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In this study-the third panel of a trilogy on J's tales about evil and innocence in the primeval era-the author turns to Genesis 11:1-9, another parable, this time on the so-called "Tower of Babel." The Captivity of Innocence analyzes a systemic robotization of society as a way of keeping innocence behind bars, contending that innocence never fails to offend, never fails to stir envy and hate. Here, evil is not wrought by an individual like Cain or Lamech, but by "all the earth," so that the summit of evil is now reached before Abraham's breakthrough in Genesis' following chapter. The present analysis uses a variety of techniques to interpret the biblical text, including historical-critical, literary, sociopolitical, psychoanalytic, and deconstructive approaches. The inescapable conclusion is that "Babel" is the "Kafkaesque" image of our world and is a powerful paradigm of our hubristic contrivances and constructions-"Des Tours de Babel," says Derrida-in order to deny our finiteness. Then innocence is trampled upon, but it is not overcome: Babel/Babylon's fate is to crumble down, and to bring up from her ashes the Knight of Faith.
Exile constitutes one of the most central experiences in the Bible, notably in the book of Genesis. The question has rarely been asked however as to why exile plays such an important role in the lives of Biblical characters. Biblical Portraits of Exile proposes a philosophical reading largely inspired by the philosophy of Emmanuel Levinas of the experience of exile in the book of Genesis. Focusing on the 8 central figures of exile Adam, Eve, Cain, the sons of Shem, Abraham, Rebekah, Jacob and the sons of Levy the book draws out the ethical and redemptive implications of exile and thereby paves the way for a renewed description of the human subject, one that situates ethics at its very core.
A renowned minister and business owner deals with issues of rape, molestation, disillusionment, domestic violence, and abandonment, showing that even the worst situations can be turned to good by taking authority over the victim mentality and trusting God to use all things for good.
The story of the development of the novel--its origin, rise, and increasing popularity as a narrative form in an ever-expanding range of geographic and cultural sites--is familiar and, according to the contributors to this volume, severely limited. In a far-reaching blend of comparative literature and transnational cultural studies, this collection shifts the study of the novel away from a consideration of what makes a particular narrative a novel to a consideration of how novels function and what cultural work they perform--from what novels are, to what they do. The essays in Cultural Institutions of the Novel find new ways to analyze how a genre notorious for its aesthetic unruliness has become institutionalized--defined, legitimated, and equipped with a canon. With a particular focus on the status of novels as commodities, their mediation of national cultures, and their role in transnational exchange, these pieces range from the seventeenth century to the present and examine the forms and histories of the novel in England, Nigeria, Japan, France, New Zealand, Canada, and the United States. Works by Jane Austen, Natsume Sôseki, Gabriel García Márquez, Buchi Emecheta, and Toni Morrison are among those explored as Cultural Institutions of the Novel investigates how theories of "the" novel and disputes about which narratives count as novels shape social struggles and are implicated in contests over cultural identity and authority. Contributors. Susan Z. Andrade, Lauren Berlant, Homer Brown, Michelle Burnham, James A. Fujii, Nancy Glazener, Dane Johnson, Lisa Lowe, Deidre Lynch, Jann Matlock, Dorothea von Mücke, Bridget Orr, Clifford Siskin, Katie Trumpener, William B. Warner
This edition of A Thrilling Narrative of Indian Captivity rescues from obscurity a crucially important work about the bitterly contested U.S.-Dakota War of 1862. Written by Mary Butler Renville, an Anglo woman, with the assistance of her Dakota husband, John Baptiste Renville, A Thrilling Narrative was printed only once as a book in 1863 and has not been republished since. The work details the Renvilles’ experiences as “captives” among their Dakota kin in the Upper Camp and chronicles the story of the Dakota Peace Party. Their sympathetic portrayal of those who opposed the war in 1862 combats the stereotypical view that most Dakotas supported it and illumines the injustice of their exile from Dakota homelands. From the authors’ unique perspective as an interracial couple, they paint a complex picture of race, gender, and class relations on successive midwestern frontiers. As the state of Minnesota commemorates the 150th anniversary of the Dakota War, this narrative provides fresh insights into the most controversial event in the region’s history. This annotated edition includes groundbreaking historical and literary contexts for the text and a first-time collection of extant Dakota correspondence with authorities during the war.
I was sold like property on the day of my father’s funeral. I’d thought his death would set me free, but I’d never truly understood what it meant to have all my freedoms stripped away. Until that day, I’d been living in a child’s fantasy. Then, my brother sells me, and I don’t have the luxury of being a child anymore. I’m taken to Vicente Rodríguez’s estate, to be kept as his plaything. When I’m old enough, he’ll claim my innocence. My only reprieve from my hellish reality is in the strained companionship I share with his son, Adrián. Sometimes, I think he hates me. He can be cold and cruel, his burning green eyes glowering when he looks at me. But the longer I’m trapped in his home, the more heated those looks become, and not just with hatred. They make something burn within me, too. My innocence is no longer mine to give, but Adrián might be the first one to claim it for himself. Note: Stolen Innocence is the prequel to Stealing Beauty.
The contributors to the present volume, in espousing and extending the programme of such writers as Edward Said, Benedict Anderson, Homi Bhabha, and Gayatri Spivak, lay bare the genealogy of 'writing' empire (thereby, in a sense, 'un-writing' it). One focus is the Caribbean: the retrograde agenda of francophone créolité; the re-writing of empire in the postmodern disengagement of Edouard Glissant; resistance to post-colonial allegiances, and the dissolving of binary categories, in contemporary West Indian writing. Essays on India, Malaysia, and Indonesia explore various aspects of cultural self-understanding in Asia: un-writing high culture through hybrid 'shopping' among Western styles; the use of indigenous oral forms to counter Western hegemony; romantic and anti-romantic attitudes towards empire and the land. A shift to Africa brings a study of Nadine Gordimer's feminist un-writing of Hemingway's masculinist colonising narrative, a searching analysis of Soyinka's restoration of ancient syncretic elements in his West African re-visions of Greek tragedy, changing evaluations of the validity of European civilization in André Gide's representations of Africa, and tensions of linguistic allegiance in Maghreb literature. North America, finally, is brought back into the imperial fold through discussions of Melville's re-writing of travel and captivity narratives to critique the mission of American empire, Leslie Marmon Silko's re-territorialization of expropriated Native American oral traditions, and Timothy Findley's representation of Canada's troubled involvement with its three shaping empires (French, British, American).
This work, covering a period of three centuries, analyzes the narratives of American women that were written whilst being held prisoner by a variety of different captors. It explores the relevance of such narrative for critical investigation into the construction of gender, race and nation.
The Deeds of Pope Innocent III, composed before 1210 by an anonymous member of the papal curia, provides a unique window into the activities, policies, and strategies of the papacy and the curia during one of the most important periods in the history of the medieval church.