developed in literary studies between 1960 and 1970, a time when criticism became interested in the relation between a text and its readers. Biblical studies can only draw profit from research of this kind, all the more so since the philosophy of hermeneutics for its own part stresses the necessary distance between a work and its author as well as between a work and its readers. Within this perspective, the history of the effect produced by a book or a passage of Scripture (Wirkungsgeschichte) begins to enter into the work of interpretation. Such an inquiry seeks to assess the development of interpretation over the course of time under the influence of the concerns readers have brought to the text. It also attempts to evaluate the importance of the role played by tradition in finding meaning in biblical texts.


The mutual presence to each other of text and readers creates its own dynamic, for the text exercises an influence and provokes reactions. It makes a resonant claim that is heard by readers whether as individuals or as members of a group. The reader is in any case never an isolated subject. He or she belongs to a social context and lives within a tradition. Readers come to the text with their own questions, exercise a certain selectivity, propose an interpretation and, in the end, are able either to create a further work or else take initiatives inspired directly from their reading of Scripture.


Numerous examples of such an approach are already evident. The history of the reading of the Song of Songs offers an excellent illustration: It would show how this book was received in the patristic period, in monastic circles of the medieval church and then again how it was taken up by a mystical writer such as St. John of the Cross. The approach thus offers a better chance of uncovering all the dimensions of meaning contained in such a writing. Similarly, in the New Testament it is both possible and useful to throw light upon the meaning of a passage (for example, that of the rich young man in Mt. 19:16-26) by pointing out how fruitful its influence has been throughout the history of the church.


At the same time, history also illustrates the prevalence from time to time of interpretations that are tendentious and false, baneful in their effect--such as, for example, those that have promoted anti-Semitism or other forms of racial discrimination or, yet again, various kinds of millennarian delusions. This serves to show that this approach cannot constitute a discipline that would be purely autonomous. Discernment is required. Care must be exercised not to privilege one or other stage of the history of the text's influence to such an extent that it becomes the sole norm of its interpretation for all time.


D. Approaches That Use the Human Sciences


In order to communicate itself, the word of God has taken root in the life of human communities (cf. Sir. 24:12), and it has been through the psychological dispositions of the various persons who composed the biblical writings that it has pursued its path. It follows, then, that the human sciences--in particular sociology, anthropology and psychology--can contribute toward a better understanding of certain aspects of biblical texts.


It should be noted, however, that in this area there are several schools of thought, with notable disagreement among them on the very nature of these sciences. That said, a good number of exegetes have drawn considerable profit in recent years from research of this kind.


1. Sociological Approach


Religious texts are bound in reciprocal relationship to the societies in which they originate. This is clearly the case as regards biblical texts. Consequently, the scientific study of the Bible requires as exact a knowledge as is possible of the social conditions distinctive of the various milieus in which the traditions recorded in the Bible took shape. This kind of sociohistorical information needs then to be completed by an accurate sociological explanation, which will provide a scientific interpretation of the implications for each case of the prevailing social conditions.


The sociological point of view has had a role in the history of exegesis for quite some time. The attention which Form-criticism devoted to the social circumstances in which various texts arose (Sitz im Leben) is already an indication of this: It recognized that biblical traditions bore the mark of the socio-cultural milieu which transmitted them. In the first third of the 20th century, the Chicago School studied the socio-historical situation of early Christianity, thereby giving historical criticism a notable impulse in this direction. In the course of the last 20 years (1970-1990), the sociological approach to biblical texts has become an integral part of exegesis.


The questions which arise in this area for the exegesis of the Old Testament are manifold. One should ask, for example, concerning the various forms of social and religious organization which Israel has known in the course of its history. For the period before the formation of a nation-state, does the ethnological model of a society which is segmentary and lacking a unifying head (acephalous) provide a satisfactory base from which to work? What has been the process whereby a loosely organized tribal league became, first of all, an organized monarchical state and, after that, a community held together simply by bonds of religion and common descent? What economic, military and other transformations were brought about by the movement toward political and religious centralization that led to the monarchy? Does not the study of the laws regulating social behavior in the ancient Near East and in Israel make a more useful contribution to the understanding of the Decalogue than purely literary attempts to reconstruct the earliest form of the text?


For the exegesis of the New Testament, the questions will clearly be somewhat different. Let us mention some: to account for the way of life adopted by Jesus and his disciples before Easter, what value can be accorded to the theory of a movement of itinerant charismatic figures, living without fixed home, without family, without money and other goods?


In the matter of the call to follow in the steps of Jesus, can we speak of a genuine relationship of continuity between the radical detachment involved in following Jesus in his earthly life and what was asked of members of the Christian movement after Easter in the very different social conditions of early Christianity? What do we know of the social structure of the Pauline communities, taking account in each case of the relevant urban culture?


In general, the sociological approach broadens the exegetical enterprise and brings to it many positive aspects. Knowledge of sociological data which help us understand the economic, cultural and religious functioning of the biblical world is indispensable for historical criticism. The task incumbent upon the exegete to gain a better understanding of the early church's witness to faith cannot be achieved in a fully rigorous way without the scientific research which studies, the strict relationship that exists between the texts of the New Testament and life as actually lived by the early church.


The employment of models provided by sociological science offers historical studies into the biblical period a notable potential for renewal--though it is necessary, of course, that the models employed be modified in accordance with the reality under study.


Here let us signal some of the risks involved in applying the sociological approach to exegesis. It is surely the case that, if the work of sociology consists in the study of currently existing societies, one can expect difficulty when seeking to apply its methods to historical societies belonging to a very distant past. Biblical and extrabiblical texts do not necessarily provide the sort of documentation adequate to give a comprehensive picture of the society of the time. Moreover, the sociological method does tend to pay rather more attention to the economic and institutional aspects of human life than to its personal and religious dimensions.


2. The Approach Through Cultural Anthropology


The approach to biblical texts which makes use of the study of cultural anthropology stands in close relationship with the sociological approach. The distinction between the two approaches exists, at one and the same time, on the level of perception, on that of method and on that of the aspect of reality under consideration. While the sociological approach--as we have just mentioned--studies economic and institutional aspects above all, the anthropological approach is interested in a wide assortment of other aspects, reflected in language, art, religion, but also in dress, ornament, celebration, dance, myth, legend and all that concerns ethnography.



In general, cultural anthropology seeks to define the characteristics of different kinds of human beings in their social context--as, for example the "Mediterranean person"--with all that this involves by way of studying the rural or urban context and with attention paid to the values recognized by the society in question (honor and dishonor, secrecy, keeping faith, tradition, kinds of education and schooling), to the manner in which social control is exercised, to the ideas which people have of family house, kin, to the situation of women, to institutionalized dualities (patron - client, owner - tenant, benefactor - beneficiary, free person - slave), taking into account also the prevailing conception of the sacred and the profane, taboos, rites of passage from one state to another, magic, the source of wealth, of power, of information, etc.


On the basis of these diverse elements, typologies and "models" are constructed, which are claimed to be common to a number of cultures.


Clearly this kind of study can be useful for the interpretation of biblical texts. It has been effectively applied to the study of the ideas of kinship in the Old Testament, of the position of women in Israelite society, of the influence of agrarian rituals, etc. In the texts which report the teaching of Jesus, for example the parables, many details can be explained thanks to this approach. This is also the case with regard to fundamental ideas, such as that of the reign of God or of the way of conceiving time with respect to the history of salvation, as well as of the processes by which the first Christians came to gather in communities.


This approach allows one to distinguish more clearly those elements of the biblical message that are permanent, as having their foundation in human nature, and those which are more contingent, being due to the particular features of certain cultures. Nevertheless, no more than is the case with respect to other particularized approaches, this approach is not qualified simply by itself to determine what is specifically the content of revelation. It is important to keep this in mind when appreciating the valuable results it has brought.


3. Psychological and Psychoanalytical Approaches


Psychology and theology continue their mutual dialogue. The modern extension of psychological research to the study of the dynamic structures of the subconscious has given rise to fresh attempts at interpreting ancient texts, including the Bible. Whole works have been devoted to the psychoanalytic interpretation of biblical texts, which has led to vigorous discussion: In what measure and under what conditions can psychological and psychoanalytical research contribute to a deeper understanding of sacred Scripture?



