By Tina Pippin
Apocalyptic Bodies lines the biblical notions of the top of the realm as represented in historical and glossy texts, paintings, song and pop culture, for instance the work of Bosch. Tina Pippin addresses the query of the way a long way we, within the past due 20th century, are able to analyzing and responding to the 'signs of the times'. it is going to allure not just to these learning faith, but in addition to these eager about interpretations of the top of the area.
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Extra info for Apocalyptic Bodies: The Biblical End of the World in Text and Image
All attempts to colonize her fail. The colonial nature of the Jezebel text and the oppression of the jezebel voice are apparent in the sadistic retelling of her death. In her book on the effects of imperialism on the reading process, Laura Donaldson calls for a “materialist-feminist semiotics” that “requires that we not only recognize how micrologies of power keep certain information systems in place while simultaneously suppressing others but also resist the temptation of an unmediated politics of meaning” (1992:120–1).
Queen of Spades. Queen of Tarts. O Jezebel, you are my queen, I exalt thee and praise thy sandals. (Robbins 1990:348) Even though in popular Western culture to be called a jezebel is not a compliment, there is a strange connection/disconnection to Jezebel. ”13 Are we happy/satisfied when Jezebel is splattered and trampled by horses and eaten by dogs? What have we done with the story of Jezebel? Is her story continually recolonized, re-opened, the brief scenes of her life re-enacted and reinscribed?
But my “self ” as a white, southern female is also a signifier. Thus, the “truth” of the sign is different for me than for my family and different for me now than in my childhood. Gilmore relates “that the technologies of autobiography are conflictual through and through, derived as they are in relation to discourses of identity and truth which are themselves held together by means of some rhetorical violence” (1994a: 45). ” For I wish to re-trace, rather than reinscribe, my white privilege. I lived in many worlds as a child: a factory town, tobacco fields in the summer, and private school.
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