This book explores the strange persistence of 'blasphemy' in modern secular democracies by examining how accepted and prohibited ways of talking and thinking about the Bible and religion have changed over time. In a series of wide-ranging studies engaging disciplines such as politics, literature and visual theory, Yvonne Sherwood brings the Bible into dialogue with a host of interlocutors including John Locke, John Donne and the 9/11 hijackers, as well as artists such as Sarah Lucas and René Magritte. Questions addressed include: • What is the origin of the common belief that the Bible, as opposed to the Qur'an, underpins liberal democratic values? • What kind of artworks does the biblical God specialise in? • If pre-modern Jewish, Christian and Islamic responses to scripture can be more 'critical' than contemporary speech about religion, how does this affect our understanding of secularity, modernity and critique?
This book considers the steady presence of blasphemy in our world today, even as society grows increasingly secular. Discussing some of the most famous cases of blasphemy, it looks at factors such as
This book charts the mutations of a particularly buoyant sliver of Bible text - the book of Jonah - as it latches onto Christian and Jewish motifs and anxieties, passes through highbrow and lowbrow culture, and finally becomes something of a scavenger among the ruins, as, in its most resourceful move to date, it begins to live off the demise of faith. Written at a point between Cultural Studies, Jewish Studies, Literature and Art, this book is concerned with those versions of the biblical that escape proper disciplinary boundaries: it shifts the focus from 'Mainstream' to 'Backwater' interpretation. It is less a navigation of interpretative history and more an interrogation of larger political/cultural issues: anti-Judaism in Biblical Studies, the secularisation of the Bible, and the projection of the Bible as credulous ingenu, naive Other to our savvy post-Enlightenment selves.
This book charts the mutations of a particularly buoyant sliver of Bible text - the book of Jonah - as it latches onto Christian and Jewish motifs and anxieties, passes through highbrow and lowbrow culture, and finally becomes something of a scavenger among the ruins, as, in its most resourceful move to date, it begins to live off the demise of faith. Written at a point between Cultural Studies, Jewish Studies, Literature and Art, this book is concerned with those versions of the biblical that escape proper disciplinary boundaries: it shifts the focus from 'Mainstream' to 'Backwater' interpretation. It is less a navigation of interpretative history and more an interrogation of larger political/cultural issues: anti-Judaism in Biblical Studies, the secularisation of the Bible, and the projection of the Bible as credulous ingenu, naive Other to our savvy post-Enlightenment selves.
This book explores the strange persistence of 'blasphemy' in modern secular democracies by examining how accepted and prohibited ways of talking and thinking about the Bible and religion have changed over time. In a series of wide-ranging studies engaging disciplines such as politics, literature and visual theory, Yvonne Sherwood brings the Bible into dialogue with a host of interlocutors including John Locke, John Donne and the 9/11 hijackers, as well as artists such as Sarah Lucas and René Magritte. Questions addressed include: • What is the origin of the common belief that the Bible, as opposed to the Qur'an, underpins liberal democratic values? • What kind of artworks does the biblical God specialise in? • If pre-modern Jewish, Christian and Islamic responses to scripture can be more 'critical' than contemporary speech about religion, how does this affect our understanding of secularity, modernity and critique?
The only consensus that has been reached on Hosea 1-3 is that it is a notoriously 'problematic' text. Sherwood unpicks this rather vague statement by examining the particular complexities of the text
This collection asks what it might mean to think about a seemingly oxymoronic thing: Derrida's Bible. Reading little bits of scripture alongside little bits of Derrida, the contributors invite you to
This groundbreaking book breaks with established canons and resists some of the stereotypes of feminist biblical studies. It features a wide range of contributors who showcase new methodological and t
In these proceedings of the November 2002 conference of the same name, contributors explore the contributions of the "later Derrida" to the studies of theology, biblical studies, and the philosophy of
The failure of secular modernity to deliver on its promise of progress and enlightenment leaves a void that religion is rushing to fill. Yet what kind of religious thinking and doing can be adequate t
From its decisive emergence with the French Revolution in 1789, modernity has always been a phenomenon haunted by ironies and contradictions. Radical late-eighteenth-century transformations in thought
Hegel's philosophy of religion contains an implicit political theology. When viewed in connection with his wider work on subjectivity, history and politics, this political theology is a resource for a