Psychological and psychoanalytical studies do bring a certain enrichment to biblical exegesis in that, because of them, the texts of the Bible can be better understood in terms of experience of life and norms of behavior. As is well known religion is always in a relationship of conflict or debate with the unconscious. It plays a significant role in the proper orientation of human drives. The stages through which historical criticism passes in its methodical study of texts need to be complemented by study of the different levels of reality they display. Psychology and psychoanalysis attempt to show the way in this respect. They lead to a multidimensional understanding of Scripture and help decode the human language of revelation.


Psychology and, in a somewhat different way, psychoanalysis have led, in particular, to a new understanding of symbol. The language of symbol makes provision for the expression of areas of religious experience that are not accessible to purely conceptual reasoning but which have a genuine value for the expression of truth. For this reason, interdisciplinary study conducted in common by exegetes and psychologists or psychoanalysts offers particular advantages, especially when objectively grounded and confirmed by pastoral experience.


Numerous examples could be cited showing the necessity of a collaborative effort on the part of exegetes and psychologists: to ascertain the meaning of cultic ritual, of sacrifice, of bans, to explain the use of imagery in biblical language, the metaphorical significance of miracle stories, the wellsprings of apocalyptic visual and auditory experiences. It is not simply a matter of describing the symbolic language of the Bible but of grasping how it functions with respect to the revelation of mystery and the issuing of challenge--where the "numinous" reality of God enters into contact with the human person.


The dialogue between exegesis and psychology or psychoanalysis, begun with a view to a better understanding of the Bible, should clearly be conducted in a critical manner, respecting the boundaries of each discipline. Whatever the circumstances, a psychology or psychoanalysis of an atheistic nature disqualifies itself from giving proper consideration to the data of faith. Useful as they may be to determine more exactly the extent of human responsibility, psychology and psychoanalysis should not serve to eliminate the reality of sin and of salvation. One should moreover take care not to confuse spontaneous religiosity and biblical revelation or impugn the historical character of the Bible's message, which bestows upon it the value of a unique event.


Let us note moreover that one cannot speak of "psychoanalytical exegesis" as though it existed in one single form. In fact, proceeding from the different fields of psychology and from the various schools of thought, there exists a whole range of approaches capable of shedding helpful light upon the human and theological interpretation of the Bible. To absolutize one or other of the approaches taken by the various schools of psychology and psychoanalysis would not serve to make collaborative effort in this area more fruitful but rather render it harmful.


The human sciences are not confined to sociology, cultural anthropology and psychology. Other disciplines can also be very useful for the interpretation of the Bible. In all these areas it is necessary to take good account of competence in the particular field and to recognize that only rarely will one and the same person be fully qualified in both exegesis and one or other of the human sciences.


E. Contextual Approaches


The interpretation of a text is always dependent on the mindset and concerns of its readers. Readers give privileged attention to certain aspects and, without even being aware of it, neglect others. Thus it is inevitable that some exegetes bring to their work points of view that are new and responsive to contemporary currents of thought which have not up till now been taken sufficiently into consideration. It is important that they do so with critical discernment. The movements in this regard which claim particular attention today are those of liberation theology and feminism.


1. The Liberationist Approach


The theology of liberation is a complex phenomenon, which ought not be oversimplified. It began to establish itself as a theological movement in the early 1970s. Over and beyond the economic, social and political circumstances of Latin America, its starting point is to be found in two great events in the recent life of the church: the Second Vatican Council, with its declared intention of aggiornamento and of orienting the pastoral work of the church toward the needs of the contemporary world, and the Second General Conference of the Episcopate of Latin America held at Medellin in 1968, which applied the teachings of the council to the needs of Latin America. The movement has since spread also to other parts of the world (Africa, Asia, the black population of the United States).


It is not all that easy to discern if there truly exists "one" theology of liberation and to define what its methodology might be. It is equally difficult to determine adequately its manner of reading the Bible, in a way which would lead to an accurate assessment of advantages and limitations. One can say that liberation theology adopts no particular methodology. But starting from its own socio-cultural and political point of view, it practices a reading of the Bible which is oriented to the needs of the people, who seek in the Scriptures nourishment for their faith and their life.


Liberation theology is not content with an objectifying interpretation which concentrates on what the text said in its original context. It seeks a reading drawn from the situation of people as it is lived here and now. If a people lives in circumstances of oppression, one must go to the Bible to find there nourishment capable of sustaining the people in its struggles and its hopes. The reality of the present time should not be ignored but, on the contrary, met head on, with a view to shedding upon it the light of the word. From this light will come authentic Christian praxis, leading to the transformation of society through works of justice and love. Within the vision of faith Scripture is transformed into a dynamic impulse for full liberation.


The main principles guiding this approach are the following:


God is present in the history of his people, bringing them salvation. He is the God of the poor and cannot tolerate oppression or injustice.


It follows that exegesis cannot be neutral, but must, in imitation of God, take sides on behalf of the poor and be engaged in the struggle to liberate the oppressed.


It is precisely participation in this struggle that allows those interpretations to surface which are discovered only when the biblical texts are read in a context of solidarity with the oppressed.


Because the liberation of the oppressed is a communal process, the community of the poor is the privileged addressee of the Bible as word of liberation. Moreover, since the biblical texts were written for communities, it is to communities in the first place that the reading of the Bible has been entrusted. The word of God is fully relevant--above all because of the capacity inherent in the "foundational events" (the exodus from Egypt, the passion and resurrection of Jesus) for finding fresh realization again and again in the course of history.


Liberation theology includes elements of undoubted value: the deep awareness of the presence of God who saves; the insistence on the communal dimension of faith; the pressing sense of need for a liberating praxis rooted in justice and love; a fresh reading of the Bible which seeks to make of the word of God the light and the nourishment of the people of God in the midst of its struggles and hopes. In all these ways it underlines the capacity of the inspired text to speak to the world of today.


But a reading of the Bible from a stance of such commitment also involves some risks. Since liberation theology is tied to a movement that is still in a process of development, the remarks which follow can only be provisional.


This kind of reading is centered on narrative and prophetic texts which highlight situations of oppression and which inspire a praxis leading to social change. At times such a reading can be limited, not giving enough attention to other texts of the Bible. It is true that exegesis cannot be neutral, but it must also take care not to become one-sided. Moreover, social and political action is not the direct task of the exegete.


In their desire to insert the biblical message into a socio-political context some theologians and exegetes have made use of various instruments for the analysis of social reality. Within this perspective certain streams of liberation theology have conducted an analysis inspired by materialist doctrines, and it is within such frame of reference that they have also read the Bible, a practice which is very questionable, especially when it involves the Marxist principle of the class struggle.


Under the pressure of enormous social problems, there has understandably been more emphasis on an earthly eschatology. Sometimes this has been to the detriment of the more transcendent dimensions of Scriptural eschatology.


More recent social and political changes have led this approach to ask itself new questions and to seek new directions. For its further development and fruitfulness within the church, a decisive factor will be the clarification of its hermeneutical presuppositions, its methods and its coherence with the faith and the tradition of the church as a whole.


2. The Feminist Approach


The feminist biblical hermeneutic had its origin in the United States toward the end of the 19th century. In the sociocultural context of the struggle for the rights of women, the editorial board of a committee charged with the revision of the Bible produced "The Woman's Bible" in two volumes (New York 1885, 1898).


This movement took on fresh life in the 1970s and has since undergone an enormous development in connection with the movement for the liberation of women, especially in North America. To be precise, several forms of feminist biblical hermeneutics have to be distinguished, for the approaches taken are very diverse. All unite around a common theme, woman, and a common goal: the liberation of women and the acquisition on their part of rights equal to those enjoyed by men.


We can here mention three principal forms of feminist biblical hermeneutics: the radical form, the neo-orthodox form and the critical form.


The radical form denies all authority to the Bible, maintaining that it has been produced by men simply with a view to confirming man's age-old domination of woman (androcentrism).


