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Introductory essays describe the interdisciplinary and comparative approach and explain how it overcomes methodological dead ends and advances the study of war in ancient and modern contexts. Following essays, written by scholars from various disciplines, explore specific cases drawn from a wide variety of ancient and modern settings and consider archaeological, anthropological, physical, and psychological realities, as well as biblical, literary, artistic, and iconographic representations of displacement and exile.
This book examines the impact place and displacement can have on the composition and interpretation of Western art music, using as its primary objects of study the work of István Anhalt (1919–2012) György Kurtág (1926–) and Sándor Veress (1907–92). Although all three composers are of Hungarian origin, their careers followed radically different paths. Whereas, Kurtág remained in Budapest for most of his career, Anhalt and Veress left: the former in 1946 and immigrated to Canada and the latter in 1948 and settled in Switzerland. All three composers have had an extraordinary impact in the cultural environments within which their work took place. In the first section, “Place and Displacement,” contributors examine what happens when composers and their music migrate in the culturally complex world of the late twentieth century. The past one hundred years produced record numbers of refugees, and this fact is now beginning to resonate in the study of music. As Anhalt himself forcefully asserts, however, not all composers who emigrate should be understood as exiles. The first chapters of this book explore some of the problems and questions surrounding this issue. Essays in the second section, “Perspectives on Reception, Analysis, and Interpretation,” look at how performing acts of interpretation on music implies bringing the time, place, and identity of the musician, the analyst, and the teacher to bear on the object of study. Like Kodály, Kurtág considers his work to be “naturally” embedded in Hungarian culture, but he is also a quintessentially European artist. Much of his production—he is one of the twentieth century’s most prolific composers of vocal music—involves the setting of Hungarian texts, but in the late 1970s his cultural horizons expanded to include texts in Russian, German, French, English, and ancient Greek. The book explores how musicologists’ divergent cultural perspectives impinge on the interpretation of this work. The final section, “The Presence of the Past and Memory in Contemporary Music,” examines the impact time and memory can have on notions of place and identity in music. All living art taps into the personal and collective past in one way or another. The final four chapters look at various aspects of this relationship.
What happens to a community when it is destroyed by a foreign power? How do survivors face the future? Is it all over for them? In Constructing Exile, John Hill investigates how the people of ancient Judah survived invasion and destruction at the hands of the Babylonians. Although some of them were deported to Babylon, they created a new identity for themselves, and then, once they were back in Judah, they tried to recreate the past. Hill examines the way that later generations used the experience of the Babylonian invasion to interpret the crises of their own times. He shows how by the time of Jesus exile had become an image Judaism used to understand itself and its story.
Oft-referenced and frequently set to music, Psalm 137 - which begins "By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion" - has become something of a cultural touchstone for music and Christianity across the Atlantic world. It has been a top single more than once in the 20th century, from Don McLean's haunting Anglo-American folk cover to Boney M's West Indian disco mix. In Song of Exile, David Stowe uses a wide-ranging, interdisciplinary approach that combines personal interviews, historical overview, and textual analysis to demonstrate the psalm's enduring place in popular culture. The line that begins Psalm 137 - one of the most lyrical of the Hebrew Bible - has been used since its genesis to evoke the grief and protest of exiled, displaced, or marginalized communities. Despite the psalm's popularity, little has been written about its reception during the more than 2,500 years since the Babylonian exile. Stowe locates its use in the American Revolution and the Civil Rights movement, and internationally by anti-colonial Jamaican Rastafari and immigrants from Ireland, Korea, and Cuba. He studies musical references ranging from the Melodians' Rivers of Babylon to the score in Kazakh film Tulpan. Stowe concludes by exploring the presence and absence in modern culture of the often-ignored final words: "Happy shall he be, that taketh and dasheth thy little ones against the stones." Usually excised from liturgy and forgotten by scholars, Stowe finds these words echoed in modern occurrences of genocide and ethnic cleansing, and more generally in the culture of vengeance that has existed in North America from the earliest conflicts with Native Americans. Based on numerous interviews with musicians, theologians, and writers, Stowe reconstructs the rich and varied reception history of this widely used, yet mysterious, text.
During the Second Temple period, the Babylonian exile came to signify not only the deportations and forced migrations of the sixth century B.C.E., but also a variety of other alienations. These alienations included political disenfranchisement, dissatisfaction with the status quo, and an existential alienation from God. Enduring Exile charts the transformation of exile from a historically bound and geographically constrained concept into a symbol for physical, mental, and spiritual distress. Beginning with preexilic materials, Halvorson-Taylor locates antecedents for the metaphorization of exile in the articulation of exile as treaty curse; continuing through the early postexilic period, she recovers an evolving concept of exile within the intricate redaction of Jeremiah’s Book of Consolation (Jeremiah 30–31), Second and Third Isaiah (Isaiah 40–66), and First Zechariah (Zechariah 1–8). The formation of these works illustrates the thought, description, and exegesis that fostered the use of exile as a metaphor for problems that could not be resolved by a return to the land— and gave rise to a powerful trope within Judaism and Christianity: the motif of the “enduring exile.”
