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Scripture and Its Reception: a Semiotic Analysis of Selected Graphic Designs Illustrating Biblical Lections in Iconic Liturgical Books

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Scripture and its Reception: A Semiotic Analysis of Selected Graphic Designs Illustrating Biblical Lections in Iconic Liturgical Books Amanda Dillon, MA Thesis submitted for the award of Doctor of Philosophy School of Theology, Philosophy and Music Dublin City University Supervised by Dr. Brad Anderson September 2017 Declaration I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of PhD is entirely my own work, that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed: _______________________________________________________ (Candidate) ID No.: 13120638 Date: _______________________________ !ii Table of Contents Declaration ii Table of Contents iii List of Figures vi Abbreviations ix Acknowledgements xi Abstract xiii Chapter One: Introduction 1 Introduction 5 1.1: Nicholas Markell 10 1.2: Meinrad Craighead 13 1.3: Outline of Thesis 17 Chapter Two: Biblical Reception History, Charting the Field 19 Introduction 19 2.1: The Influence of Hans-Georg Gadamer and Hans Robert Jauss 20 2.2: The Critical Debate Concerning Reception History in Biblical Studies 28 2.3: Biblical Reception as an Emerging Area in Biblical Studies 33 2.4: Biblical Reception and the Visual Arts 36 Conclusion 41 Chapter Three: A Social Semiotics of the Visual 43 Introduction 43 3.1: The legacy of Saussure and Peirce 44 3.2: Halliday’s Systemic Functional Grammar and the Three Metafunctions 49 3.3: Multimodality 54 3.4: Semiotics and Graphic Design 57 3.5: The Social Semiotics of Kress and van Leeuwen 61 Conclusion 64 Chapter Four: Liturgy and Lectionary in Biblical Reception History 65 Introduction 65 4.1: A Brief History of the Development of the Lectionary 67 4.2: The Christian Tradition of the Lectionary 70 4.3: The Reform of Vatican II 73 4.4: The Lutheran Reforms of the Late Twentieth Century 78 !iii 4.5: The Hermeneutics of the Lectionary 80 4.6: The Overlooked Iconicity of Liturgical Books 82 Conclusion 84 Chapter Five: A Brief Visual History of Lectionaries 85 Introduction 85 5.1: Ancient Lectionaries 86 5.2: Lectionaries and Missals of the Middle Ages 90 5.3: The Book of Common Prayer 93 5.4: The Red, Black and White Colour Scheme 94 5.5: Gothic and Roman Typefaces 97 5.6: The Twentieth Century and Liturgical Renewal 102 5.7: The Twenty–first Century 106 Conclusion 111 Chapter Six: A Social Semiotics of Colour 113 Introduction 113 6.1: Colour and the Metafunctions 115 6.2: WHITE 119 6.3: BLACK 124 6.4: RED 129 6.5: The Colour Triad Black, White and Red as a Schema 133 Conclusion 138 Chapter Seven: A Semiotics of Silhouette 140 Introduction 140 7.1 A Brief History of Silhouette 141 7.2 Silhouette and “Essence” 143 7.3 Metonymy 144 7.4 Meinrad Craighead’s Use of Silhouette in The Sunday Missal 147 7.5 Nicholas Markell’s Use of Silhouette in the ELW Worship Books 156 Conclusion 159 Chapter Eight: A Semiotic Analysis of the Graphic Design Easter by Nicholas Markell 161 Introduction 163 8.1: The Ideational Metafunction in Easter 165 !iv 8.2: The Interpersonal Metafunction in Easter 180 8.3: The Textual Metafunction in Easter 191 Conclusion 