Thursday, April 24, 2025

A handful of sunrises

A sunrise begins in freshness,
In hues that can’t be named,
A wordless shout of wonders
To call forth inner joy.
The weightless effervescence of spring dew
Bejewels silent landscapes.
Darkness recedes, as inches of possibility
Slowly shapes the sky.
An unvoiced call, an eye-for-ear substitution,
An imagined roaring clamor of yellows, oranges,
And energizing shades that tingle on the tongue
Tasting like today.

As I sifted through old photos, I came upon my sunrises folder from 2022, a small treasure-trove of beauty. I gift them here as reminders of that makes our world wonderful. (All photos are May-July, 2022)









Sunday, April 20, 2025

Musical Presence and Funeral Choices

Image of a minor chord and a graveyard (at Shiloh)

Musical choices matter. They matter in life, and they matter in the rituals of death as well. They represent the person and that person’s values, choices, and (with luck) tastes. Funeral music, in particular, does more than fill silence; it becomes a final gesture, shaping how we remember and are remembered.

Having recently gone through the experience of choosing music for a family funeral myself, I know that those choices are constrained by the hosting institution, by the capacities of the performer, and by the sheer quantity of “absolutely not, I cannot abide that drivel” that abounds in the funeral industry. Tasteless pop pablum: not the way our dear-departed should be ushered out of the land of the living. We ultimately had a meaningful ceremony, though not without hitting discussions of option B, option C, and let’s circle back and see if option A will pass the minister’s attention. (It did.)

Happily, my husband and I have had our lists of “recommended listening” for our own funerals in a folder on a just-in-case basis. We should both revisit it; those lists are from long ago, and newer music has penetrated our awareness. But we did that work in uncertain times, and it’s nice to know that if a family member were faced with having to orchestrate a remembrance ceremony (heavens forfend), they’d have someplace to start.

These existence of such lists show a bit of where I come from: as a musicologist, the idea of remembering me through something musical is a meaningful offering – much like a shared favorite poem or the sunrise pictures that will give folks a taste of the additive joys of my life. So much beauty, here, have some, and savor what I loved.

But here’s what brought that admittedly macabre topic to mind: Brian Fairley in a recent Journal of Sonic Studies article talks about a 1967 Georgian funeral at which, well, I’ll let his words tell it:

As the casket of the singer and choirmaster Artem Erkomaishvili lay in state at the municipal theater in Ozurgeti, a reel-to-reel tape player clicked on:

Weep for me, brothers and friends, relatives and acquaintances. Only yesterday I talked with you, yet today my hour of death has come. And now I will go to that place where there is neither hypocrisy, sorrow, nor wailing, where the slave and master stand together. (Erkomaishvili 1980: 17)

The voice was Erkomaishvili’s own, reciting a portion of the Orthodox Christian rite for the dead.

The singer had recorded the “Rite of Mourning” for his own funeral, using multiple tape recorders to overdub the three-part chants himself. He had also requested a performance by the Gordela ensemble as well. “Hey, there’s this group I’d like to sing” is one level of control. But “Hey, I’ve made a single-occasion sound recording for my funeral? That’s a level of involvement in the end-of-life ceremony that frankly had never occurred to me. It was a moment as a reader that I stopped cold. Wait, what?

But as I’ve pondered this incident, I’ve come to realize that it’s not so strange. At Sally A’s funeral, for instance, there was a performance of an arrangement she’d written of a song she’d loved. Or wait, was it a recording of her actually singing? The details now blur, but I remember the moment of poignancy – her hands, her mind, her musical choices shaping what we, gathered to celebrate her life, had shared together in community.

And we are becoming familiar with posthumous “holographic” tours – Tupac Shakur at Coachella (2012); Roy Orbison’s In Dreams: Roy Orbison in Concert (2018); “The Bizarre World of Frank Zappa” tour (2019); and the Whitney Houston tour (2020-2022), described by its promoters as “the most awe-inspiring and immersive live theatrical concert experience ever.” Yes, “live theatrical concert” of a dead person. I get it: the music lives on.

To be honest, such holographic recreations remind me of the glitz of the whole “immersive Van Gogh” media extravaganza; digitized and mediated remembrances of something that at its core once mattered to us, now repackaged and aggrandized as commercial re-imaginings with high sales potential (and juicy ticket costs).

But these things speak together as well of the nature of music as a path to remembrance. For music lingers. It resonates in the unswept corners of memory and in the silences that follow loss. Whether it’s a congregation joining in a well-worn hymn, a voice echoing from an old reel-to-reel, or a digitally-animated likeness on stage, music allows us to summon the presence of the departed – sometimes tenderly, sometimes theatrically, but always powerfully.

In that way, funeral music is more than background. It offers structure, offering shape to grief. It is a connecting gesture, extending a hand to the mourners. And it gives voice – sometimes literally – to the dead by giving them a final say in how they wish to be remembered.

As technologies evolve and expectations shift, so too do the multitudinous ways we humans craft sonic presence in rituals of parting. What remains constant is our human need to hear, to remember, and to let music speak where words might falter.

So write your description. Compile that playlist. Or even make that recording, if you wish. Choose with care. Because someday, someone will press play – and in that moment, you’ll be present, shaping new memories.

