The long-awaited, revised, and illustrated edition of Simon Simonse’s study of the Rainmakers of the Nilotic Sudan marks a breakthrough in anthropological thinking on African political systems. Taking his inspiration from René Girard’s theory of consensual scapegoating, the author shows that the longstanding distinction of states and stateless societies as two fundamentally different political types does not hold. Centralized and segmentary systems only differ in the relative emphasis put on the victimary role of the king as compared with that of enemy. Kings of Disaster proposes an elegant and powerful solution to the vexed problem of regicide.
DigiCat Publishing presents to you this special edition of "The King's Scapegoat" by Hamilton Drummond. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
Since its coinage in a sixteenth-century translation of Leviticus, the term "scapegoat" has become widely used. A groundbreaking search for the origins of this expression, Flesh Becomes Word traces the scapegoat to its origins in Mesopotamian ritual across centuries of typological interpretation and religious reflection, to its first informal uses in the pornographic and plague literature of the 1600s, and finally into the modern era.
Wayne Koestenbaum's first book of short fiction: a collection of whimsical, surreal, baroque, ribald, and heartbreaking fables. In his first book of short fiction--a collection of whimsical, surreal, baroque, ribald, and heartbreaking fables--Wayne Koestenbaum takes the gloom and melancholy of our own terrifying political moment and finds subversive solace by overturning the customary protocols of tale-telling. Characters and narrators wander into strange locales; the difference between action and thinking, between reality and dream, grows moot in a heightened yet burlesque manner. The activities in The Cheerful Scapegoat are a cross between a comedy of manners and a Sadean orgy. Language has its own desires: figures of speech carry an erotic charge that straddles the line between slapstick and vertigo. Punishment hangs over every dialogue--but in the fable-world of The Cheerful Scapegoat, abjection comes with an undertaste of contentment. The tchotchkes of queer culture--codes and signifiers--get scrambled together in these stories and then blown up into an improbable soufflé. Koestenbaum's fables travel in circles, slipping away from their original point and leading the reader to a paradisiacal suspension of fixed categories. Intensified sentences and curlicue narratives scheme together mesmerically to convince the reader to abandon old ways of thinking and to take on a commitment to the polymorphous, the wandering, the tangential. Koestenbaum's fables--emergency bulletins uttered in a perverse vernacular of syntactic pirouettes--alert us to the necessity of pushing language into new contortions of exactitude and ecstatic excess.
An in-depth look at the decades-long effort to escalate hostilities with Russia and what it portends for the future. Since 1945, the US has justified numerous wars, interventions, and military build-ups based on the pretext of the Russian Red Menace, even after the Soviet Union collapsed at the end of 1991 and Russia stopped being Red. In fact, the two biggest post-war American conflicts, the Korean and Vietnam wars, were not, as has been frequently claimed, about stopping Soviet aggression or even influence, but about maintaining old colonial relationships. Similarly, many lesser interventions and conflicts, such as those in Latin America, were also based upon an alleged Soviet threat, which was greatly overblown or nonexistent. And now the specter of a Russian Menace has been raised again in the wake of Donald Trump’s election. The Plot to Scapegoat Russia examines the recent proliferation of stories, usually sourced from American state actors, blaming and manipulating the threat of Russia, and the long history of which this episode is but the latest chapter. It will show readers two key things: (1) the ways in which the United States has needlessly provoked Russia, especially after the collapse of the USSR, thereby squandering hopes for peace and cooperation; and (2) how Americans have lost out from this missed opportunity, and from decades of conflicts based upon false premises. These revelations, amongst other, make The Plot to Scapegoat Russia one of the timeliest reads of 2017.
Explores the paradoxical symmetry between the divine and demonic in early Jewish mystical texts. Divine Scapegoats is a wide-ranging exploration of the parallels between the heavenly and the demonic in early Jewish apocalyptical accounts. In these materials, antagonists often mirror features of angelic figures, and even those of the Deity himself, an inverse correspondence that implies a belief that the demonic realm is maintained by imitating divine reality. Andrei A. Orlov examines the sacerdotal, messianic, and creational aspects of this mimetic imagery, focusing primarily on two texts from the Slavonic pseudepigrapha: 2 Enoch and the Apocalypse of Abraham. These two works are part of a very special cluster of Jewish apocalyptic texts that exhibit features not only of the apocalyptic worldview but also of the symbolic universe of early Jewish mysticism. The Yom Kippur ritual in the Apocalypse of Abraham, the divine light and darkness of 2 Enoch, and the similarity of mimetic motifs to later developments in the Zohar are of particular importance in Orlovs consideration.
