In an era that oscillates regularly between nihilism and the erosion of moral vision, on the one hand, and pseudo-gnostic myths of self-apotheosis on the other, the classical Christian claim of human participation in the divine as the story of the transformation of human life in its physical, moral, spiritual, and eschatological dimensions takes on radical, counter-cultural color. It is an affirmation that offers hope and meaning for humanity secured by God’s participation in human life through Jesus Christ. The Christological ground of this claim is crucial to secure and animate the argument of this text. The author performs, in this, a retrieval of the Christological vision of the unification of the divine and the human in the single subject of Jesus Christ as the programmatic center point of human transformation and participation, articulated particularly by Cyril of Alexandria. The patristic pattern is used as a lens through which to examine and assess modern iterations—those of Karl Barth and Hans Urs von Balthasar. In this, the author provides a critical updating of this vital classical theme, annotating a vision of divine life opened up for created participation that can foster hope in the climes of contemporary life.
The moment when a society must contend with a powerful language other than its own is a decisive point in its evolution. This moment is occurring now in American society". Peters explains precisely how ASL literature achieved this moment, tracing its past and predicting its future in this trailblazing study. Peters connects ASL literature to the literary canon with the archetypal notion of carnival as "the counterculture of the dominated". Throughout history carnivals have been opportunities for the "low", disenfranchised elements of society to displace their "high" counterparts. Citing the Deaf community's long tradition of "literary nights" and festivals like the Deaf Way, Peters recognizes similar forces at work in the propagation of ASL literature. The agents of this movement, Deaf artists and ASL performers -- "Tricksters", as Peters calls them -- jump between the two cultures and languages. Through this process they create a synthesis of English literary content reinterpreted in sign language, which also raises the profile of ASL as a distinct art form in itself. Peters applies her analysis to the craft's landmark works, including Douglas Bullard's novel Islay and Ben Bahan's video-recorded narrative Bird of a Different Feather. Deaf American Literature, the only work of its kind, is its own seminal moment in the emerging discipline of ASL literary criticism.
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