WORKS CONSULTED

“An Evening with Whitney: The Whitney Houston Hologram Tour” [website]: https://www.whitneyhouston.com/tour/an-evening-with-whitney-the-whitney-houston-hologram-tour/

Fairley, Brian. “Singing at Your Own Funeral: Overdubbed Intimacy and the Persistence of Tradition in Soviet Georgia.” Journal of Sonic Studies 27 (2025): https://www.researchcatalogue.net/view/3509747/3509748

Special call-out to Brian Fairley, who makes a complex argument in his “Singing at Your Own Funeral” – about socio-political contexts for musical recordings in 20thc Soviet Georgia, about the role of family stories as historical documents, about the nature of the heroic and learned singer, and of the nature, importance, and sometimes impermanence of technology. You should definitely read the whole thing!

Grow, Cory. “‘Bizarre World of Frank Zappa’ Hologram Tour Not So Bizarre After All.” Rolling Stone, April 25, 2019, https://www.rollingstone.com/music/music-live-reviews/frank-zappa-hologram-tour-review-827195/

Matthews, Justin, and Angelique Nairn. “Holograms and AI can bring performers back from the dead – but will the fans keep buying it?” The Conversation, June 1, 2023, https://theconversation.com/holograms-and-ai-can-bring-performers-back-from-the-dead-but-will-the-fans-keep-buying-it-202431.

Wednesday, April 16, 2025

COVID’s Musical Humor: The Toilet Paper Chronicles

3 rolls of TP and a Coronavirus meme

Remember when the world shut down and all those folks panic-bought toilet paper like it was currency? Well, musicians noticed – and they didn’t miss a beat. (Puns in a humor column, be warned.)

Okay, okay, what follows isn’t really a chronicle. But the references to the repeated runs on toilet paper were a source of much musical and artistic mirth during COVID, with examples between March and June 2020.

First, a historical reminder of where we were (and also where we weren’t):

March 2020 marked the global realization that COVID-19 was not containable, leading to lockdowns, panic-buying (hello, toilet paper), and a sharp halt to public life. Even our local park was shuttered.

April and May brought a surreal new normal: stay-at-home orders, Zoom everything (sooooo much Zoom), homemade masks, and a flood of online creativity as people sought connection and levity amidst uncertainty.

By June 2020, public health messages competed with rising restlessness, cautious reopenings began in some places, and it became clear the pandemic wasn’t a sprint, but rather a marathon.

And in response? We did that very human thing, and drew on humor as a way of coping, critiquing, and commenting on the world around us.

Some of that humor was visual… 

Next, we have the “ridiculous uses of toilet paper” category, with freelance cellist Rylie Corral of Austin, Texas, participating in the toilet paper challenge. I know about it from the news story, but by March 20, 2020, her facebook video of the unconventional performance of Saint-Saëns “The Swan” (from The Carnival of the Animals) had already drawn 700K views and generated its own hashtag.

If unconventional or extreme uses of toilet paper aren’t quite your thing, you could go for the whole toilet paper in a comedy sketch usage, this one dated March 19, 2020. The “queue the toilet rolls” remark comes in later, after the introduction of the premise – British conductor/comedian Rainer Hersch running a rehearsal of The Coronavirus Concerto (“which is due to be canceled in two days time”) – along with its follow up about the musicians getting paid (ha ha, no). A chipper upbeat string melody together with a variety of body noises (coughing, wheezing, spitting, and so on) are the lighthearted backdrop to our view of Hersch as conductor, pelted by toilet paper rolls at the 1:16 mark…

There’s the obsessively questioning “Where’s My Toilet Paper,” the minimalist contribution by Tokyo-based Zombi-Chang (the composer Meirin’s solo project). This contribution to the “please stay home!” narrative for Japan was offered up on April 6, 2020, and – implicitly – reminds the viewer that shopping is not worth dying for.

There are also laments for the losses, such as the amusingly named “Ode de Toillette” [sic] subtitled “The Great COVID19 Walmart Toilet Paper Shortage of 2020- Bagpipe Tribute.” (Happy, this is not a smell-track, the ode/eau de pun not withstanding). This amazing (see what I did there?) tribute of “Amazing Grace” performed to the empty shelves by The New Hampshire Police Association Pipes & Drums had me in stitches back in the day – the video was posted on March 13, 2020, the date of the U.S. declaration of a national emergency for COVID.

Irreverent? Yes. Funny? Also yes, both for incongruity, and through inversion of expectation. We *would* come to need those bagpipe bands, and too many of them, alas. But a moment of levity in an empty Walmart aisle doesn’t preclude the subsequent serious mourning of real and tangible losses in those early days of the pandemic. Both responses, levity and lament, speak to the human condition.

Sometimes, toilet paper is just part of the bigger picture, as with rapper Todrick Hall’s “Mask, Gloves, Soap, Scrubs” (Apr 29, 2020), that humorous parody of the oh-so-popular “Nails, Hair, Hips, Heels” of just one year before. In Corona times, the iterations of daily life are a bit different than they were in more sociable days-of-yore:

Left, right, left, right swiping on Tinder / What was life like? I can't remember / Need my haircut, somebody shave her / Where is all of the toilet paper?

