This anthology of essays charts the work of William Blake - combining traditional and current historicist methods with a plurality of other approaches. While many essays here recuperate a radical Blake opposed to imperialism, slavery, and patriarchy, differences emerge over the nature of Blake's radicalism and his stance on revolution, violence, and democratic pluralism. Contributors may champion a Blake critical of patriarchal discourse and practice, but they remain cautious about Blake's "homocentric" solutions. In the "Blake and women" section, authors seek to reorient discussions by connecting Blake to historical issues concerning women, particularly domestic ideology and the idealised female of the conduct books.
Behind James Baldwin’s uncanny ability to evoke a nation’s crisis and potential hope lies his use of religious language to describe social and sexual transformation. The first study of its kind, James Baldwin and the Heavenly City shows that Baldwin’s novels use biblical ideas in partly but not fully secularized ways to express the possible human attainment of a new life embodying a real but undefinable holiness. Focusing on Baldwin’s six novels, along with essays, stories, and drama, the book first shows Baldwin’s method of recasting biblical and African American prophetic traditions to reveal their liberating core. It then examines several key themes: the prophet’s selection, seen in Baldwin’s debut novel, Go Tell It on the Mountain; the three linked ideas of prophetic art, the “apocalyptic body,” and the “apocalyptic city,” as presented in all his novels; and the polarity between prophecy and doubt, the subject of his last novel, Just Above My Head. This important work provides new readings of Baldwin’s novels, reassesses his once-neglected later fiction, and shows Gospel music’s centrality (with blues) in his fictional imagination.
Christopher Z. Hobson offers the first in-depth study of prophetic traditions in African American religion. Drawing on contemporary speeches, essays, sermons, reminiscences, and works of theological speculation from 1800 to 1950, he shows how African American prophets shared a belief in a ''God of the oppressed:'' a God who tested the nation's ability to move toward justice and who showed favor toward struggles for equality. The Mount of Vision also examines the conflict between the African American prophets who believed that the nation could one day be redeemed through struggle, and those who felt that its hypocrisy and malevolence lay too deep for redemption. Contrary to the prevalent view that black nationalism is the strongest African American justice tradition, Hobson argues that the reformative tradition in prophecy has been most important and constant in the struggle for equality, and has sparked a politics of prophetic integrationism spanning most of two centuries. Hobson shows too the special role of millennial teaching in sustaining hope for oppressed people and cross-fertilizing other prophecy traditions. The Mount of Vision incorporates a wide range of biblical scholarship illuminating diverse prophetic traditions as well as recent studies in politics and culture. It concludes with an examination of the meaning of African American prohecy today, in the time of the first African American presidency, the semicentenary of the civil rights movement, and the sesquicentennial of the American Civil War: paradoxical moments in which our ''post-racial'' society is still pervaded by injustice, and prophecy is not fulfilled but endures as a challenge.
A novel approach to understanding the work of James Baldwin and its transformative potential The relationship of James Baldwin’s life and work to Black religion is in many ways complex and confounding. What is he doing through his literary deployment of religious language and symbols? Despite Baldwin’s disavowal of Christianity in his youth, he continued to engage the symbols and theology of Christianity in works such as The Amen Corner, Just Above My Head, and others. With Jimmy’s Faith, author Christopher W. Hunt shows how Baldwin’s usage of those religious symbols both shifted their meaning and served as a way for him to build his own religious and spiritual vision. Engaging José Esteban Muñoz’s theory of disidentification as a queer practice of imagination and survival, Hunt demonstrates the ways in which James Baldwin disidentifies with and queers Black Christian language and theology throughout his literary corpus. Baldwin’s vision is one in which queer sexuality signifies the depth of love’s transforming possibilities, the arts serve as the (religious) medium of knitting Black community together, an agnostic and affective mysticism undermines Christian theological discourse, “androgyny” troubles the gender binary, and the Black child signifies the hope for a world made new. In disidentifying with Christian symbols, Jimmy’s Faith reveals how Baldwin imagines both religion and the world “otherwise,” offering a model of how we might do the same for our own communities and ourselves.
Against the backdrop of Britain's underground 18th and early-19th century homosexual culture, mob persecutions, and executions of homosexuals, Hobson shows how Blake's hatred of sexual and religious hypocrisy and state repression, and his revolutionary social vision, led him gradually to accept homosexuality as an integral part of human sexuality. In the process, Blake rejected the antihomosexual bias of British radical tradition, revised his idealization of aggressive male heterosexuality and his male-centered view of gender, and refined his conception of the cooperative commonwealth.
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