The neo-orthodox form accepts the Bible as prophetic and as potentially of service, at least to the extent that it takes sides on behalf of the oppressed and thus also of women, this orientation is adopted as a "canon within the canon," so as to highlight whatever in the Bible favors the liberation of women and the acquisition of their rights.


The critical form, employing a subtle methodology, seeks to rediscover the status and role of women disciples within the life of Jesus and in the Pauline churches. At this period, it maintains, a certain equality prevailed. But this equality has for the most part been concealed in the writings of the New Testament, something which came to be more and more the case as a tendency toward patriarchy and androcentrism became increasingly dominant.


Feminist hermeneutic has not developed a new methodology. It employs the current methods of exegesis, especially the historical-critical method. But it does add two criteria of investigation.


The first is the feminist criterion, borrowed from the women's liberation movement, in line with the more general direction of liberation theology. This criterion involves a hermeneutic of suspicion: Since history was normally written by the victors, establishing the full truth requires that one does not simply trust texts as they stand but look for signs which may reveal something quite different.


The second criterion is sociological; it is based on the study of societies in the biblical times, their social stratification and the position they accorded to women.


With respect to the New Testament documents, the goal of study, in a word is not the idea of woman as expressed in the New Testament but the historical reconstruction of two different situations of woman in the first century: that which was the norm in Jewish and Greco-Roman society and that which represented the innovation that took shape in the public life of Jesus and in the Pauline churches, where the disciples of Jesus formed "a community of equals." Galatians 3:28 is a text often cited in defense of this view. The aim is to rediscover for today the forgotten history of the role of women in the earliest stages of the church.


Feminist exegesis has brought many benefits. Women have played a more active part in exegetical research. They have succeeded, often better than men, in detecting the presence, the significance and the role of women in the Bible, in Christian origins and in the church. The worldview of today, because of its greater attention to the dignity of women and to their role in society and in the church, ensures that new questions are put to the biblical text, which in turn occasions new discoveries. Feminine sensitivity helps to unmask and correct certain commonly accepted interpretations which were tendentious and sought to justify the male domination of women.


With regard to the Old Testament, several studies have striven to come to a better understanding of the image of God. The God of the Bible is not a projection of a patriarchal mentality. He is Father, but also the God of tenderness and maternal love.
Feminist exegesis, to the extent that it proceeds from a preconceived judgment, runs the risk of interpreting the biblical texts in a tendentious and thus debatable manner. To establish its positions it must often, for want of something better, have recourse to arguments ex silentio. As is well known, this type of argument is generally viewed with much reserve: It can never suffice to establish a conclusion on a solid basis. On the other hand, the attempt made on the basis of fleeting indications in the texts to reconstitute a historical situation which these same texts are considered to have been designed to hide--this does not correspond at all to the work of exegesis properly so called. It entails rejecting the content of the inspired texts in preference for a hypothetical construction, quite different in nature.


Feminist exegesis often raises questions of power within the church, questions which, as is obvious, are matters of discussion and even of confrontation. In this area, feminist exegesis can be useful to the church only to the degree that it does not fall into the very traps it denounces and that it does not lose sight of the evangelical teaching concerning power as service, a teaching addressed by Jesus to all disciples, men and women.



F. Fundamentalist Interpretation


Fundamentalist interpretation starts from the principle that the Bible, being the word of God, inspired and free from error, should be read and interpreted literally in all its details. But by "literal interpretation" it understands a naively literalist interpretation, one, that is to say, which excludes every effort at understanding the Bible that takes account of its historical origins and development. It is opposed, therefore, to the use of the historical- critical method, as indeed to the use of any other scientific method for the interpretation of Scripture.


The fundamentalist interpretation had its origin at the time of the Reformation, arising out of a concern for fidelity to the literal meaning of Scripture. After the century of the Enlightenment it emerged in Protestantism as a bulwark against liberal exegesis.


The actual term fundamentalist is connected directly with the American Biblical Congress held at Niagara, N.Y., in 1895. At this meeting, conservative Protestant exegetes defined "five points of fundamentalism": the verbal inerrancy of Scripture, the divinity of Christ, his virginal birth, the doctrine of vicarious expiation and the bodily resurrection at the time of the second coming of Christ. As the fundamentalist way of reading the Bible spread to other parts of the world, it gave rise to other ways of interpretation, equally "literalist," in Europe, Asia, Africa and South America.


As the 20th century comes to an end, this kind of interpretation is winning more and more adherents, in religious groups and sects, as also among Catholics.


Fundamentalism is right to insist on the divine inspiration of the Bible, the inerrancy of the word of God and other biblical truths included in its five fundamental points. But its way of presenting these truths is rooted in an ideology which is not biblical, whatever the proponents of this approach might say. For it demands an unshakable adherence to rigid doctrinal points of view and imposes, as the only source of teaching for Christian life and salvation, a reading of the Bible which rejects all questioning and any kind of critical research.


The basic problem with fundamentalist interpretation of this kind is that, refusing to take into account the historical character of biblical revelation, it makes itself incapable of accepting the full truth of the incarnation itself. As regards relationships with God, fundamentalism seeks to escape any closeness of the divine and the human. It refuses to admit that the inspired word of God has been expressed in human language and that this word has been expressed, under divine inspiration, by human authors possessed of limited capacities and resources. For this reason, it tends to treat the biblical text as if it had been dictated word for word by the Spirit. It fails to recognize that the word of God has been formulated in language and expression conditioned by various periods. It pays no attention to the literary forms and to the human ways of thinking to be found in the biblical texts, many of which are the result of a process extending over long periods of time and bearing the mark of very diverse historical situations.


Fundamentalism also places undue stress upon the inerrancy of certain details in the biblical texts, especially in what concerns historical events or supposedly scientific truth. It often historicizes material which from the start never claimed to be historical. It considers historical everything that is reported or recounted with verbs in the past tense, failing to take the necessary account of the possibility of symbolic or figurative meaning.


Fundamentalism often shows a tendency to ignore or to deny the problems presented by the biblical text in its original Hebrew, Aramaic or Greek form. It is often narrowly bound to one fixed translation, whether old or present-day. By the same token it fails to take account of the "rereadings" (relectures) of certain texts which are found within the Bible itself.


In what concerns the Gospels, fundamentalism does not take into account the development of the Gospel tradition, but naively confuses the final stage of this tradition (what the evangelists have written) with the initial (the words and deeds of the historical Jesus). At the same time fundamentalism neglects an important fact: The way in which the first Christian communities themselves understood the impact produced by Jesus of Nazareth and his message. But it is precisely there that we find a witness to the apostolic origin of the Christian faith and its direct expression.


Fundamentalism thus misrepresents the call voiced by the Gospel itself.


Fundamentalism likewise tends to adopt very narrow points of view. It accepts the literal reality of an ancient, out-of-date cosmology simply because it is found expressed in the Bible; this blocks any dialogue with a broader way of seeing the relationship between culture and faith. Its relying upon a non-critical reading of certain texts of the Bible serves to reinforce political ideas and social attitudes that are marked by prejudices--racism, for example--quite contrary to the Christian Gospel.


Finally, in its attachment to the principle "Scripture alone," fundamentalism separates the interpretation of the Bible from the tradition, which, guided by the Spirit, has authentically developed in union with Scripture in the heart of the community of faith. It fails to realize that the New Testament took form within the Christian church and that it is the Holy Scripture of this church, the existence of which preceded the composition of the texts. Because of this, fundamentalism is often anti-church, it considers of little importance the creeds, the doctrines and liturgical practices which have become part of church tradition, as well as the teaching function of the church itself.


It presents itself as a form of private interpretation which does not acknowledge that the church is founded on the Bible and draws its life and inspiration from Scripture.
The fundamentalist approach is dangerous, for it is attractive to people who look to the Bible for ready answers to the problems of life. It can deceive these people, offering them interpretations that are pious but illusory, instead of telling them that the Bible does not necessarily contain an immediate answer to each and every problem.


Without saying as much in so many words, fundamentalism actually invites people to a kind of intellectual suicide. It injects into life a false certitude, for it unwittingly confuses the divine substance of the biblical message with what are in fact its human limitations.

