By Francis Landy
This ebook is a set of Landy's reports at the poetics of the Hebrew Bible. The music of Songs is featured along the prophetic voices of Amos, Hosea and Isaiah, and essays at the Binding of Isaac and at the booklet of Ruth. all through, the emphasis all through is at the subversiveness, richness and ambiguity of the textual content, yet especially its (often enigmatic) good looks. The thread of psychoanalysis and its metaphorical method attracts jointly this assortment from one of many Bible's so much delicate and particular literary critics.
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"Ecclesiastes" is a suite of sayings by means of Qoheleth (meaning "preacher" or "teacher"), who has launched into a trip to find the aim of human life. This statement offers an interpretation of this vintage textual content.
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Additional resources for Beauty and the Enigma: And Other Essays on the Hebrew Bible (Journal for the Study of the Old Testament Supplement Series)
4. 14. This translation of hirhibum is that of the NEB; Pope, The Song of Songs, p. 564, has 'drive me wild', and Daniel Lys, Le plus beau chant de la creation [Paris: Cerf, 1968], p. 234, 'car eux m'ensorcelent'. The latter notes the mythological sea-monster Rahab as one of the background connotations of the root RHB. On the other hand, and to illustrate the richness of conflicting emotions, hirhibum may mean 'make me proud' (Ps. 3). One may wonder why, if her eyes make him proud, she should turn them away.
Unity and Diversity: Essays in the History, Literature and Religion of the Ancient Near East [Baltimore: The Johns Hopkins University Press], pp. 98-135 ). Whiteness is here associated with the pullulant insect world, with dust and heat and disintegration. We now at the threshold of contra-indications of white complexion: leprosy, weakness, bloodlessness, based on the opposition healthy fairness/unhealthy pallor. The extremes are transformationally linked: too much shelter, too much repression, is deadly.
For a recent Jungian view, see Rosemary Gordon, Dying and Creating: A Search for Meaning (London: Society for Analytical Psychology, 1978). 42. One may note the interplay of Eros and Thanatos in an Elizabethan conceit, whereby to die conventionally means to experience sexual bliss. A preoccupation with death-drive and its inextricable association with the libidinal impulse is a characteristic of Freud's later work from Beyond the Pleasure Principle onward. The 'oceanic feeling', which Freud both vividly describes and disavows, is the subject of the first chapter of Civilization and its Discontents.