Introductory essays describe the interdisciplinary and comparative approach and explain how it overcomes methodological dead ends and advances the study of war in ancient and modern contexts. Following essays, written by scholars from various disciplines, explore specific cases drawn from a wide variety of ancient and modern settings and consider archaeological, anthropological, physical, and psychological realities, as well as biblical, literary, artistic, and iconographic representations of displacement and exile.
Oft-referenced and frequently set to music, Psalm 137 - which begins "By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion" - has become something of a cultural touchstone for music and Christianity across the Atlantic world. It has been a top single more than once in the 20th century, from Don McLean's haunting Anglo-American folk cover to Boney M's West Indian disco mix. In Song of Exile, David Stowe uses a wide-ranging, interdisciplinary approach that combines personal interviews, historical overview, and textual analysis to demonstrate the psalm's enduring place in popular culture. The line that begins Psalm 137 - one of the most lyrical of the Hebrew Bible - has been used since its genesis to evoke the grief and protest of exiled, displaced, or marginalized communities. Despite the psalm's popularity, little has been written about its reception during the more than 2,500 years since the Babylonian exile. Stowe locates its use in the American Revolution and the Civil Rights movement, and internationally by anti-colonial Jamaican Rastafari and immigrants from Ireland, Korea, and Cuba. He studies musical references ranging from the Melodians' Rivers of Babylon to the score in Kazakh film Tulpan. Stowe concludes by exploring the presence and absence in modern culture of the often-ignored final words: "Happy shall he be, that taketh and dasheth thy little ones against the stones." Usually excised from liturgy and forgotten by scholars, Stowe finds these words echoed in modern occurrences of genocide and ethnic cleansing, and more generally in the culture of vengeance that has existed in North America from the earliest conflicts with Native Americans. Based on numerous interviews with musicians, theologians, and writers, Stowe reconstructs the rich and varied reception history of this widely used, yet mysterious, text.
This book examines the impact place and displacement can have on the composition and interpretation of Western art music, using as its primary objects of study the work of István Anhalt (1919–2012) György Kurtág (1926–) and Sándor Veress (1907–92). Although all three composers are of Hungarian origin, their careers followed radically different paths. Whereas, Kurtág remained in Budapest for most of his career, Anhalt and Veress left: the former in 1946 and immigrated to Canada and the latter in 1948 and settled in Switzerland. All three composers have had an extraordinary impact in the cultural environments within which their work took place. In the first section, “Place and Displacement,” contributors examine what happens when composers and their music migrate in the culturally complex world of the late twentieth century. The past one hundred years produced record numbers of refugees, and this fact is now beginning to resonate in the study of music. As Anhalt himself forcefully asserts, however, not all composers who emigrate should be understood as exiles. The first chapters of this book explore some of the problems and questions surrounding this issue. Essays in the second section, “Perspectives on Reception, Analysis, and Interpretation,” look at how performing acts of interpretation on music implies bringing the time, place, and identity of the musician, the analyst, and the teacher to bear on the object of study. Like Kodály, Kurtág considers his work to be “naturally” embedded in Hungarian culture, but he is also a quintessentially European artist. Much of his production—he is one of the twentieth century’s most prolific composers of vocal music—involves the setting of Hungarian texts, but in the late 1970s his cultural horizons expanded to include texts in Russian, German, French, English, and ancient Greek. The book explores how musicologists’ divergent cultural perspectives impinge on the interpretation of this work. The final section, “The Presence of the Past and Memory in Contemporary Music,” examines the impact time and memory can have on notions of place and identity in music. All living art taps into the personal and collective past in one way or another. The final four chapters look at various aspects of this relationship.
What happens to a community when it is destroyed by a foreign power? How do survivors face the future? Is it all over for them? In Constructing Exile, John Hill investigates how the people of ancient Judah survived invasion and destruction at the hands of the Babylonians. Although some of them were deported to Babylon, they created a new identity for themselves, and then, once they were back in Judah, they tried to recreate the past. Hill examines the way that later generations used the experience of the Babylonian invasion to interpret the crises of their own times. He shows how by the time of Jesus exile had become an image Judaism used to understand itself and its story.
This book addresses a fundamental reality of our time: the great movement of people, for a variety of reasons, within and across countries and cultures. From this migration has emerged the 'diasporic intellectual': the state of dislocation and displacement has become a vantage point for reflection and interpretation. The same is true of theological studies in general and biblical criticism in particular. In this masterly treatment, Fernando Segovia focuses on the emerging transborder biblical interpreters from the Two-Thirds World now residing and working in the West, both in the United States and in Europe, and examines their multiple identities. He also explores how this state of 'in-betweenness' and homesickness affects, influences and informs biblical interpretation.