Then there’s the incorporation of toilet paper as a focus of social dismay. “We’ve all seen the pictures of people online who seem to think they’re invincible,” starts the video by the technical death metal band Cattle Decapitation from April 1, 2020. “Well you’re not. Enough is enough. Go home and stay home.” And then the angry guitars start for “Bring Back the Plague.”

Here, toilet paper isn’t part of the lyrics, but it appears repeatedly as a visual signal of the “new normal” of extraordinary times – clutched on shopping sprees, rolling down the staircase, focus of a tug-of-war, an emptied roll in the bathroom. Bits and bobs of pandemic life are like the “where’s Waldo” of the COVID first wave. Tiger King and hand sanitizer, Spring break and lying on your couch with the TV remote: can you spot these details? Life was hard.

The energy and frustration at society’s glib and sometimes ridiculous responses – fighting over toilet paper packages, people, for real??? – brings the question of a lack of social accountability into juxtaposition with the unsettling idea that the “bacillus countless” are going to have their way with us whether we choose to accept that infectious reality or not.

Bring back the plague / Delete those that threaten a whole new world
Start today / Dig their graves, they'll find a way
To rid the world of finding new tomorrows 

If you aren’t part of the solution, suggests Cattle Decapitation you ARE the problem.

And perhaps the best of the best is the use of toilet paper rolls as found instruments. So I leave you with Netherlandish "designer and maker" Ruben Stelli’s June 2020 remake of the “Popcorn Song,” originally by Gershon Kingsley from his Music to Moog By album. You’ve heard it done by electronic instruments, now hear it performed by … toilet paper and its cardboard innards, used as found sounds.

Some days I think to myself, I just can’t make this stuff up; I’m not that creative!

Looking back, I actually think that these musical moments were more than just goofy distractions. Rather, these small acts of creativity in the midst of chaos made a claim to both artist and audience’s very own personal survivability. If you can laugh, you can cope. Whether through parody, protest, or bagpipe-laced lament, these songs and memes reminded us that we weren’t alone – even if the store shelves were empty.

Hope you got some joy from these samples from the past – and maybe a reminder for your next shopping list, just in case?

Tuesday, April 15, 2025

Arriving from Wealth: Rosina von Ems

Rosina von Embs (von Ems / von Hohenems) arrived at Thalbach in 1609 and was give holy orders a year later. As the honorific “von” shows, she comes from the Vorarlberg elite, and the chronicle names her parents as Count Johann Christoff von Hohenems and Christina Gutzkopfflerin von Guellenbach.

Her parents are presumably lesser-known relatives of more politically significant individuals known to us in history. While my answers to her lineage are only provisional – I haven’t (yet) found direct documentation – the timeline and circumstances provide the following "best guess" assessment of her background.

ROSINA’S FATHER, “GRAF” JOHANN CHRISTOFF VON HOHENEMS:

On her dad’s side, the “Graf” (“Count”) label and assignment to Hohenems suggests a relationship to Markus Sittikus von Hohenems (1538–1595, Bishop of Constance who later served at the Curia in Rome), and his brother Jakob Hannibal von Hohenems (1530-1587) who served general with the troops. In 1613 -- four years after Rosina’s entry to Thalbach – Jakob Hannibal’s oldest son Kaspar was to acquire the County of Vaduz and Lordship of Schellenberg from the Counts of Sulz, while his younger son, another “Markus Sittikus” became Archbishop of Salzburg. This was a family in ascendancy, as well as one firmly in a Catholic orbit (Niederstatter vol. 2, p. 48; Neumaier 2021, pp. 57-58).

And so it proves. Count Hans Christoph, as it happens, comes from the second branch of the Hohenems family, the children of Marquard V (d. 1533) and Veronika von Neideck. These include

Mark Sittich II, Vogt of Bludenz (d. 1565) m1. Eva von Dankertschwell, m2. Eva von Thun.

“From one of these marriages came Hans Christoph von Hohenems (d. 1603) who was married to Maria von Paumgarten zu Hohenschangau (d. 1633)” (Neumaier 2021, p. 58).

Sister Amalia von Hohenems m2. Hans Christoph von Ega (after death of m1. Sixt von Scheinen zu Gammerschang) (Neumaier 2021, p. 57)

progeny: Wolf Heinrich von Ega

Since Hans is the nickname for Johannes, the Hans Christoph (in yellow) is almost certainly the same as Johannes Christoph von Hohenems, Rosina’s father, and his death in 1603 aligns with what we know of Rosina’s financial timeline. If I am right, then Rosina’s dad is Hans Christoph (shown in yellow); her grandmother is Eva von Thun (shown in green); and her great grandsire is Marquard V of Hohenems. Quite a lineage!


von Hohenems (aka "von Ems"), a partial family tree

If things were easy, we wouldn’t recognize them, of course. Hans Christoph’s legacy is complicated, and here Helmut Neumaier’s research (2021) becomes invaluable; much of my discussion here follows his lead.

