https://journal.equinoxpub.com/POST/issue/feed Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 2021-03-03T11:32:56+00:00 Brad Anderson brad.anderson@dcu.ie Open Journal Systems <p>This journal is devoted to the academic study of scripture around the globe and is the official journal of SCRIPT, the <a href="http://script-site.net/" target="_blank" rel="noopener">Society for Research on Iconic and Performative Texts</a>. It deals with the rich panoply of engagements with texts that are foundational in the lives of individuals and communities around the world -- texts that travel under the name of 'scripture' or 'sacred' text. It aims to open up the discussion of sacred texts by crossing traditional boundaries, bringing different disciplinary tools to the process of analysis, and opening up a sustained dialogue between and among scholars and others who are interested in religion, textuality, media and mediation and the contemporary world. <a href="https://journal.equinoxpub.com/POST/about">Learn more about this journal.</a></p> https://journal.equinoxpub.com/POST/article/view/18219 Editorial Introduction 2020-09-24T18:13:09+00:00 Bradford A. Anderson brad.anderson@dcu.ie 2021-03-03T00:00:00+00:00 Copyright (c) 2020 Equinox Publishing Ltd. https://journal.equinoxpub.com/POST/article/view/17903 Mobilizing the Social Power of Iconic and Performative Texts for Justice and Reform 2020-07-01T13:34:02+00:00 James W. Watts jwwatts@syr.edu <p>In the ten years of its existence, SCRIPT has succeeded in promoting and publishing an increasing variety of scholarship on iconic and performative texts. Culturally specific studies have provided the basis for comparative theorizing about the phenomena. This body of scholarship has put us in a better position to analyze current events involving iconic books and performative texts. It can also enable us to make creative suggestions for strengthening movements for justice and social reform by ritualizing iconic and performative texts. Here, I provide three examples of how to employ SCRIPT research to strengthen contemporary movements for social and environmental justice: a short-term episodic intervention, a medium-term structural rectification, and a long-term cultural innovation.</p> 2021-03-03T00:00:00+00:00 Copyright (c) 2020 Equinox Publishing Ltd. https://journal.equinoxpub.com/POST/article/view/18250 Eve as Cyborg 2020-09-30T16:35:04+00:00 Colleen M. Conway colleen.conway@shu.edu <p>The essay argues that the figure of the female cyborg introduced by Donna Haraway has yet to live up to its post-gender emancipatory promise. Both Haraway and Jack Halberstam contrast the female cyborg with the biblical Eve and her mythic origins in the garden of Eden. I argue that the figure of Eve is actually an ancient precursor to the female cyborg. Even more than the Greek myth of Pygmalion, the Eden myth shares common elements with later stories of man-made women. Like them, Eve was made to satisfy male desire, but then followed her own desires. Like later stories of female cyborgs, the representation of Eve reflects both male desire and male fear. After analyzing both Ovid’s Pygmalion and Genesis 2-3, I trace common elements through the nineteenth century science fiction novel L’Eve future and the twenty-first century film Ex Machina. Like Eve, the female cyborgs in these works are built in a garden and their “emancipation” occurs only within the confines of androcentric heteronormative gender patterns.</p> 2021-03-03T00:00:00+00:00 Copyright (c) 2020 Equinox Publishing Ltd. https://journal.equinoxpub.com/POST/article/view/18259 “Ain’t Nobody Gone Take It from You!” 2020-10-02T19:57:20+00:00 Fiona C. Black fblack@mta.ca <p>Dance, in both its historical formulations during the slave trade and its contemporary manifestations in carnival celebrations, has enormous significance for numerous Caribbean cultures. Using some biblical texts to think with (2 Sam 6: 14; Song 6: 13), this paper explores the historical and contemporary event of Junkanoo as a reflection of Bahamian culture and its interaction with colonialism and contemporary tourism. Junkanoo is not explicitly biblical or religious, though it does show the marks and tussles of colonization and hence Christianization. The biblical moments of movement and resistance considered here frame dance in various and interesting ways—as the vehicle for emotional expression, as liberation, as licensed revolt, as the tool of empire—allowing for exploration of dance as a multi-valent, political act, as much as a powerful reflection of affect.</p> 2021-03-03T00:00:00+00:00 Copyright (c) 2020 Equinox Publishing Ltd. https://journal.equinoxpub.com/POST/article/view/17563 Ehud, Stigma, and the Management of Spoiled Identity 2020-04-01T08:53:46+00:00 David J. Chalcraft D.J.Chalcraft@ljmu.ac.uk <p>The story of Ehud, and his assassination of the Moabite King Eglon (Judges 3: 12–30), continues to entertain readers and hearers alike. The story also perplexes, largely on moral grounds. This paper utilises the sociology of Erving Goffman and insights from disability studies to re-tell the story of Ehud as someone who is doubly stigmatised. That is, Ehud not only carriers the stigma of left-handedness but is also disabled; moreover, the Moabite King is also disabled/immobile because of his obesity. I take the biblical text as conveying that Ehud is left-handed by necessity given the impairment in his right hand/arm. Adopting a social model of disability, I apply Goffman’s account of the management of spoiled identity developed in his book Stigma (1963) to explore how the narrative depicts various dimensions of social stigma and Ehud’s moral career as he attempts to manage his spoiled identity and the degrees of societal acceptance and rejection he experiences in different contexts. The key arguments of Goffman are summarised before I apply central concepts from Goffman to the biblical story. Concepts include “moral career,” the distinction between social, personal and ego (self-) identity, and the key distinction between a person with a stigma being discredited (because the impairment is obvious and seen by all), on the one hand, or bearing a stigma that is discreditable (that is, it would discredit them if found out), on the other.</p> 2021-03-03T00:00:00+00:00 Copyright (c) 2020 Equinox Publishing Ltd. https://journal.equinoxpub.com/POST/article/view/18177 An Ass in a Lion’s Skin 2020-09-18T18:29:38+00:00 Sébastien Doane sebastien.doane@ftsr.ulaval.ca <p>The book of Genesis gives two opposing portraits of Judah’s masculinity. On the one hand, he is shown as the leader of Jacob’s sons, and on the other he is ridiculed by his daughter-in-law. Is Judah an ass in a lion’s skin? This article explores Judah’s antithetical masculinities as examples of the inherently unstable nature of gender construction. Although Judah is only the fourth son of Jacob, he is expressly depicted in Genesis as assuming a leadership role in relation to his brothers, including speaking up against killing Joseph, negotiating with his father regarding Joseph’s demand that Benjamin be brought down to Egypt, and pleading with Joseph for Benjamin’s life. In Genesis 49: 8–12, Judah receives the most favourable treatment of all Jacob’s sons. The blessing of Jacob from his deathbed portrays Judah’s hegemonic masculinity at its finest. However, in Genesis 38, Judah’s masculine performance far from ideal biblical masculinity. Not only does Judah lack persuasiveness when he accuses Tamar, but she is able to persuade him that his own actions were wrong. Judah is deceived, specifically deceived by a woman. The shame he wants to attribute to Tamar rebounds on himself. In the end, he acknowledges himself to be less righteous than Tamar (Gen 38: 26). The episode as a whole reveals that Judah does not have control of his family. Genesis 38 clearly subverts Judah’s hegemonic masculinity. What are the rhetorical effects of this subversion of Judah’s hegemonic gender construction? Jacob speaks of Judah as a lion, but in Genesis 38 he seems to have been portrayed in the role of the ass.</p> 2021-03-03T00:00:00+00:00 Copyright (c) 2020 Equinox Publishing Ltd.