2009年7月2日 星期四

Using Literary Criticism on the Gospels


by Robert M. Fowler

The evangelists are genuinely authors, authors using traditional material but nonetheless authors: they write for a definite purpose, they give their work a distinct and individual structure, they have thematic concerns which they pursue, the characters in the story they each tell function as protagonists in a plot, and so on. . . If the evangelists are authors, then they must be studied as authors, and they must be studied as other authors are studied.

So wrote the late Norman Perrin in an article published ten years ago (Biblical Research 17 [1972]: 5-18). At that time his viewpoint was novel, but it was a sign of things to come.


Now literary critical approaches to the Bible are commonplace in scholarly journals, at scholarly meetings and in publishers’ lists of new books. Methods of biblical scholarship are rapidly changing, but one can safely predict that viewing the biblical texts as literature and using the critical methods commonly applied to non-biblical literature will obtain a prominent place in academic study of the Bible. Literary criticism also offers many possibilities for enriching the devotional and liturgical use of the Bible.

Rather than trying to survey the entire field of literary critical approaches to the Bible, I would like to keep my reflections narrow and personal. This means offering some small tribute to Norman Perrin, who first showed me the promise of a genuine literary criticism of the Gospel of Mark. Although my reflections will relate specifically to the literary criticism of the Gospels, much of what I will say applies equally well to the other New Testament literature and to the Hebrew Bible.

When I came to the University of Chicago in 1974 in order to study the Gospel of Mark with Norman Perrin, I had no idea that I would become a “literary critic.” Before coming to Chicago, I knew of Perrin chiefly from his widely praised book on the authentic teaching of the historical Jesus, Rediscovering the Teaching of Jesus (Harper & Row, 1967), and from his small but highly regarded book, What Is Redaction Criticism? (Fortress, 1969).


Consequently, I arrived in Chicago expecting to do “life of Jesus research” and redaction criticism with a master. But when I arrived, Perrin was calling himself a literary critic. He was reading, discussing and doing literary criticism with anyone who was interested -- students and colleagues alike. Some of us winced when he boldly called himself a literary critic, for he and we were still new to this business. But boldness was Perrin’s trademark. In his case, the urge to be always in the forefront of the development of his discipline was spurred in part by the specter of ill health that haunted him. He had no time to waste, and he had an unerring sense of direction. He sensed which way our discipline was headed, pushed forward as far as he himself could, and encouraged many students and colleagues in the relatively short time he had.

When I began to study with him, Perrin was arguing that literary criticism was emerging as the methodological heir to redaction criticism. He said that redaction criticism had been so successful in demonstrating the theological viewpoints of the Gospel writers, and that the evangelists’ influence on the traditional material they were editing had been found to be so pervasive, that it was no longer possible simply to characterize the Gospel writers as collectors and editors of tradition. They were much more than that: they were authors -- authors who had made use of traditional material, but authors nonetheless.


Curiously, redaction criticism was so successful that it led one to discover its own shortcomings and thus to move beyond it. As the biblical scholar and literary critic Dan Via so aptly put it, redaction criticism “mutated into a genuine literary criticism.

It is crucial to realize the magnitude of this “mutation.” Literary criticism is not simply the methodological heir to redaction criticism; it is not just the latest faddish approach available to the student of the Gospels. It represents a significant shift in perspective away from the concern for historical matters that has dominated biblical studies for so long. I will describe the development of the historical critical approach to the Gospels, so that it will be clear how a literary critical approach is different.

The historical critical approach to the Gospels (and to the whole Bible) came into its own in the 19th century. In Gospel studies this was primarily the era of source criticism, the quest for the written sources that were thought to lie behind the Gospels as they now exist. Source criticism was necessary because there seemed to be a direct relationship of dependence among the Gospels. Near-verbatim repetition among the synoptic Gospels of Matthew, Mark and Luke makes unavoidable the conclusion that at least one of them functioned as a written source for at least one of the others.


The solution most widely agreed upon to the question of who is borrowing from whom is still the Two-Source Hypothesis, according to which Mark is understood to be the first Gospel written, and Mark and the hypothetical source Q are proposed as the primary written sources used by Matthew and Luke.

An important footnote to this chapter in the development of modern biblical scholarship is the fact that source criticism was often called (and still is sometimes called) “literary criticism.” This is an indication that 19th century biblical critics were initially concerned with the Gospels as literature. But the first, most glaring literary problem they had to grapple with in the Gospels was the matter of sources. As a result, what they called literary criticism was rapidly reduced to the search for the written sources lying behind the biblical books.


Nineteenth century literary criticism of the Gospels thus dealt not with them but with their prehistory. When modern literary critics speak of their task, they do not reject insights into the sources lying behind a text, but they place the emphasis on the text itself, as a finished literary construct.

In the years after World War I, form Criticism was developed; it maintained the focus on the prehistory of the text. The form critics attempted to isolate the discrete units of oral tradition preserved now in the written Gospels, and they assessed how the form of each individual pericope had been shaped by the sociological context in which it originally had been used. Here we see not only the same focus on the prehistory of the text that had been prominent in source criticism, but also the tendency already strong in source criticism to fragment or disintegrate the text in search of its antecedent components. This is another of the legacies of the historical critical enterprise as it has been conducted by biblical scholars: the penchant for disintegrating the text into earlier and therefore supposedly more significant pieces of material.

The modern literary critic finds no reason to dispute the important insight that much oral tradition does lie preserved in our written Gospels. And the sociological setting of any piece of language, whether oral or written, can scarcely be ignored. But the present-day literary critic is impatient to put all the pieces isolated by the form critic back together, to see what the whole looks like. By way of analogy, I tell my students that one can learn a great deal about a car by tearing it down into its component pieces and studying the form and function of each piece. But unless one puts the pieces back together to see the car functioning as a single, integral whole, one can hardly claim to have understood the car as a car.

Following World War II, redaction criticism came upon the scene. This method began to put back together some, but not all, of the pieces isolated by the form critics. The goal of the redaction critics was to understand the redaction, or editing, of the traditional material by the Gospel writers. In particular, redaction critics have been especially concerned to fathom the theological viewpoints implied by the way the evangelists edited their sources. The redaction critics have discovered a surprising degree of theological sophistication as well as a previously unsuspected degree of coherence in each of the Gospels, but the method is severely limited by its inherited inclination to view the Gospels essentially as edited collections of traditional material.


Although redaction criticism tended to give more respect and credit to the individuals who wrote the Gospels than source or form criticism had, it still placed a great emphasis on the prehistory of each Gospel and tended to disintegrate each text into material labeled “tradition” and other material labeled “redaction.”

At this point, perceptive scholars like Norman Perrin began to suggest that if the Gospel writers were able to produce a reasonably coherent narrative out of a collection of traditional material, and, moreover, if they successfully communicated their own theological perceptions by the way they, put the pieces of tradition together, then we should start to acknowledge them as legitimate authors. The fundamental insights of source, form and redaction criticism might still be affirmed, with sincere gratitude for the labor of the practitioners of these methods. But the time had now come to resist the longstanding impulse to disintegrate the Gospels in the effort to comprehend the prehistory of each text.


It was time to put all of the pieces back together, to see how a Gospel works as a piece of literature, as an integral, literary whole. Thus redaction criticism led Perrin and others to move beyond redaction criticism, and thereby to move away from the focus on historical questions that had dominated biblical scholarship for so long.

It would be rash to suggest that the era of historical criticism in biblical studies was only a prelude to an era of literary criticism. I think it is fair to say that a host of important literary questions about the Gospels have been held in abeyance for a century and a half, awaiting the work of the source, form and redaction critics. It was probably inevitable that questions about written sources, pieces of oral tradition and the editing or redaction of it all would be raised and addressed first.


Each of these concerns is necessitated by the nature of the Gospels; each of these factors was involved in their creation. Appropriately, each has received a generous amount of attention for many years. Now it is time to bring forth those other, literary questions that have been waiting in the wings for so long. Perrin conveniently summarized a number of the unexplored literary concerns in the quotation above: the structure of the literary whole, themes, characters, plot and so on.