Count Hans Christoph names his powerful Hohenems cousin Kaspar in his will, but actually bequeaths the majority of his estate to his nephew Wolf Heinrich von Ega (Neumaier p. 59). This, politically, would not stick; the pressures to maintain Hohenems familial control over various properties and income-streams and the lesser political prowess of the lesser branch of the family meant that Wolf Heinrich was quick to pivot to a more politically feasible solution. Wolf Heinrich cashes out much of his claim jointly with Kaspar, and in part to resolve the many family debts, and with the remainder sets various income streams in place.

One of these income streams was negotiated in the 2 December 1603 meeting between Wolf Heinrich von Ega, Count Kaspar von Hoheneg, and the 2 imperial counselors, Johann Ludwig von Ulm and Johann Werner von Raitenau:

In fulfillment of Frau von Thun's will, Ega will insure and transfer to Rosina Embserin and Amalia Loring 3,000 florins belonging to the Bludenz estate, but in such a way that if Rosinle [“little Rosina”] dies first, the money will revert to him. (Neumaier 2021, p. 60)

In other words, as Neumaier explains, among these funds that Wolf Heinrich cedes to Count Kaspar is a deed of title from the Bludenz domain which amounted to 6,000 florins. These funds actually stemmed from Frau Eva von Thun’s will. As confirmed in a Kaspar’s legal summary of January 1, 1604, these funds were directed half to Cyprian von Thun (Hans Christoph von Hohenems’ uncle), and a quarter each to Rosina von Ems – our monastic sister – and to Amalia Loring. If I am right about Rosina’s place in the family tree, Eva was her grandmother, and is settling her legacy on her through her son, and with the assistance of Wolf Heinrich.

There was a further chapter in this unfolding drama: the division of funds was contested. The family of Hans Christoph’s chamberlain, Rudolf Embser, claimed nine years of back-salary to support him and his many children. Likewise, an unsuccessful petition came from Hans Christoph’s tutor, Johann Rem, for thirty years (!) of back salary, but in that instance the income of a mill had been in the tutor’s hands as imperial agents were well aware, and therefore no payout was made to the over-greedy former tutor. Still, it’s clear that Hans Christoph would not be characterized as the most financially well-grounded, and it seems that Rosina was lucky to get her (presumed) grandmother’s inheritance at all.

ROSINA’S MOTHER, CHRISTINA GUTZKOPFFLERIN VON GUELLENBACH

Why do we remain uncertain about Rosina’s father and her place in the family tree? That’s because Hans Christoph von Hohenems is certainly known to have married – but to Maria von Paumgarten zu Hohenschangau, who outlived him by thirty years. And that is definitively NOT the identity of Rosina’s mother, who’s known to us both through monastic chronicle and convent document as Christina Gutzkopfflerin von Guellenbach (or Quellenbach, depending on source chosen).

However, I posit that Christina was, in fact, likely to have been Hans Christoph’s wife – a first wife, I would guess, making Maria von Paumgarten his second wife. It would be unsurprising if Christina were to have died early; most of the family actually seem to have had at least two marriages, and death in childbirth was all to common at the time.

Moreover, given an overlap of surnames and timeframes, I also posit that Rosina’s mom Christina might well have been a sister of the Lieutenant Colonel Hans Geizkopfler von Gailbach who served and fell at the Ottoman siege of Raab, Hungary (Brafman, pp. 47-48). (If his is the preferred spelling, as I assume, then her mother is actually Christina Geizkopfler von Gailbach.)

Unfortunately, I have been unable to locate more details of Rosina’s immediate ancestors or document her own birth, though other volumes of family history (not yet consulted) may have more details.

WHY DO WE CARE?

The question of Rosina’s parentage is interesting as a curiosity in its own right. It tells us something important about Thalbach’s reputation as a monastery that Vorarlberg nobility saw it as a home for their daughters. The deep counter-reformation Catholicism which saw the primary branch of the Counts of Hohenems into positions of churchly authority may well have trickled over into the devotions of a daughter of the secondary branch of the house. That is, her call to the monastic life may have been shaped by family dynamics and faith practices.

Also notable, however, is the impact of this noble affiliation on the circumstances of Rosina’s own entry into the convent. As we circle in towards identifying Rosina’s origins, we note three things from her convent membership file (VLA Klosterarchiv Box 16, file 225 03, Rosina Emberin):

  • First, this is a thick folder. She has inventories and Quittungen and documents and even an inventory of the cost for copying all these various documents. She is well attested, in other words. She comes with money, and with money’s many complications.

  • Second, unlike other sisters at the time, she’s not just represented by immediate family, but there are other individuals involved in her convent provisioning. And, happily for our story here, one of those individuals involved in her case is… Wolff Hainrich von Ega.

  • Third, while all these documents circle around Rosina, we have remarkably little information about her actual service at the convent. She doesn’t seem to have emerged as a convent leader, nor do we have a testament to any sort of outstanding characteristics within the community. We don’t learn about her singing, for instance; we don’t know about her busy hands with garden work; we simply see her as one of the convent sisters, listed out by age in various inventories of convent membership at the time.

In other words, Rosina doesn’t seem to be important so much for what she did as for who she was.

WHAT DID THE CONVENT SISTERS THINK ABOUT THEIR WEALTHY COMPANION?