196 Chapter Nine: A Semiotic Analysis of the Graphic Design Christ, Yesterday and Today by Meinrad Craighead 197 Introduction 199 9.1: The Ideational Metafunction in Christ Yesterday and Today 201 9.2: The Interpersonal Metafunction in Christ Yesterday and Today 211 9.3: The Textual Metafunction in Christ Yesterday and Today 213 9.4: Materiality 214 9.5: Intersemiosis 217 Conclusion 219 Chapter Ten: Conclusion 221 10.1: A Consolidation of this Thesis 221 10.2: The Value of A Social Semiotics of the Visual for Biblical Reception 226 10.3: Proposals for Biblical Reception 227 Bibliography 230 Appendix 1 !v List of Figures Figure 1.1: Nicholas Markell, Easter. 1 All artworks by Nicholas Markell reproduced in this thesis are featured in the Evangelical Lutheran Worship (Minneapolis: Augsburg Fortress, 2006) series of liturgical books and are sourced from the Evangelical Lutheran Worship Graphics CD-ROM (Minneapolis: Augsburg Fortress, 2011) and reproduced with the kind permission of Augsburg Fortress Press ©Augsburg Fortress Press. Figure 1.2: Nicholas Markell, Easter, with labels. 2 Figure 1.3: Meinrad Craighead, Christ, Yesterday and Today. 3 All artworks by Meinrad Craighead reproduced in this thesis are featured in The Sunday Missal (London: Collins, 1975) and sourced from Meinrad Craighead, Liturgical Art (Kansas: Sheed and Ward, 1988) where Non-commercial Reproduction Permission is granted. ©Meinrad Craighead. Figure 1.4: Meinrad Craighead, Christ, Yesterday and Today, with labels. 4 Figure 1.5: Meinrad Craighead, Christ, Yesterday and Today, detail. 14 Figure 1.6: Meinrad Craighead, Christ, Yesterday and Today, detail. 15 Figure 1.7: Meinrad Craighead, Christ, Yesterday and Today, detail. 16 Figure 2.1: A diagrammatic outline of this thesis. Amanda Dillon 20 Figure 4.1: ELW Lectionary. 78 Photo: Amanda Dillon Figure 4.2: The ELW Worship pew edition. 80 Photo: Amanda Dillon Figure 4.3: The Sunday Missal. 82 Photo: Amanda Dillon Figure 4.4: Detail from the ELW Lectionary. 84 Photo: Amanda Dillon Figure 5.1: Comes Romanus of Würzburg. 86 M.p.th.f.62 – Comes Romanus Wirziburgensis may be found online on Virtuelle Bibliothek Würzburg: http://vb.uni–wuerzburg.de/ub/permalink/ mpthf62. Creative Commons License (CC BY-NC-ND 4.0.) Figure 5.2: Comes of Murbach. 88 !vi Besançon France Bibliothèque Municipale 184 (liasse 26) The Virtual Library of Medieval Manuscripts is made available under the terms of the Creative Commons Attribution-Noncommercial 3.0 License (CC BY NC.). Photograph ©AtelierPalímpsêstos/SandraVez with permission. Figure 5.3: The Jaharis Gospel Lectionary. 89 The Metropolitan Museum of Art. Creative Commons Zero (CC0) Figure 5.4: The Sainte-Chapelle Lectionary. 91 ©British Library Board (MS 17341). Permission granted by the British Library. Figure 5.5: The Book of Common Prayer. 94 Courtesy of Sotheby’s. Figure 5.6: A Premonstratensian Missal (1578) 95 Missale Premonstratense, Parisii 1578, Res/2 liturgy. 235 urn:nrn;de.bvb:12- bsb10197414-9 Bayerische Staatsbibliothek. Münchener DigitalisierungsZentrum Digitale Bibliothek Out of copyright, copyright free. Figure 5.7: A Missale Romanum. 