It is not simply that these genuinely literary concerns have waited quite long enough to be brought onstage. It is also the perception of many scholars that the results of source, form and, especially, redaction criticism impel one to move on to literary criticism. I found out for myself, in an unforeseen manner, that redaction criticism mutates into genuine literary criticism -- a discovery made in the course of writing my dissertation (now published as Loaves and Fishes: The Function of the Feeding Stories in the Gospel of Mark [Scholars Press, 1981]).

The topic of my dissertation was the two stories of a miraculous feeding of a multitude in Mark: the Feeding of the Five Thousand (Mark 6:30-44) and the Feeding of the Four Thousand (Mark 8:1-10). There has been a time-honored consensus, going all the way back to the source critics, that these two stories represent variants of a single traditional story. The Gospel writer included both versions, it is said, almost carelessly. After all, in both versions of the story the disciples seem to have no idea of what Jesus is capable of doing to feed vast crowds.


Surely they would not have been so obtuse on the second occasion of a miraculous feeding. Therefore, the standard argument runs, these two stories are actually variants of the same story, each version of which included some mention of the disciples’ initial ignorance of what Jesus is about to do. When the evangelist tells essentially the same story twice, the disciples are accidentally made to look incredibly stupid.

That is the usual scholarly accounting of the two feeding stories in Mark. Suspecting that rather than explaining the stories, this theory just explained them away, I applied standard redaction critical techniques to them to see if I could detect where Mark was borrowing from tradition and where he was editing that tradition. I found I could not substantiate the supposition that both stories were inherited by the evangelist from the tradition. The shorter and less colorful of the two stories, the Feeding of the Four Thousand (Mark 8:1-10), may well have been inherited from the tradition -- its vocabulary and compositional style are unlike that of most of the Gospel and may betray an origin in a source used by the evangelist.


The Feeding of the Five Thousand (Mark 6:30-44), on the other hand, was probably composed entirely by the Gospel writer. The vocabulary and style of this story was absolutely congruent with the vocabulary and style favored by Mark when he is editing his sources. In addition, careful analysis suggests that the older, traditional form of the story served as a model for the evangelist’s own composition.

At this point redaction criticism reaches an impasse. The redaction critic is supposed to find the word or phrase that reveals the editorial activity of the evangelist in shaping the tradition he inherited. But what is one to do when he finds instead that the evangelist has composed an entire story? That is, what is one to do when one finds that Mark was not simply an editor of tradition, but a fine storyteller in his own right?


Redaction criticism, with its orientation toward editors and editing, is no longer helpful at this point. If the editor is really an author (who just happens to edit), then we need a critical method that will help us to appreciate and to understand the author as an author and his Gospel as a genuine literary work. Redaction criticism serves us well in our quest to understand the Gospels, but eventually its usefulness wanes, and one must turn to a genuine literary criticism of the Gospels in order to continue the quest.

With regard to the feeding stories in Mark, the interesting literary question is not what the Gospel writer was trying to say when he composed the story of the Feeding of the Five Thousand. Altogether, the storyteller chooses to tell us not one but two feeding stories. It is irrelevant that one story is traditional in origin and the other his own composition. Mark, as the author of the Gospel, bears full responsibility for the entire narrative, regardless of how much traditional material he may have incorporated into the story.


The literary critic, concerned with interpreting the Gospel as an integral, literary whole, must deal with both feeding stories with equal seriousness. Therefore, even if my thesis that Mark himself composed the story of the Feeding of the Five Thousand were to be conclusively refuted, I would still insist that both stories need to be taken seriously as episodes in Mark’s story about Jesus. From a literary critical perspective, it simply will not do to explain away the tensions arising between the two stories by labeling them variants of pre-Gospel tradition.

One can no longer dodge the admittedly distasteful conclusion that the author intends for the disciples to come off badly in this pair of stories. They look dense because that is the way the author paints them. Indeed, Mark has used rich irony in the feeding stories and throughout the Gospel. When the second feeding incident begins to unfold, it is narrative artistry and not careless editing that makes the disciples say, “How can one feed these men with bread here in the desert?” The reader, remembering the earlier feeding incident, knows very well how Jesus is able to satisfy the needs of the crowd. But the disciples seem oblivious of his power. They skewer themselves on their own words, while the reader watches and learns from their mistakes.

Of course, in a thorough literary critical interpretation of the Gospel, one would expect the portrait of the disciples in the feeding stories to be consistent with the portrait of the disciples elsewhere in the Gospel. This in fact seems to be the case; several scholars have suggested that the theme of the obtuseness and failures of the disciples pervades the Gospel of Mark. Upon further literary study it may prove to be the theme of the Gospel, perhaps replacing the “messianic secret” in the affections of students of Mark’s Gospel.

The literary criticism of the Gospels, as illustrated by this interpretation of the feeding stories, has much potential to benefit both the academy and the church. I have already indicated the way in which literary criticism furthers the development of approaches used in Gospel studies, while at the same time it represents a major shift in orientation away from the longstanding preoccupation with historical questions. I have suggested that a host of literary questions have long awaited careful consideration, and that now the time has come to give them the attention they deserve. There is much work to be done in this long-neglected vineyard.


But to state even more sharply the challenge that literary criticism presents to both the academy and the church, I would say that our work is to rediscover a sense of the wholeness of each of the Gospels. When we do that, we will begin to hear once again the unmistakable voice of each individual evangelist as he tells us his own version of the story of Jesus, from beginning to end.

The challenge of literary criticism confronts a guild of biblical scholars who have been predisposed to disintegrate the Gospels into supposed component pieces. The church, too, has often stifled the voice of each evangelist, either by disintegrating his Gospel into bite-sized lectionary texts, or by harmonizing the Gospels, melting them together into one variegated lump of Gospel lore. Few biblical scholars have taken seriously both feeding stories in Mark; similarly, how many sermons have you heard on both stories, as a pair? Such sermonizing would feel awkward for most of us, for that is simply not the way expository preaching is usually done.


And yet a literary critical reading of Mark suggests that this pair of stories belongs together, and if we wish to understand what Mark had in mind by writing his Gospel, we had best keep them together. Or to state the challenge of literary criticism yet another way, perhaps we should note that the Gospel writers produced neither volumes of learned exegesis nor sermons. Rather, they told stories; and if we wish to understand what the Gospels say, we should study how stories are told.

2009年6月30日 星期二

Postcolonialism


Postcolonialism (postcolonial theory, post-colonial theory)

A specifically post-modern intellectual discourse that holds together a set of theories found among the texts and sub-texts of philosophy, film, political science and literature. These theories are reactions to the cultural legacy of colonialism.

As a literary theory (or critical approach), it deals with literature produced in countries that once were colonies of other countries, especially of the European colonial powers Britain, France, and Spain; in some contexts, it includes countries still in colonial arrangements. It also deals with literature written in colonial countries and by their citizens that has colonized people as its subject matter.


Colonized people, especially of the British Empire, attended British universities; their access to education, still unavailable in the colonies, created a new criticism - mostly literary, and especially in novels. Following the breakup of the Soviet Union during the late 20th century, its former republics became the subject of this study as well. Edward Said's 1978 Orientalism has been described as a seminal work in the field.

Subject matters


"The final hour of colonialism has struck, and millions of inhabitants of Africa, Asia and Latin America rise to meet a new life and demand their unrestricted right to self-determination."
Che Guevara, speech to the United Nations, December 11 1964


Postcolonialism deals with cultural identity in colonised societies: the dilemmas of developing a national identity after colonial rule; the ways in which writers articulate and celebrate that identity (often reclaiming it from and maintaining strong connections with the coloniser); the ways in which the knowledge of the colonised (subordinated) people has been generated and used to serve the coloniser's interests; and the ways in which the coloniser's literature has justified colonialism via images of the colonised as a perpetually inferior people, society and culture.


These inward struggles of identity, history, and future possibilities often occur in the metropolis and, ironically, with the aid of postcolonial structures of power, such as universities. Not surprisingly, many contemporary postcolonial writers reside in London, Paris, New York and Madrid.