Rosina’s entry to Thalbach is notable to our chroniclist for the luxuries that she brings with her. She brought an ornate and embroidered red cloak decorated with golden bows and cibori. It is unclear from the context whether this was literally a richly-made liturgical vestment – a cope – or whether it was used as a votive offering to adorn a statue in the monastery, perhaps even that of the well-known Schutz-Madonna. Either way, the symbolism of gifting a cloak is one of protection, suggesting on ongoing relationship of family and convent.

This ongoing pledge of commitment with cloak as symbol was reinforced by the gift of wine that came with Rosina’s entry: for “No wine was given to the convent beforehand,” says the chroniclist. Moreover, it was an important enough gift to the sisters that they continued to gossip about it a century later. The chroniclist makes the point that she heard about the wine “from our old sister.” It was evidently that proverbial “gift that keeps on giving,” in a pleasant and rewarding way! 

And yet, other than these markers of her origins, Rosina has remarkably little impact on the convent's story. We can deduce a life of devoted prayer, but we have very little knowledge of her convent life from the surviving record.

A memorable bit of handwork and a recurring gift of wine; Rosina is honored in the convent memory primarily for her status at entry and the benefits it provided her fellow sisters. Perhaps her status and the honor it brought to Thalbach also explain her position in the necrology, for the other thing we know about Rosina is that she is one of the first five sisters named in the Thalbach obit as recorded in Father Franz Ransperg’s Anthropologium of 1660.

In sum, Rosina von Ems stands out to us less for the deeds she performed within the convent than for the legacy she carried with her into it. Her entry into Thalbach brought material wealth, a noble lineage and reputation, and symbolic gifts that resonated well beyond her lifetime  echoes of which shaped the memory of her among the sisters, and secured her a lasting place in the convent’s record. Her story reminds us that monastic life was not isolated from social hierarchy, but rather deeply entwined with the currents of family, faith, and fortune.

WORKS CITED

Bregenz, Vorarlberger Landesarchiv, Kloster Thalbach Hs 9, Chronik des Klosters 1336-1629.

Bregenz, Vorarlberger Landesarchiv, Klosterarchiv Box 16, file 225.03, Convent membership files: Rosina Emberin.

Brafman, David. “The Hapsburgs’ Man in Istanbul: The (not-so-secret) life and times of Johann Joachim Prack von Asch, 16th-century imperial spy.” Getty Magazine (Spring 2021): 46-48 https://www.getty.edu/about/whatwedo/getty_magazine/gettymag_spring2021.pdf

Neumaier, Helmut. “Reichsritter Wolf Heinrich von Ega zu Ober- und Unterschüpf: Ungelöste Fragen zwischen Vorarlberg und Schüpfergrund.” Württembergisch Franken 100: (Oct 2021): 45-72. DOI: 10.53458/wfr.v100i.817. https://www.researchgate.net/publication/356744018

Niederstätter, Alois. Vorarlberg 1523 bis 1861: Auf dem Weg zum Land. Geschichte Vorarlbergs Bd 2. Innsbruck: Universitätsverlag Wagner, 2015.

Ransperg, Franz. Anthropologium seu specificatio numerica.[...] omnium Personarum, quae Parochiae Brigantinae sunt incorporatae, 1660 (Vorarlberger Landesarchiv Pharrarchiv Bregenz Handschrift 34, p. 177, item 04).

Saturday, April 5, 2025

Managing Bibliography By Spreadsheet

In this post, I walk through how I structure and use a bibliography spreadsheet—from initial setup to prioritization, assessment strategies, and color-coded insights. Whether you’re in the thick of a new project or trying to wrangle a pile of PDFs into something coherent, this system can help you turn “reading” into actual, visible progress.

INTRO: WHY SPREADSHEETS

Smart people all over academe swear by their own choice of bibliographic tools. Zotero. Mendeley, EndNote: citation managers of all sorts are lovely. But that’s not how I work anymore. EndNote once ate my close-to-a-thousand item listing, and while I got most of it back due to my back-up diligence, it took me untold frustrating hours and permanently pissed me off. And Zotero doesn’t appreciate my multiple identities. Wait, which account am I logged in on? Let’s just say, I have developed serious trust issues on the software front.

Thus, I’m a spreadsheet fan. Give me that good, old-fashioned, sortable, controllable overview of what I’m doing, hosted on my home device, and I’m a happy camper. (By which I mean happy scholar; happy camper is NEXT weekend!)

It’s true, I have to remember which spreadsheet had what. And I’m at the edges of managing all the things for the next book, with nested sheets and a sense that I’d better plan a weekend retreat to review it all. But, article-wise, there’s nothing like a spreadsheet to give you a sense of your bibliography!

If you want to focus on how to shape the content of your bibliography, I got a start at describing my technique in my post on jump-starting a scholarly article. Here I  focus on what to do once you have a sense of what you want to read. I borrowed some of my approach from Raul Pacheco-Vega, https://www.raulpacheco.org/, and if you like reading about approaches to scholarship you should absolutely subscribe to him. He’s brilliant at sharing how he works, and his approach is enough like mine that I browse there regularly to see if I want to include any recent posts in my course reading-lists.

SET UP THE SPREADSHEET (AND READING PLAN)

My approach to article bibliography starts with mechanics. I open a spreadsheet (for me, LibreOffice has been working, though I will often import to Microsoft Office for sorting purposes later in the process). I generally name the file with at least two elements: a one or two word title, plus the designation “_30day” to remind me that this is the go-fast assessment of the literature.

