Download Free The Typological Imaginary Book in PDF and EPUB Free Download. You can read online The Typological Imaginary and write the review.

In this book Kathleen Biddick investigates the fate of the enduring timelines fabricated by early Christians to distinguish themselves from their Jewish neighbors. Ranging widely across the history of text, technology, and book art, she relates three interwoven stories: the Christians' translation of circumcision into a graphic problem of writing on the heart; the temporal construction of Christian notions of history based on the binary supersession of an Old Testament past by the present of a new dispensation; and the traumatic repetition of the graphic cutting off of Christians from Jews in academic history and anthropology. Moving beyond well-studied theological polemics, Biddick works from the relatively unfamiliar vantage point of the graphic technologies used in medieval and early modern texts and print sources, from maps to trial transcripts to universal histories. Addressing current concerns about the posthuman condition by linking them to a deeper genealogy of disembodiment at the technological heart of imaginary fantasies, she argues that such supersessionary practices extend to contemporary psychoanalytic and postcolonial texts, even as they propose alternative ways of thinking about memory and temporality. Crucial to Biddick's study is the ethical challenge of unbinding the typological imaginary, not in order to disavow theological difference but rather to open up the encounter between Christian and Jew to less deadening teleological readings. Making a significant contribution to the large debate over the transition from "scriptural" to "scientific" culture in Europe, The Typological Imaginary also succeeds in shedding light on the centrality of Jews to medieval and Enlightenment history.
This book probes occluded depictions of queerness in early English drama, ranging from medieval morality plays to Reformation interludes and beyond.
This book explores the Bible as a political document in seventeenth-century England, revealing how it provided a key language of political debate.
Political theology is a distinctly modern problem, one that takes shape in some of the most important theoretical writings of the twentieth and twenty-first centuries. But its origins stem from the early modern period, in medieval iconographies of sacred kinship and the critique of traditional sovereignty mounted by Hobbes and Spinoza. In this book, Graham Hammill and Julia Reinhard Lupton assemble established and emerging scholars in early modern studies to examine the role played by sixteenth- and seventeenth-century literature and thought in modern conceptions of political theology. Political Theology and Early Modernity explores texts by Shakespeare, Machiavelli, Milton, and others that have served as points of departure for such thinkers as Schmitt, Strauss, Benjamin, and Arendt. Written from a spectrum of positions ranging from renewed defenses of secularism to attempts to reconceive the religious character of collective life and literary experience, these essays probe moments of productive conflict, disavowal, and entanglement in politics and religion as they pass between early modern and modern scenes of thought. This stimulating collection is the first to answer not only how Renaissance and baroque literature help explain the persistence of political theology in modernity and postmodernity, but also how the reemergence of political theology as an intellectual and political problem deepens our understanding of the early modern period.--Publisher description.
In this volume, medievalist Carolyn Dinshaw offers a powerful critique of modernist temporal regimes through a revelatory exploration of queer ways of being in time as well as the potential queerness of time itself.
Despite all recent challenges to stage-oriented histories, the idea of a division between a "medieval" and a "modern" period has survived, even flourished, in academia. Periodization and Sovereignty demonstrates that this survival is no innocent affair. By examining periodization together with the two controversial categories of feudalism and secularization, Kathleen Davis exposes the relationship between the constitution of "the Middle Ages" and the history of sovereignty, slavery, and colonialism. This book's groundbreaking investigation of feudal historiography finds that the historical formation of "feudalism" mediated the theorization of sovereignty and a social contract, even as it provided a rationale for colonialism and facilitated the disavowal of slavery. Sovereignty is also at the heart of today's often violent struggles over secular and religious politics, and Davis traces the relationship between these struggles and the narrative of "secularization," which grounds itself in a period divide between a "modern" historical consciousness and a theologically entrapped "Middle Ages" incapable of history. This alignment of sovereignty, the secular, and the conceptualization of historical time, which relies essentially upon a medieval/modern divide, both underlies and regulates today's volatile debates over world politics. The problem of defining the limits of our most fundamental political concepts cannot be extricated, Davis argues, from the periodizing operations that constituted them, and that continue today to obscure the process by which "feudalism" and "secularization" govern the politics of time.
This volume contains twenty-two essays in honor of Carl R. Holladay, whose work on the interaction between early Christianity and Hellenistic Judaism has had a considerable impact on the study of the New Testament.
Offering fuller understandings of both dramatic representations and the complexities of religious culture, this collection reveals the ways in which religion and performance were inextricably linked in early modern England. Its readings extend beyond the interpretation of straightforward religious allusions and suggest new avenues for theorizing the dynamic relationship between religious representations and dramatic ones. By addressing the particular ways in which commercial drama adapted the sensory aspects of religious experience to its own symbolic systems, the volume enacts a methodological shift towards a more nuanced semiotics of theatrical performance. Covering plays by a wide range of dramatists, including Shakespeare, individual essays explore the material conditions of performance, the intricate resonances between dramatic performance and religious ceremonies, and the multiple valences of religious references in early modern plays. Additionally, Religion and Drama in Early Modern England reveals the theater's broad interpretation of post-Reformation Christian practice, as well as its engagement with the religions of Islam, Judaism and paganism.
Twenty commentaries on the Middle-English poem Pearl GLOSSATOR 9 (2015): PEARL Edited by Nicola Masciandaro & Karl Steel “Innoghe”: A Preface on Inexhaustibility – Karl Steel The Arbor and the Pearl: Encapsulating Meaning in “Spot” – William M. Storm Pearl, Fitt II – Kevin Marti Pearl, Fitt III (“more and more”) – Piotr Spyra “Pyȝt”: Ornament, Place, and Site – A Commentary on the Fourth Fitt of Pearl – Daniel C. Remein Meeting One’s Maker: The Jeweler in Fitt V of Pearl – Noelle Phillips “Mercy Schal Hyr Craftez Kyþe”: Learning to Perform Re-Deeming Readings of Materiality in Pearl – James C. Staples Fitt 7: Blysse / (Envy) – Paul Megna Pearl, Fitt VIII – Kevin Marti “Ther is no date”: The Middle English Pearl and its Work – Walter Wadiak Fitt X – More – Travis Neel Enough (Section XI) – Monika Otter Fitt XII: Ryght – Kay Miller Pearl, Fytt XIII – A. W. Strouse The Jerusalem Lamb of PEARL – Jane Beal Fitt 15 – Lesse –Tekla Bude Out, Out, Damned Spot: Mote in Pearl and the Poems of the Pearl Manuscript – Karen Bollermann Seeing John: A Commentary on the Link Word of Pearl Fitt XVII – Karen Elizabeth Gross Theoretical Lunacy: Moon, Text, and Vision in Fitt XVIII – Bruno M. Shah & Beth Sutherland Delyt and Desire: Ways of Seeing in Pearl – Anne Baden-Daintree Fitt XX – “Paye” – David Coley