The creation of binary opposition structures the way we view others. In the case of colonialism, the Oriental and the Westerner were distinguished as different from each other (i.e. the emotional, decadent Orient vs. the principled, progressive Occident). This opposition justified the "white man's burden," the coloniser's self-perceived "destiny to rule" subordinate peoples.


In contrast, post-colonialism seeks out areas of hybridity and transculturalization. This aspect is particularly relevant during processes of globalization.


In Post-Colonial Drama: theory, practice, politics, Helen Gilbert and Joanne Tompkins write: "the term postcolonialism – according to a too-rigid etymology – is frequently misunderstood as a temporal concept, meaning the time after colonialism has ceased, or the time following the politically determined Independence Day on which a country breaks away from its governance by another state, Not a naïve teleological sequence which supersedes colonialism, postcolonialism is, rather, an engagement with and contestation of colonialism's discourses, power structures, and social hierarchies ... A theory of postcolonialism must, then, respond to more than the merely chronological construction of post-independence, and to more than just the discursive experience of imperialism."[4]


Colonized peoples reply to the colonial legacy by writing back to the center, when the indigenous peoples write their own histories and legacies using the coloniser's language (e.g. English, French, Dutch) for their own purposes."Indigenous decolonization" is the intellectual impact of postcolonialist theory upon communities of indigenous peoples, thereby, their generating postcolonial literature.


A single, definitive definition of postcolonial theory is controversial; writers have strongly criticised it as a concept embedded in identity politics. Ann Laura Stoler, in Carnal Knowledge and Imperial Power, argues that the simplistic oppositional binary concept of Coloniser and Colonised is more complicated than it seems, since these categories are fluid and shifting; postcolonial works emphasise the re-analysis of categories assumed to be natural and immutable.


Postcolonial Theory - as epistemology, ethics, and politics - addresses matters of identity, gender, race, racism and ethnicity with the challenges of developing a post-colonial national identity, of how a colonised people's knowledge was used against them in service of the coloniser's interests, and of how knowledge about the world is generated under specific relations between the powerful and the powerless, circulated repetitively and finally legitimated in service to certain imperial interests.


At the same time, postcolonial theory encourages thought about the colonised's creative resistance to the coloniser and how that resistance complicates and gives texture to European imperial colonial projects, which utilised a range of strategies, including anti-conquest narratives, to legitimise their dominance.


Postcolonial writers object to the colonised's depiction as hollow "mimics" of Europeans or as passive recipients of power. Consequent to Foucauldian argument, postcolonial scholars, i.e. the Subaltern Studies collective, argue that anti-colonial resistance accompanies every deployment of power.

2009年6月29日 星期一

Literary Theory and Criticism


Literary theory and literary criticism are interpretive tools that help us think more deeply and insightfully about the literature that we read. Over time, different schools of literary criticism have developed, each with its own approaches to the act of reading.

Schools of Interpretation


Cambridge School (1920s–1930s): A group of scholars at Cambridge University who rejected historical and biographical analysis of texts in favor of close readings of the texts themselves.

Chicago School (1950s): A group, formed at the University of Chicago in the 1950s, that drew on Aristotle’s distinctions between the various elements within a narrative to analyze the relation between form and structure. Critics and Criticisms: Ancient and Modern (1952) is the major work of the Chicago School.

Deconstruction (1967–present): A philosophical approach to reading, first advanced by Jacques Derrida that attacks the assumption that a text has a single, stable meaning. Derrida suggests that all interpretation of a text simply constitutes further texts, which means there is no “outside the text” at all. Therefore, it is impossible for a text to have stable meaning. The practice of deconstruction involves identifying the contradictions within a text’s claim to have a single, stable meaning, and showing that a text can be taken to mean a variety of things that differ significantly from what it purports to mean.

Feminist criticism (1960s–present): An umbrella term for a number of different critical approaches that seek to distinguish the human experience from the male experience. Feminist critics draw attention to the ways in which patriarchal social structures have marginalized women and male authors have exploited women in their portrayal of them. Although feminist criticism dates as far back as Mary Wollstonecraft’s A Vindication of the Rights of Woman (1792) and had some significant advocates in the early 20th century, such as Virginia Woolf and Simone de Beauvoir, it did not gain widespread recognition as a theoretical and political movement until the 1960s and 1970s.

Psychoanalytic criticism: Any form of criticism that draws on psychoanalysis, the practice of analyzing the role of unconscious psychological drives and impulses in shaping human behavior or artistic production. The three main schools of psychoanalysis are named for the three leading figures in developing psychoanalytic theory: Sigmund Freud, Carl Jung, and Jacques Lacan.

Freudian criticism (c. 1900–present): The view of art as the imagined fulfillment of wishes that reality denies. According to Freud, artists sublimate their desires and translate their imagined wishes into art. We, as an audience, respond to the sublimated wishes that we share with the artist. Working from this view, an artist’s biography becomes a useful tool in interpreting his or her work. “Freudian criticism” is also used as a term to describe the analysis of Freudian images within a work of art.

Jungian criticism (1920s–present): A school of criticism that draws on Carl Jung’s theory of the collective unconscious, a reservoir of common thoughts and experiences that all cultures share. Jung holds that literature is an expression of the main themes of the collective unconscious, and critics often invoke his work in discussions of literary archetypes.

Lacanian criticism (c. 1977–present): Criticism based on Jacques Lacan’s view that the unconscious, and our perception of ourselves, is shaped in the “symbolic” order of language rather than in the “imaginary” order of prelinguistic thought. Lacan is famous in literary circles for his influential reading of Edgar Allan Poe’s “The Purloined Letter.”

Marxist criticism: An umbrella term for a number of critical approaches to literature that draw inspiration from the social and economic theories of Karl Marx. Marx maintained that material production, or economics, ultimately determines the course of history, and in turn influences social structures.These social structures, Marx argued, are held in place by the dominant ideology, which serves to reinforce the interests of the ruling class. Marxist criticism approaches literature as a struggle with social realities and ideologies.

Frankfurt School (c. 1923–1970): A group of German Marxist thinkers associated with the Institute for Social Research in Frankfurt. These thinkers applied the principles of Marxism to a wide range of social phenomena, including literature. Major members of the Frankfurt School include Theodor Adorno, Max Horkheimer, Walter Benjamin, Herbert Marcuse, and Jürgen Habermas.

New Criticism (1930s–1960s): Coined in John Crowe Ransom’s The New Criticism (1941), this approach discourages the use of history and biography in interpreting a literary work. Instead, it encourages readers to discover the meaning of a work through a detailed analysis of the text itself. This approach was popular in the middle of the 20th century, especially in the United States, but has since fallen out of favor.

New Historicism (1980s–present): An approach that breaks down distinctions between “literature” and “historical context” by examining the contemporary production and reception of literary texts, including the dominant social, political, and moral movements of the time. Stephen Greenblatt is a leader in this field, which joins the careful textual analysis of New Criticism with a dynamic model of historical research.

New Humanism (c. 1910–1933): An American movement, led by Irving Babbitt and Paul Elmer More, that embraced conservative literary and moral values and advocated a return to humanistic education.

Post-structuralism (1960s–1970s): A movement that comprised, among other things, Deconstruction, Lacanian criticism, and the later works of Roland Barthes and Michel Foucault. It criticized structuralism for its claims to scientific objectivity, including its assumption that the system of signs in which language operates was stable.

Queer theory (1980s–present): A “constructivist” (as opposed to “essentialist”) approach to gender and sexuality that asserts that gender roles and sexual identity are social constructions rather than an essential, inescapable part of our nature. Queer theory consequently studies literary texts with an eye to the ways in which different authors in different eras construct sexual and gender identity. Queer theory draws on certain branches of feminist criticism and traces its roots to the first volume of Michel Foucault’s History of Sexuality (1976).

Russian Formalism (1915–1929): A school that attempted a scientific analysis of the formal literary devices used in a text. The Stalinist authorities criticized and silenced the Formalists, but Western critics rediscovered their work in the 1960s. Ultimately, the Russian Formalists had significant influence on structuralism and Marxist criticism.