Sample Filenames

Why 30 days? Well, a 30-day reading challenge is bite-sized. We can typically pledge to find at least 20 minutes for 30 consecutive days, and if you take 20 minutes a day every day to say, “what is this thing and why is it important,” you can build up a picture of your area pretty quickly. So, I generally target having 30 items to start, and then add to it as I work through my reading. (To keep my momentum, I treat books as a series of chapters, and each chapter is an “item” on the spreadsheet. Your mileage may vary.)

Why a consistent naming element like _30day? Well, “Bibliography” tends to get overused elsewhere in my life – other people’s bibliography PDFs download that way; students send me bibliographies all the time for this project or that one. Nobody sends me documents labeled _30day – so searching on it in my hard drive makes it easy to find!

So now you have a named file, and a pile of bibliography to enter. I plug the full citation into the spreadsheet, one per row, properly formatted to your preferred style. I’m a modified Chicago practitioner, myself; I keep the city for book citations, for instance, since some journals require it and others prohibit it – I clean that sort of thing up at the “final proofing” stage. And I’m forever forgetting WHERE the page references come for an article in a collection so I know I’ll have to fix that later too. The point is to get the details in so you’ve got them to hand.

And then, I add the “working columns” for the bibliography. Here’s my header list from a recent project, columns A through R:

    • Author, Year, Priority, Status, Citation    
    • Author's Big Idea, Gap They Fill, Paper Sections
    • evidence 1, evidence 2, evidence 3, evidence 4
    • quote 1, quote 2, quote 3, quote 4, other,
    • cited works, abstract from elsewhere

If you want, you can download a copy of the 30day spreadsheet template .

As you can see, some columns want to be wide, and others can be relatively narrow to start. I do a mix of word-wrapping and letting the text trail off into invisibility as I go; I toggle those features regularly as I’m working with my sheet. But setting things up gets me ready to make visible progress, and I’m a sucker for having my work show-as-I-go. Yay, dopamine.

WORK THE LIST

The good news is that the first part of working the list is easy to do. This is a great end-of-day or start-of-day activity since it doesn’t require much brainpower. Take the first columns -- Author, Year, Priority, Status, Citation – and plug them in. I find author and year sorting to be useful, though technically you could manage that with the Citation column. But that lets me do Author/Date placeholders as I write, and translate easily to full citation. It works for me.

Prioritizing is up to you. I tend to choose a number from 5 (read first!) to 1 (read when I get there). I might have 7 “read first” assignments, but that just means that it will get done in that first week’s pass.

Status, on the other hand, is a management tool. I’ve evolved my own shorthand if it’s helpful:  
  • HAVE means it’s a PDF in my file-folder or notes in a file somewhere.
  • DONE means I’ve actually assessed it.
  • READ ME means I’ve assessed it and want to look at it more closely.
  • NOT means I’ve read it and it isn’t right for the current project.
  • ILL-Date means I placed an order for it.
  • FETCH means I need to head to the library to grab that thing.
  • A blank in that space means I have some bibliographic hunting to do to get on top of it; that often happens with new citations at the bottom of the list. I save those for brain-dead time.
  • AGAIN means my brain wasn’t up to it this time, and I should come back to it later.

ASSESS THE ITEM: AIC READING

AIC reading – Abstract, Introduction, and Conclusion – is the law of the land. Seriously, we diligent types were taught to read things in order. But, and here comes a HUGE caveat, reading in order is NOT the best way to get the info to stick. Instead, move around the article or book chapter with abandon.

Start by reading the abstract. What does it claim it’s going to do? Then, read the intro, or the first 3-5 paragraphs if the item lacks subheaders. What’s the context, what’s the author’s stated task, what’s the thesis? Then flip to the conclusion: what’s the big claim and why does it matter?

Generally, I recommend performing an AIC, and then going back and filling out the next couple of columns: Author's Big Idea, Gap They Fill, Paper Sections. (I’m serious about the paper sections – you don’t have to quote the author’s subtitles, but give the gist of how they divvy up their information. Your later search strategies will thank you.) Each of these is telling you where they are trying to fit into the scholarly conversation, and also what will be useful for you in situating your own work.

This is not a “read every word” process. Be one with that.

By now, you’ll have spent somewhere between ten and twenty minutes on your item. Urgent class prep pressing? Household tasks such as making and eating food on the necessary list? Then you can pause and put a pin in it. Change your HAVE to DONE or NOT or, very rarely, AGAIN – that last a designation to tell you to come back to it, perhaps with another cup of coffee in your system. This is progress, and progress is good.

READ FOR THE EVIDENCE

Once you have time, move on to a more detailed assessment. Even this may be a “skim” more than a “read deeply.” Remember my status column? Part of the overview of the literature is designed to tell me which of the items I want to prioritize for full reading. They get a “READ ME” status until I’ve got an afternoon slot or a morning coffee work-cycle to spend the hour or two to work through details. So your task at this stage is to figure out how the author is working and what they have to say, and with what tools.