An introduction to the Decadent writer Stanislaus Eric Stenbock for the general reader, offering morbid stories, suicidal poems, and an autobiographical essay. Described by W. B. Yeats as a “scholar, connoisseur, drunkard, poet, pervert, most charming of men,” Count Stanislaus Eric Stenbock (1860–1895) is surely the greatest exemplar of the Decadent movement of the late nineteenth century. A friend of Aubrey Beardsley, patron of the extraordinary pre-Raphaelite artist Simeon Solomon, and contemporary of Oscar Wilde, Stenbock died at the age of thirty-six as a result of his addiction to opium and his alcoholism, having published just three slim volumes of suicidal poetry and one collection of morbid short stories. Stenbock was a homosexual convert to Roman Catholicism and owner of a serpent, a toad, and a dachshund called Trixie. It was said that toward the end of his life he was accompanied everywhere by a life-size wooden doll that he believed to be his son. His poems and stories are replete with queer, supernatural, mystical, and Satanic themes; original editions of his books are highly sought by collectors of recherché literature. Of Kings and Things is the first introduction to Stenbock's writing for the general reader, offering fifteen stories, eight poems and one autobiographical essay by this complex figure.
Who killed Laius? Most readers assume Oedipus did. At the play’s end, he stands convicted of murdering his father, marrying his mother, and triggering a deadly plague. With selections from a stellar assortment of critics including Walter Burkert, Terry Eagleton, Michel Foucault, René Girard, and Jean-Pierre Vernant, this book reopens the Oedipus case and lets readers judge for themselves. The Greek word for tragedy means “goat song.” Is Oedipus the goat? Helene Peet Foley calls him “the kind of leader a democracy would both love and desire to ostracize.” The Oedipus Casebook readings weigh the evidence against Oedipus, place the play in the context of Greek scapegoat rites, and explore the origins of tragedy in the festival of Dionysus. This unique critical edition includes a new translation of the play by distinguished classics scholar Wm. Blake Tyrrell and the authoritative Greek text established by H. Lloyd-Jones and N. G. Wilson.
Patricia Jones, M.A. provides help, hope and advice for how to understand what scapegoating actually is and how to prevent this form of abuse from one's own family of origin, by removing yourself as their "target" and finally finding peace in your adult years. Patricia Jones, M.A. has written this book to those who have discovered that they are the Scapegoat in their families of origin and who as grown adults are still begin scapegoated by their families. The tactics used by these families are slander, lies, blaming, ostracizing the scapegoat, and a complete lack of love and respect, among other things. These toxic methods are so toxic, that their families will even slander the scapegoat to the other relatives and friends of the scapegoat so that it infiltrates their entire extended families and friends. Finding themselves in a "no win" situation with their narcissistic family members, they are desperate to find the answers to this puzzling dilemma and are searching for peace in their lives and a way to end this toxic treatment by their own families. Patricia Jones, M.A. is a therapist who was the scapegoat in her own family of origin and she has written this book as a witness and testimony revealing how she came to understand that there is an evil pattern of "narcissism and psychopathic traits" in these very dysfunctional family members that creates a favorite "golden child" sibling or siblings who can do no wrong, and the "targeted Scapegoat child" who is completely innocent and who does not deserve such unfounded and unjust treatment from their parents and siblings. As a counselor who has counseled hundreds of scapegoats from all over the world, Patricia Jones, M.A. has determined that being the Family Scapegoat has reached "epidemic levels" and is the cause of intense suffering for those "targeted" by their own families for such abuse. She reveals the "root cause" of how and why this is occurring and the solution to how to stop the generational cycle of abuse that occurs in these families. And finally Patricia Jones, M.A. gives hope and confidence to the scapegoated person, detailing how they are not the problem within their dysfunctional families, and never were. It is the narcissistic family members who are the problem and who have been "gas lighting" the scapegoat for their entire lives. She shows the scapegoat how to remove themselves permanently as the "family target" and to move on with their lives without guilt and remorse, and who then can begin to enjoy their lives and find the happiness that has eluded them for years and that they so deserve.
