In this graceful and compelling book, Regina Schwartz presents a powerful reading of Paradise Lost by tracing the structure of the poem to the pattern of "repeated beginnings" found in the Bible. In both works, the world order is constantly threatened by chaos. By drawing on both the Bible and the more contemporary works of, among others, Freud, Lacan, Ricoeur, Said, and Derrida, Schwartz argues that chaos does not simply threaten order, but rather, chaos inheres in order. "A brilliant study that quietly but powerfully recharacterizes many of the contexts of discussion in Milton criticism. Particularly noteworthy is Schwartz's ability to introduce advanced theoretical perspectives without ever taking the focus of attention away from the dynamics and problematics of Milton's poem."—Stanley Fish
For Regina Schwartz, we ignore the dark side of the Bible to our peril. The perplexing story of Cain and Abel is emblematic of the tenacious influence of the Bible on secular notions of identity - notions that are all too often violently exclusionary, negatively defining "us" against "them" in ethnic, religious, racial, gender, and nationalistic terms. In this compelling work of cultural and biblical criticism, Schwartz contends that it is the very concept of monotheism and its jealous demand for exclusive allegiance - to one God, one Land, one Nation or one People - that informs the model of collective identity forged in violence, against the other.
In this graceful and compelling book, Regina Schwartz presents a powerful reading of Paradise Lost by tracing the structure of the poem to the pattern of "repeated beginnings" found in the Bible. In both works, the world order is constantly threatened by chaos. By drawing on both the Bible and the more contemporary works of, among others, Freud, Lacan, Ricoeur, Said, and Derrida, Schwartz argues that chaos does not simply threaten order, but rather, chaos inheres in order. "A brilliant study that quietly but powerfully recharacterizes many of the contexts of discussion in Milton criticism. Particularly noteworthy is Schwartz's ability to introduce advanced theoretical perspectives without ever taking the focus of attention away from the dynamics and problematics of Milton's poem."—Stanley Fish
The Curse of Cain confronts the inherent ambiguities of biblical stories on many levels and, in the end, offers an alternative, inspiring reading of the Bible that is attentive to visions of plenitude rather than scarcity, and to an ethics based on generosity rather than violence. "[A] provocative and timely examination of the interrelationship of monotheism and violence. . . . This is a refreshing alternative to criticism-biblical and otherwise-that so often confuses interpretation with closure; it is an invitation to an ethic of possibility, plenitude, and generosity, a welcome antidote to violence, as important for its insights into memory, identity, and place as for its criticism of monotheism's violent legacy."—Booklist "Brilliant and provocative, this is a work demanding close attention from critics, theologians, and all those interested in the imaginative roots of common life."—Rowan Williams, Bishop of Monmouth "A stunningly important book."—Walter Brueggemann, Theology Today "Artfully rendered, endlessly provocative."—Lawrence Weschler, New Yorker
Regina Schwartz asks why love is considered a 'soft' subject, fit for the arts but not for boardrooms, parliamentary debates, and courtrooms engaged in the 'serious' discourse of justice.
The Canadian Prairies in a Changing Climate is a comprehensive and up-to-date overview of climate change in the prairie provinces, the impacts on natural resources, communities, human health and sectors of the economy, and the adaptation options that are available for alleviating adverse impacts and taking advantage of new opportunities provided by a warmer climate.
Fairies, unruly women, and vestigial Catholicism constituted a frequently invoked triad in late sixteenth- and early seventeenth-century drama which has seldom been critically examined and therefore constitutes a significant lacuna in scholarly treatments of early modern theater, including the work of Shakespeare. Fairy tradition has lost out in scholarly critical convention to the more masculine mythologies of Christianity and classical Greece and Rome, in which female deities either serve masculine gods or are themselves masculinized (i.e., Diana as a buckskinned warrior). However, the fairy tradition is every bit as significant in our critical attempts to situate early modern texts in their historical contexts as the references to classical texts and struggles associated with state-mandated religious beliefs are widely agreed to be. fairy, rebellious woman, quasi-Catholic trio repeatedly stages resistance to early modern conceptions of appropriate class and gender conduct and state-mandated religion in A Midsummer Night's Dream, The Merry Wives of Windsor, Cymbeline, All's Well That Ends Well, and Ben Jonson's The Alchemist.
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