For over three hundred years during the Heian period (794–1185), execution was customarily abolished in favor of banishment. During the same period, exile emerged widely as a concern within literature and legend, in poetry and diaries, and in the cultic imagination, as expressed in oracles and revelations. While exile was thus one sanction available to the state, it was also something more: a powerful trope through which members of court society imagined the banishment of gods and heavenly beings, of legendary and literary characters, and of historical figures, some transformed into spirits. This compelling and well-researched volume is the first in English to explore the rich resonance of exile in the cultural life of the Japanese court. Rejecting the notion that such narratives merely reflect a timeless literary archetype, Jonathan Stockdale shows instead that in every case narratives of exile emerged from particular historical circumstances—moments in which elites in the capital sought to reveal and to re-imagine their world and the circulation of power within it. By exploring the relationship of banishment to the structures of inclusion and exclusion upon which Heian court society rested, Stockdale moves beyond the historiographical discussion of "center and margin" to offer instead a theory of exile itself. Stockdale's arguments are situated in astute and careful readings of Heian sources. His analysis of a literary narrative, the Tale of the Bamboo Cutter, for example, shows how Kaguyahime's exile from the "Capital of the Moon" to earth implicitly portrays the world of the Heian court as a polluted periphery. His exploration of one of the most well-known historical instances of banishment, that of Sugawara Michizane, illustrates how the political sanction of exile could be met with a religious rejoinder through which an exiled noble is reinstated in divine form, first as a vengeful spirit and then as a deity worshipped at the highest levels of court society. Imagining Exile in Heian Japan is a model of interdisciplinary scholarship that will appeal to anyone interested in the interwoven connections among the literature, politics, law, and religion of early and classical Japan.
Proposes a theoretically rich treatment of temporality within exile as “gerundive” time. This book is a philosophical reflection on the experience of time from within exile. Its focus on temporality is unique, as most literature on exile focuses on the experience of space, as exile involves dislocation, and moods of nostalgia and utopia. Marcia Sá Cavalcante Schuback proposes that in exile, time is experienced neither as longing back to the lost past nor as wanting a future to come but rather as a present without anchors or supports. She articulates this present as a “gerundive” mode, in which the one who is in exile discovers herself simply being, exposed to the uncanny experience of having lost the past and not having a future. To explore this, she establishes a conversation among three authors whose work has exemplified this sense of gerundive time: the German philosopher Martin Heidegger, the French writer and essayist Maurice Blanchot, and the Brazilian writer Clarice Lispector. The book does not aim to discuss how these authors understand the relation between time and exile, but presents a conversation with them in relation to this question that reflects new aspects in their work. Attempting to think and express this difficult sense of time from within exile, Time in Exile engages with the relation between thought and language, and between philosophy and literature. Departing from concrete existential questions, Sá Cavalcante Schuback reveals new philosophical and theoretical modes to understand what it means to be present in times of exile. “It is very rare that one can find in philosophy a book that has been written neither as a commentary, nor as an exegesis of the authors in question, but rather as an original and thought-provoking reflection in which the author is the main philosophical voice in the book.” — María del Rosario Acosta López, coeditor of Aesthetic Reason and Imaginative Freedom: Fredrich Schiller and Philosophy
In ancient Israelite literature Exile is seen as a central turning point within the course of the history of Israel. In these texts “the Exile” is a central ideological concept. It serves to explain the destruction of the monarchic polities and the social and economic disasters associated with them in terms that YHWH punished Israel/Judah for having abandoned his ways. As it develops an image of an unjust Israel, it creates one of a just deity. But YHWH is not only imagined as just, but also as loving and forgiving, for the exile is presented as a transitory state: Exile is deeply intertwined with its discursive counterpart, the certain “Return”. As the Exile comes to be understood as a necessary purification or preparation for a renewal of YHWH’s proper relationship with Israel, the seemingly unpleasant Exilic conditions begin, discursively, to shape an image of YHWH as loving Israel and teaching it. Exile is dystopia, but one that carries in itself all the seeds of utopia. The concept of Exile continued to exercise an important influence in the discourses of Israel in the Second Temple period, and was eventually influential in the production of eschatological visions.
The Babylonian exile in 587-539 BCE is frequently presented as the main explanatory factor for the religious and literary developments found in the Hebrew Bible. The sheer number of both ‘historical’ and narrative exiles confirms that the theme of exile is of great importance in the Hebrew Bible. However, one does not do justice to the topic by restricting it to the exile in Babylon after 587 BCE. In recent years, it has become clear that there are several discrepancies between biblical and extra-biblical sources on invasion and deportation in Palestine in the 1st millennium BCE. Such discrepancy confirms that the theme of exile in the Hebrew Bible should not be viewed as an echo of a single traumatic historical event, but rather as a literary motif that is repeatedly reworked by biblical authors. Myths of Exile challenges the traditional understanding of 'the Exile' as a monolithic historical reality and instead provides a critical and comparative assessment of motifs of estrangement and belonging in the Hebrew Bible and related literature. Using selected texts as case studies, this book demonstrates how tales of exile and return can be described as a common formative narrative in the literature of the ancient Near East, a narrative that has been interpreted and used in various ways depending on the needs and cultural contexts of the interpreting community. Myths of Exile is a critical study which forms the basis for a fresh understanding of these exile myths as identity-building literary phenomena.