98 Missale romanvm ex decreto sacrosancti Concilij Tridentini restitutum, Pii V. pont. max. ivssv editvm. nunc denuo Urbani papæ octavi auctoritate recognitum. Venetiis, apvd Ivntas. MDCXXXIX. Graverat titelblad från 1639. Skokloster Slott, Sweden. Photo credit: Fredrik Andersson. Creative Commons Zero (CC0) Figure 5.8: Missale Romanum. 99 Missale Romanum 1651 apud Franciscum Widmanstadium, Antwerp 1651 Photo: Dr. Wolfgang Moroder. Creative Commons License: (CC-BY-SA-3.0) Figs 5.9–5.10: Augustinian Missale Romanum (1716) 100 Photo: Dom Benedict Anderson OSB. Permission granted by Silverstream Priory. Figs 5.11: Missale Romanum (1884) 102 Photo: Amanda Dillon. Permission granted by Silverstream Priory. Figs 5.12–5.16: Missale Romanum (1930s) 104/5 Photo: Amanda Dillon. Permission granted by Silverstream Priory. Figs 5.17–5.18: New Roman Missals. 107 Photo credit: S. Tribe. Permission granted by New Liturgical Movement. Fig. 5.19: Example of the Sunday Message Missalette. 109 Courtesy of Redemptorist Communications Fig. 5.20: Selection of Dominican Missalettes. 110 Photo: Amanda Dillon. Figs 6.1–6.2: The Sunday Missal. Photo: Amanda Dillon 128 Figure 7.1: Meinrad Craighead, Christ, Image of God 148 !vii Figure 7.2: Meinrad Craighead, Give Witness 148 Figure 7.3: Meinrad Craighead, Bread of Life 151 Figure 7.4: Meinrad Craighead, Bread and Wine 152 Figure 7.5: Meinrad Craighead, Through Him and With Him 153 Figure 7.6: Meinrad Craighead, Hail Mary 154 Figure 7.7: Nicholas Markell, Lent 155 Figure 7.8: Nicholas Markell, Moses 155 Figure 7.9: Nicholas Markell, Easter Vigil 157 Figure 7.10: Nicholas Markell, Holy Baptism 158 Figs. 8.1–8.2: Nicholas Markell, Easter 161/2 Figure 8.3: A simple diagram of a Vector 166 Figure 8.4: Diagram: Amanda Dillon 168 Figure 8.5: Detail of the Vine and the Fish 172 Figure 8.6: Detail showing the Waves/Net episode 175 Figure 8.7: Detail showing the Emmaus episode 177 Figure 8.8: Detail showing the Light episode 183 Figure 8.9: Nicholas Markell, Christ 186 Figure 8.10: Diagram. Amanda Dillon 188 Figure 8.11: Diagram. Amanda Dillon 188 Figure 8.12: Detail showing the Tiberias episode 189 Figure 9.1: Meinrad Craighead, Christ Yesterday and Today 197 Figure 9.2: Meinrad Craighead, Christ Yesterday and Today with labels 198 Figure 9.3: Meinrad Craighead, Christ, Image of God 201 Figure 9.4: Detail from Christ Yesterday and Today 203 Figure 9.5: Detail of Text from Christ Yesterday and Today 206 Figure 9.6: Detail from Christ Yesterday and Today 210 Figure 9.7: Intersemiotic systems within the ideational metafunction 219 (adapted from Unsworth 2006, 2008a, b). Arsenio Jesús Moya Guijarro, A Multimodal Analysis of Picture Books for Children. ©Equinox Publishing Ltd 2014. !viii Abbreviations The formatting of this thesis, including footnotes, bibliography, and abbreviations, follows the conventions set out in The SBL Handbook of Style (2nd. ed. Edited by Billie Jean Collins, et al.; Atlanta: SBL, 2014), with minor variations. AB Anchor Bible ABD Anchor Bible Dictionary. Edited by D.N. Freedman. 6 vols. New York, 1992 ACE Arts and Christianity Enquiry ALC American Lutheran Church BibInt Biblical Interpretation BibRec The Bible and Its Reception BNTC Black’s New Testament Commentaries DPS Double Page Spread DV Dei Verbum, Dogmatic Constitution on Divine Revelation (1965) EBR Encyclopedia of the Bible and Its Reception.
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