For this stage, I tend to flop through once, with an eye for what each paragraph is doing. Is it documentary? Analytical? Critical-theory based? This information will presumably marry up with the article sections you’ve already reviewed, and now you’re learning more deeply what this particular contribution is offering. As I go, I make comments on the evidence used and on quotes I may want to integrate in my own writing later on.

This is a kind of quick-and-dirty notetaking, but I’m careful to put quotes around quoted material or key phrases, and to put my initials in front of material that I am saying in response to that bit of the  reading. Here’s a typical entry:

Bijsterveld says: “inalienable objects”… “they symbolize or represent owners… their power and virtues.” (Bijsterveld 2007, p. 86). Of these, Bijsterveld lists arms, jewellery, crowns and regalia, relics, precious and holy books, objects connected with princely descent, costly textiles, precious materials, names, stories, sagas, etc: CJC SAYS: all get their power from associative knowledge – the relational ties of donor/recipient, and the meaning of the context, not the object itself.
(Bijsterveld, Arnoud-Jan A. Do ut des: Gift Giving, Memoria, and Conflict Management in the Medieval Low Countries, Middeleeuwse Studies en Bronnen CIV (Hilversum: Verloren, 2007), Ch 4)

Is it eloquent prose? No. Does it get the content across in ways I can mentally access it again? You bet. This is the quick-and-dirty approach. Writing will emerge from this, but this is only a single stone in the creek-crossing of knowledge-building. You’re going to need to heft several of these before the path forward emerges – so don’t get too wrapped up in getting it perfect; focus on getting it down.

How do I note-take at this point? This is the joy of the spreadsheet. I toggle back and forth from evidence to quote and back again. Occasionally, an item will be SO rich that it actually gets a second row in my spreadsheet, but mostly those go into the READ ME and get their own “document” with notes and responses. How do I decide? Mood of the moment, really. And, I always try to leave enough keyword info in the spreadsheet that a term search will pull up the right set of articles.

And then there are last two columns. If you had to choose 3 items from this person’s bibliography, which were the most important to them? I give a shorthand citation, unless I decide that I really need to read it too in which case it gets a short-hand reference in the right-hand column AND an entry in my own citation column. And, I cut-and-paste the abstract in if it’s convenient. About a quarter to a third of items wind up with abstracts cut in.

MANAGE INFORMATION: COLORS AND COLUMNS

But wait, there’s more. One of the habits I’ve developed that keeps me moving forward quickly is the use of color. As I take notes, I find that certain things leap out as important to my own argument. Those cells become green. There are others that need more thought, or might apply, or make me mad in one of those “that’s not it” sorts of ways that helps clarify what I am thinking. Those become yellow (or if urgent, orange), because I want to come back to them and sit with the idea some more. I’ve sometimes used urgent red to get my attention the next work cycle or to track through inter-library loan until that issue is resolved. But mostly, my spreadsheet is green, yellow/orange, or void.
 
Excerpt from a Shakespeare-related 30-day bibliography for a conference paper, showing the use of color
 


The orange cell here actuall included 4 things: a quote, a cross reference to another scholar, my own thoughts, and the details of what I needed to track down for my argument.

Dr Johnson: "The meek sorrows and virtuous distress of Catherine have funished some scenes which may justly numbered among the greatest efforts of tragey. But the genius of Shakepseare comes in and goes out with Catherine. Every other part may be easily conceived, and easily written." Perhaps per Hannah Pritchard, recreated role annually at Drury lane 1752-1761. CJC: the long popularity of the play in performance speaking against its relative neglect by critics. (Rep of Sarah Siddons, helen Faucit, Ellen Terry, Ellen Tree, Charlotte Cushman. Bowers p. 29-30)  Similarly, the XXX thatcher and gooch suggest that the play is more amenable to the sounding and staged interpretations than the literary ones.

(Bowers, A. Robin. 1988.  "'The Merciful Construction of Good Women': Katherine of Aragon and Pity in Shakespeare's King Henry VIII." Christianity and Literature 37, no. 3 (1988): 29-51.)

You’ll notice the typos (ewwww, typos) and the short-hand; notes are not prose! Think of your notes as an action item, a step on the way toward actual argument. Don't polish the stone -- it just needs to get you across the stream.

A second add-on tool is the “additional column” trick. As I’m working with a given topic, it can be handy to group the bibliography in various ways. For the prayers-before-an-icon article that I’m currently researching, for instance, I added both a “category” column and a “statue” column to my spreadsheet so that I can group all the “gesture” bibliography, or take a look at everything that includes statues as a part of their evidence. These are functional project-based bibliographies, and infinitely adaptable to need.

WHY SPREADSHEETS

And that brings us to why I spreadsheet to begin with. I don’t always, to be honest. My kazoo project (ahem, yes, I have a kazoo project) is a long 20-plus page document file with notes intermingled with the citations. 

 But when I want a quick overview, or when I’m trying to ready myself for writing, I’ll often back-migrate my information into spreadsheet format. The act of adding keywords or search terms serves as part of my self-discipline, a guarantee that I really actively review my information, and don’t just look at it. You know, the way one “looks” at things.

