By Tat-Siong Liew
This quantity strikes literary feedback of the Gospels extra into the socio-political fight for liberation - fairly, into the area of colonial/postcolonial discourse. Taking heavily the concept that Mark's Gospel used to be written below Roman colonization, and utilizing "inter(con)-textuality" as an underlying conception, it examines the relation among Mark's tale of Jesus and colonial politics, in particular Mark's emphasis at the parousia and his buildings of colonial matters. It argues that Mark's apocalyptic at the same time resists and reinscribes colonial ideology when it comes to 3 subject-positions and subject-matters: authority, corporation, and gender. Juxtaposing apocalyptic and politics, dissidence and duplication in addition to chinese language American narratives and the Markan try out, this quantity seeks to reconsider the fight for social switch and the connection among cultural politics and Gospel stories.
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Extra resources for Politics of Parousia: Reading Mark Inter(Con)Textually (Biblical Interpretation Series)
In just another short step, Derrida pronounces "the absence of every empirically determinable 'subject'" (Margins, 315). Among those who refute this fatalistic dismissal of human subject and human agency, Ν. K. Miller may be the most prominent theorist (at least on this side of the Atlantic) in the effort to "resurrect" the writing subject, and restore potency to human effort. Picking up on the metaphor of "text-as-weaving," Ν. K. Miller ("Arachnalogies"; and Subject, 75-106) emphasizes figures like the spider or the woman weaver to assert the importance of subject—and that of agency— for those who are not in the position to surrender flippantiy status that is not yet recognized a n d / o r grasped.
O u r knowledge of "reality," our grasp of "context" is inseparable from "our talk, our sentences, our discourse, our texts" (Spivak, Post-Colonial Critic, 17). What postmodern sensibilities deny is not that events happen and facts exist, but that human beings can relate to them in any meaningful way without human perspectives, mediations, and representations (for example, Hayden White, Metahistory; White, Content; and White, "Real"). " For examples that assume such a mechanistic relationship between cultural productions and their social contexts, see Frances Rust's work on dance styles, or E.
Acknowledging this "impurity" of cultures should also give one the freedom to critique his or her culture of origin when necessary rather than "romanticizing" it to one's own harm (Spivak, Post-Colonial Critic, 64, 83, 93; and Abdul R. JanMohamed). This emphasis on cultural hybridity—not just for the once dominated or marginalized, but for all cultures—has been effectively used by many postmodern and postcolonial critics to resist the insatiable desire of the dominant to categorize and classify; see, for example, Gloria Anzaldua; and Renato Rosaldo.