The book of Deuteronomy has been immensely influential, not least within the Old Testament itself. It is found among the most frequently occurring manuscripts at Qumran, and it is also one of the Old Testament books most frequently cited in the New Testament. In Matthew s Gospel, it is Deuteronomy which Jesus cites in rejecting temptation. As with so many other Old Testament books, study of Deuteronomy is in the midst of significant change. While for many scholars the Documentary Hypothesis has continued to provide a framework for interpretation, it no longer commands the status of an "assured result." Instead, fresh approaches have been developed, engendering their own debates. Recent as well as older study affirms that Deuteronomy represents a distinctive theological voice within the Pentateuch. While many excellent resources are now available, these tend to be either introductory or highly specialized; there are fewer that bridge the gap between the two. This volume contributes to that need: it assumes some foundational knowledge and guides readers through current issues and approaches. Here is evangelical scholarship that will inform, stimulate and reward diligent teachers and preachers of the Old Testament. The contributors are Paul Barker, Jenny Corcoran, David G. Firth, Greg Goswell, Christian Hofreiter, Philip S. Johnston, James Robson, Csilla Saysell, Heath Thomas, Peter T. Vogt and John H. Walton.
Draws together the most important articles on Jesus and the gospels by distinguished scholar and author N. T. Wright. Interpreting Jesus puts into one volume the development of Wright's thought on this subject over the last three decades. It collects the essays—written for a wide variety of publications—that led up to his groundbreaking book Jesus and the Victory of God, and it includes such wide-ranging themes as: The Biblical Roots of Trinitarian Theology The History, Eschatology, and New Creation in John's Gospel The Evangelists' Use of the Old Testament as an Implicit Overarching Narrative And The Public Meaning of the Gospels Interpreting Jesus displays Wright's engaging prose, his courage to go where few have gone, and his joy to bridge the work of the academy and the church. Here is a rich feast for any serious student of the Bible, especially of the New Testament. Detailed, incisive, and exquisitely nuanced exegesis, this collection will reward you with a clearer, deeper, and more informed appreciation of the recent advances in Jesus studies, and their significance for theology today. Many of the included studies have never been published or were made available only in hard-to-find larger volumes and journals.
Proposes a theoretically rich treatment of temporality within exile as “gerundive” time. This book is a philosophical reflection on the experience of time from within exile. Its focus on temporality is unique, as most literature on exile focuses on the experience of space, as exile involves dislocation, and moods of nostalgia and utopia. Marcia Sá Cavalcante Schuback proposes that in exile, time is experienced neither as longing back to the lost past nor as wanting a future to come but rather as a present without anchors or supports. She articulates this present as a “gerundive” mode, in which the one who is in exile discovers herself simply being, exposed to the uncanny experience of having lost the past and not having a future. To explore this, she establishes a conversation among three authors whose work has exemplified this sense of gerundive time: the German philosopher Martin Heidegger, the French writer and essayist Maurice Blanchot, and the Brazilian writer Clarice Lispector. The book does not aim to discuss how these authors understand the relation between time and exile, but presents a conversation with them in relation to this question that reflects new aspects in their work. Attempting to think and express this difficult sense of time from within exile, Time in Exile engages with the relation between thought and language, and between philosophy and literature. Departing from concrete existential questions, Sá Cavalcante Schuback reveals new philosophical and theoretical modes to understand what it means to be present in times of exile. “It is very rare that one can find in philosophy a book that has been written neither as a commentary, nor as an exegesis of the authors in question, but rather as an original and thought-provoking reflection in which the author is the main philosophical voice in the book.” — María del Rosario Acosta López, coeditor of Aesthetic Reason and Imaginative Freedom: Fredrich Schiller and Philosophy
The contributors of this volume demonstrate how a highly developed expertise in interpreting Biblical and cognate literature is a substantial part of the overall discourse on the historical, literary, social, political, and religious dimensions of trauma in past and present. This idea is based on the assumption that trauma is not only a modern concept which derives from 20th century psychiatry: It is an ancient phenomenon already which predates modern discourses. Trauma studies will thus profit from how Theology - specifically Biblical exegesis - and the Humanities deal with trauma in terms of religion, history, sociology, and politics.