Passing your eyes over something is different than acting on it, and the spreadsheet, with its columns and colors, retyped sub-headers and great one-liners, ensures that my reading stays active. It is true that the cut-and-paste of bibliography across projects can get clunky, since some will have an extra two columns, and others five, and others none. Making sure the data align *is* a pain in the neck.

But that’s easy work, whereas accountability is hard work. Spreadsheets for me are a tool of accountability, both to what scope I want to have myself have read, and to what speed with which I want to get this project done.

And if you find a tool that hits your dopamine receptors on a regular basis to encourage you to do more of it, in a scholarly-productive way? Keep using that tool, whatever it is! For me, it’s spreadsheets for the win!


RESOURCES

Cynthia Cyrus, "How To Jump-Start a Scholarly Article: The Plan," Silences And Sounds [Blog], March 22, 2025, https://silencesandsounds.blogspot.com/2025/03/how-to-jump-start-scholarly-article-plan.html

30-day reading list template:  https://docs.google.com/spreadsheets/d/1kx8olonvggdhQk2SK7NuP8_VzRViR39Fhzb-bqPsypI/copy

Raul Pacheco-Vega website https://www.raulpacheco.org/blog/ , and especially his resources page https://www.raulpacheco.org/resources/ 

Wednesday, April 2, 2025

Postulant, Novice, Professed: Initiation into Monastic Life (4/2/25)

Last night I used movie clips to help my students understand a bit more about monastic life. I did, in fact, use a clip from Sister Act (1992) as a set-up for a discussion of Vatican 2. (None of the seminar students are Catholic, but all of them are able to discuss cogently the differences of the staid presentation at the front end of “Hail Holy Queen” and the more animated popularized version with clapping and jazzy riffing at the back end). That example also gave me an excuse to bring in a quick discussion of Salve services.

But the core of our discussion was on vocation and discernment, and for that, I offered several longer clips, mostly from the amazingly beautiful film In This House of Brede (1975) starring Diana Rigg as Philippa Talbott. To me, the novel and the movie are compelling in different ways -- and the movie is easier to teach with! 

I recently discussed age at entry and at profession at Thalbach in Bregenz, and I shared those data with my students. But I suspect they appreciated the movie clips more since they bring the sights and sounds of monastic ceremony to life.

1. From secular space to sacred: Postulancy (7:08-16:46)

How do you leave the world you have inhabited? I love the film’s many details, but for my students chose to start with Philippa’s arrangements for her cat. This act of providing caring for the life she’s lived is important, as are the visual symbols of the luxuries she’s foregoing. But then, she arrives at Brede Abbey, a (fictional) Benedictine community, and has to ask permission to enter:

“What do you ask?” “To try my vocation as Benedictine in this house of Brede”

With her, we follow the thread of music into the heart of the convent, where the sisters are gathered in choir… 


 

2. Joining the novitiate (29:07-31:10 and 48:10-51:18)

Different stages are marked by different clothing, as people of different life backgrounds merge into a community. I showed two clips of the Reception of the Habit (aka Investiture), one for Philippa, and then one for Joanna, a much younger sister. In both clips, we hear chants from the ceremonies; Philippa’s is accompanied by the “Veni Creator Spiritus” and Joanna by “Jesu corona virginum” and “Te Deum laudamus.”

In this male celebrant-led ceremony, a Benedictine sister receives the white veil and habit that marker her as a dedicated and committed learner, and some, like Joanna, take on a new name.

“What do you ask? “The mercy of God, and the grace of the Holy Habit”

Joanna’s ceremony contrasts visually, since she dresses as the bride of Christ, but both go through the process of petition, and both have locks of hair shorn, a symbol of renunciation and transformation.

Philippa’s Investiture (29:07-31:10):


 

Joanna’s Investiture (48:10-51:18):


3. Making Solemn Vows: Profession (52:21-53:50)

Taking permanent vows is the final stage in making a lifelong commitment to religious life. As depicted here, the professed prostrates herself as prayers are said over her, a symbol of dying to the world and rising to new life within the monastic order. My students were uncomfortable with the element of prostration – it isn’t used in their personal faith practices – so it sparked a conversation about the humbling of self before God and visual signals of a choice to serve.


4. Death of the Abbess (17:02-19:56)

One more clip for today, and that is the death of the abbess. This depiction is compressed (obviously) and lacks the full gathering and prayers of the sisters at her final bedside, but the movie version uses the moment to show Philippa’s farewell and foreshadow some of the later elements of the film's story-line. And I do like the glimpse of the funeral we get. The death of an abbess is a deeply significant moment for a convent, and that this one comes so early in the story will drive some of the “afterwards” of Philippa’s personal narrative.


 

CONCLUSION

Sometimes it’s helpful to visualize (and audiate) the ceremonial events which serve as such significant markers in women’s monastic lives. These rituals – whether the quiet renunciation of the postulant, the symbolic transformation of investiture, or the solemnity of final vows – embody a deep and deliberate commitment to the religious path. 

By engaging with these depictions in In This House of Brede, I think my students were able to see (and hear) not only the formality of the monastic life, but also the personal, spiritual, and communal dimensions of vocation. Their reactions, particularly to the act of prostration, reveal how physical expressions of devotion vary across traditions, sparking valuable discussions about embodiment, humility, and dedication in religious practice.


Works Consulted

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