Structuralism (1950s–1960s): An intellectual movement that made significant contributions not only to literary criticism but also to philosophy, anthropology, sociology, and history. Structuralist literary critics, such as Roland Barthes, read texts as an interrelated system of signs that refer to one another rather than to an external “meaning” that is fixed either by author or reader. Structuralist literary theory draws on the work of the Russian Formalists, as well as the linguistic theories of Ferdinand de Saussure and C. S. Peirce.

Literary Terms and Theories

Literary theory is notorious for its complex and somewhat inaccessible jargon. The following list defines some of the more commonly encountered terms in the field.

Anxiety of influence: A theory that the critic Harold Bloom put forth in The Anxiety of Influence: A Theory of Poetry (1973). Bloom uses Freud’s idea of the Oedipus complex (see below) to suggest that poets, plagued by anxiety that they have nothing new to say, struggle against the influence of earlier generations of poets. Bloom suggests that poets find their distinctive voices in an act of misprision, or misreading, of earlier influences, thus refiguring the poetic tradition. Although Bloom presents his thesis as a theory of poetry, it can be applied to other arts as well.

Canon: A group of literary works commonly regarded as central or authoritative to the literary tradition. For example, many critics concur that the Western canon—the central literary works of Western civilization—includes the writings of Homer, Shakespeare, Tolstoy, and the like. A canon is an evolving entity, as works are added or subtracted as their perceived value shifts over time. For example, the fiction of W. Somerset Maugham was central to the canon during the middle of the 20th century but is read less frequently today. In recent decades, the idea of an authoritative canon has come under attack, especially from feminist and postcolonial critics, who see the canon as a tyranny of dead white males that marginalizes less mainstream voices.

Death of the author: A post-structuralist theory, first advanced by Roland Barthes, that suggests that the reader, not the author, creates the meaning of a text. Ultimately, the very idea of an author is a fiction invented by the reader.

Diachronic/synchronic: Terms that Ferdinand de Saussure used to describe two different approaches to language. The diachronic approach looks at language as a historical process and examines the ways in which it has changed over time. The synchronic approach looks at language at a particular moment in time, without reference to history. Saussure’s structuralist approach is synchronic, for it studies language as a system of interrelated signs that have no reference to anything (such as history) outside of the system.

Dialogic/monologic: Terms that the Russian critic Mikhail Bakhtin used to distinguish works that are controlled by a single, authorial voice (monologic) from works in which no single voice predominates (dialogic or polyphonic). Bakhtin takes Leo Tolstoy and Fyodor Dostoevsky as examples of monologic and dialogic writing, respectively.

Diegesis/Mimesis: Terms that Aristotle first used to distinguish “telling” (diegesis) from “showing” (mimesis). In a play, for instance, most of the action is mimetic, but moments in which a character recounts what has happened offstage are diegetic.

Discourse: A post-structuralist term for the wider social and intellectual context in which communication takes place. The implication is that the meaning of works is as dependent on their surrounding context as it is on the content of the works themselves.

Exegesis: An explanation of a text that clarifies difficult passages and analyzes its contemporary relevance or application.

Explication: A close reading of a text that identifies and explains the figurative language and forms within the work.

Hermeneutics: The study of textual interpretation and of the way in which a text communicates meaning.

Intertextuality: The various relationships a text may have with other texts, through allusions, borrowing of formal or thematic elements, or simply by reference to traditional literary forms. The term is important to structuralist and poststructuralist critics, who argue that texts relate primarily to one another and not to an external reality.

Linguistics: The scientific study of language, encompassing, among other things, the study of syntax, semantics, and the evolution of language.

Logocentrism: The desire for an ultimate guarantee of meaning, whether God, Truth, Reason, or something else. Jacques Derrida criticizes the bulk of Western philosophy as being based on a logocentric “metaphysics of presence,” which insists on the presence of some such ultimate guarantee. The main goal of deconstruction is to undermine this belief.

Metalanguage: A technical language that explains and interprets the properties of ordinary language. For example, the vocabulary of literary criticism is a metalanguage that explains the ordinary language of literature. Post-structuralist critics argue that there is no such thing as a metalanguage; rather, they assert, all language is on an even plane and therefore there is no essential difference between literature and criticism.

Metanarrative: A larger framework within which we understand historical processes. For instance, a Marxist metanarrative sees history primarily as a history of changing material circumstances and class struggle. Post-structuralist critics draw our attention to the ways in which assumed metanarratives can be used as tools of political domination.

Narratology: The study of narrative, encompassing the different kinds of narrative voices, forms of narrative, and possibilities of narrative analysis.

Oedipus complex: Sigmund Freud’s theory that a male child feels unconscious jealousy toward his father and lust for his mother. The name comes from Sophocles’ play Oedipus Rex, in which the main character unknowingly kills his father and marries his mother. Freud applies this theory in an influential reading of Hamlet, in which he sees Hamlet as struggling with his admiration of Claudius, who fulfilled Hamlet’s own desire of murdering Hamlet’s father and marrying his mother.

Semantics: The branch of linguistics that studies the meanings of words.

Semiotics or semiology: Terms for the study of sign systems and the ways in which communication functions through conventions in sign systems. Semiotics is central to structuralist linguistics.

Sign/signifier/signified: Terms fundamental to Ferdinand de Saussure’s structuralism linguistics. A sign is a basic unit of meaning—a word, picture, or hand gesture, for instance, that conveys some meaning. A signifier is the perceptible aspect of a sign (e.g., the word “car”) while the signified is the conceptual aspect of a sign (e.g., the concept of a car). A referent is a physical object to which a sign system refers (e.g., the physical car itself).

2009年6月22日 星期一

Reader-response Criticism


Reader-response criticism is a school of literary theory that focuses on the reader (or "audience") and his or her experience of a literary work, in contrast to other schools and theories that focus attention primarily on the author or the content and form of the work.

Although literary theory has long paid some attention to the reader's role in creating the meaning and experience of a literary work, modern reader-response criticism began in the 1960s and '70s, particularly in America and Germany, in work by Norman Holland, Stanley Fish, Wolfgang Iser, Hans-Robert Jauss, and others.


Important predecessors were I. A. Richards, who in 1929 analyzed a group of Cambridge undergraduates' misreadings; Louise Rosenblatt, who, in Literature as Exploration (1938), argued that it is important for the teacher to avoid imposing any "preconceived notions about the proper way to react to any work"; and C. S. Lewis in An Experiment in Criticism (1961).

Reader-response theory recognizes the reader as an active agent who imparts "real existence" to the work and completes its meaning through interpretation. Reader-response criticism argues that literature should be viewed as a performing art in which each reader creates his or her own, possibly unique, text-related performance. It stands in total opposition to the theories of formalism and the New Criticism, in which the reader's role in re-creating literary works is ignored.


New Criticism had emphasized that only that which is within a text is part of the meaning of a text. No appeal to the authority or intention of the author, nor to the psychology of the reader, was allowed in the discussions of orthodox New Critics. The New Critics' position assumed an objective, fixed text that could be studied apart from any human being,[clarification needed] and this assumption persisted even into postmodern criticism.

Kinds of reader-response criticism

One can sort reader-response theorists into three groups: those who focus upon the individual reader's experience ("individualists"); those who conduct psychological experiments on a defined set of readers ("experimenters"); and those who assume a fairly uniform response by all readers ("uniformists").

One can therefore draw a distinction between reader-response theorists who see the individual reader driving the whole experience and others who think of literary experience as largely text-driven and uniform (with individual variations that can be ignored). The former theorists, who think the reader controls, derive what is common in a literary experience from shared techniques for reading and interpreting which are, however, individually applied by different readers. The latter, who put the text in control, derive commonalities of response, obviously, from the literary work itself.

The most fundamental difference among reader-response critics is probably, then, between those who regard individual differences among readers' responses as important and those who try to get around them.

Individualists

In the 1960s, David Bleich began collecting statements by influencing students of their feelings and associations. He used these to theorize about the reading process and to refocus the classroom teaching of literature. He claimed that his classes "generated" knowledge, that is, knowledge of how particular persons recreate texts.

Michael Steig and Walter Slatoff have, like Bleich, shown that students' highly personal responses can provide the basis for critical analyses in the classroom. Jeffrey Berman has encouraged students responding to texts to write anonymously and share with their classmates writings in response to literary works about sensitive subjects like drugs, suicidal thoughts, death in the family, parental abuse and the like.

A kind of catharsis bordering on therapy results. In general, American reader-response critics have focused on individual readers' responses. American journals like Reader, Reading Research Quarterly, and others publish articles applying reader-response theory to the teaching of literature.

In 1965, C. S. Lewis published An Experiment in Criticism, in which he analyzed readers' role in selecting literature. He analyzed their selections in light of their goals in reading.In 1967, Stanley Fish published Surprised by Sin, the first study of a large literary work (Paradise Lost) that focused on its readers' experience. In an appendix, "Literature in the Reader", Fish used "the" reader to examine responses to complex sentences sequentially, word-by-word.

Since 1976, however, he has turned to real differences among real readers. He explores the reading tactics endorsed by different critical schools, by the literary professoriate, and by the legal profession, introducing the idea of "interpretive communities" that share particular modes of reading.

In 1968, Norman Holland drew on psychoanalytic psychology in The Dynamics of Literary Response to model the literary work. Each reader introjects a fantasy "in" the text, then modifies it by defense mechanisms into an interpretation. In 1973, however, having recorded responses from real readers, Holland found variations too great to fit this model in which responses are mostly alike but show minor individual variations.

Holland then developed a second model based on his case studies
5 Readers Reading. An individual has (in the brain) a core identity theme (behaviors then becoming understandable as a theme and variations as in music). This core gives that individual a certain style of being--and reading. Each reader uses the physical literary work plus invariable codes (such as the shapes of letters) plus variable canons (different "interpretive communities", for example) plus an individual style of reading to build a response both like and unlike other readers' responses.

Holland worked with others at the State University of New York at Buffalo, Murray Schwartz, David Willbern, and Robert Rogers, to develop a particular teaching format, the "Delphi seminar," designed to get students to "know themselves".

Experimenters

Reuven Tsur in Israel has developed in great detail models for the expressivity of poetic rhythms, of metaphor, and of word-sound in poetry (including different actors' readings of a single line of Shakespeare). Richard Gerrig in the U.S. has experimented with the reader's state of mind during and after a literary experience. He has shown how readers put aside ordinary knowledge and values while they read, treating, for example, criminals as heroes. He has also investigated how readers accept, while reading, improbable or fantastic things (Coleridge's "willing suspension of disbelief"), but discard them after they have finished.

In Canada,
David Miall, usually working with Donald Kuiken, has produced a large body of work exploring emotional or "affective" responses to literature, drawing on such concepts from ordinary criticism as "defamiliarization" or "foregrounding". They have used both experiments and new developments in neuropsychology, and have developed a questionnaire for measuring different aspects of a reader's response.

There are many other experimental psychologists around the world exploring readers' responses, conducting many detailed experiments. One can research their work through their professional organizations, the International Society for the Empirical Study of Literature and Media, and International Association of Empirical Aesthetics, and through such psychological indices as PSYCINFO.

Two notable researchers are Dolf Zillmann and Peter Vorderer, both working in the field of communications and media psychology. Both have theorized and tested ideas about what produces emotions such as suspense, curiosity, surprise in readers, the necessary factors involved, and the role the reader plays. Jenefer Robinson, a researcher in emotion, has recently blended her studies on emotion with its role in literature, music, and art.

Uniformists

Wolfgang Iser exemplifies the German tendency to theorize the reader and so posit a uniform response. For him, a literary work is not an object in itself but an effect to be explained. But he asserts this response is controlled by the text. For the "real" reader, he substitutes an implied reader, who is the reader a given literary work requires.

Within various polarities created by the text, this "implied" reader makes expectations, meanings, and the unstated details of characters and settings through a "wandering viewpoint". In his model, the text controls. The reader's activities are confined within limits set by the literary work.

Another important German reader-response critic was Hans-Robert Jauss, who defined literature as a dialectic process of production and reception (Rezeption--the term common in Germany for "response"). For Jauss, readers have a certain mental set, a "horizon" of expectations (Erwartungshorizont), from which perspective each reader, at any given time in history, reads. Reader-response criticism establishes these horizons of expectation by reading literary works of the period in question.

Both Iser and Jauss, and the Constance School they exemplify, return reader-response criticism to a study of the text by defining readers in terms of the text. In the same way,
Gerald Prince posits a "narratee", Michael Riffaterre posits a "superreader", and Stanley Fish an "informed reader." And many text-oriented critics simply speak of "the" reader who typifies all readers.

Objections

Reader-response critics hold that, to understand the literary experience or the meaning of a text, one must look to the processes readers use to create that meaning and experience. Traditional, text-oriented critics often think of reader-response criticism as an anarchic subjectivism, allowing readers to interpret a text any way they want. They accuse reader-response critics of saying the text doesn't exist. (Reader-response critics respond that they are only saying that to explore someone's literary experience, one must ask the someone, not pore over the text.)

By contrast, text-oriented critics assume that one can understand a text while remaining immune to one's own culture, status, personality, and so on, and hence "objectively".

To reader-response based theorists, however, reading is always both subjective and objective, and their question is not "which" but "how". Some reader-response critics (uniformists) assume a bi-active model of reading: the literary work controls part of the response and the reader controls part. Others, who see that position as internally contradictory, claim that the reader controls the whole transaction (individualists). In such a reader-active model, readers and audiences use amateur or professional procedures for reading (shared by many others) as well as their personal issues and values.

Another objection to reader-response criticism is that it fails to account for the text being able to expand the reader's understanding. While readers can and do put their own ideas and experiences into a work, they are at the same time gaining new understanding through the text. This is something that is generally overlooked in reader-response criticism.

Extensions

Reader-response criticism relates to psychology, both experimental psychology for those attempting to find principles of response, and psychoanalytic psychology for those studying individual responses. Post-behaviorist psychologists of reading and of perception support the idea that it is the reader who makes meaning. Increasingly, cognitive psychology, psycholinguistics, neuroscience, and neuropsychoanalysis have given reader-response critics powerful and detailed models for the aesthetic process.

Because it rests on psychological principles, a reader-response approach readily generalizes to other arts: cinema (David Bordwell), music, or visual art (E. H. Gombrich), and even to history (Hayden White). In stressing the activity of the scholar, reader-response theory justifies such upsettings of traditional interpretations as, for example, deconstruction or cultural criticism.

Since reader-response critics focus on the strategies readers are taught to use, they address the teaching of reading and literature. Also, because reader-response criticism stresses the activity of the reader, reader-response critics readily share the concerns of feminist critics and critics writing on behalf of gays, ethnic minorities, or post-colonial peoples.

Some argue that 'artworks' are now purposely being fabricated which lack meaning but rather the 'artworks' are fabricated only to generate a reader response. The reader response then is corralled via interpretative communities. Reader response rather than handing a freedom to the reader empowers the leaders of an interpretative community against the reader. The reader has no ground to evaluate the 'artwork' as the artwork is senseless. Only a reader response, basically an emotive response, is legitimate.

The Web provides an ideal way to form such interpretative communities. The power of reader response strategy is that people are fundamentally 'hungry' for culture and will attempt to impart meaning even to artworks that are senseless. Of course, people can always opt out of these interpretative communities centered around senseless artworks with little to no loss vis-a-vis culture and almost certainly a cultural gain.

Paradoxically reader response criticism as done by critics today attempts to tell the reader what the reader is allegedly thinking about an artwork. Basically when employing reader response theory to criticism it has to be this way as otherwise the critic fails to connect to the audience in any way as otherwise the idiosyncratic views of the reviewer, perhaps based on neuropsychoanalysis, for example, are put forward with a loss of a popular audience.

Too, being a leader of an interpretative community has attractions over detailed analysis of summer blockbusters. Reader response criticism is clearly a cultural dominant amongst those who do popular criticism.