Search

Многие достоевсковеды хорошо знают письмо, написанное Ф.М. Досто евским брату в марте 1864 года, в котором он жалуется на то, что «Свиньи цензора, там, где я глумился над всем и иногда богохульствовал для виду,—то пропущено, а где из всего этого я вывел потребность веры и Христа,—то запрещено.» Речь идёт о Записках из подполья, и исследователи, действительно, единодушны во мнении, что, не смотря на цензуру, этот текст затрагивает глубоко религиозные вопросы, и что его «мораль» состоит в необходимости самопожертвенного христианского сострадания. Однако есть и другая, более скептическая религиозная мысль, которая красной нитью проходит через вторую часть повести. Данная статья представляет теологическое прочтение Записок из подполья и анализирует мучения «подпольного человека» о веществен ном, телесном существовании наряду с теологией апостола Павла о воскре шении тела. Особое внимание в статье уделяется изображению мёртвой проститутки, заточенной в могилy, и просящей, чтобы ее выпустили снова жить, но неспо собной получить обещание на воскрешение. Подпольный человек тер рор изирует проститутку Лизу этим изображением ее возможной судьбы, но, как показывает автор данной работы, оно является психологической проекцией духовных терзаний самого подпольного человека и формирует угол зрения для прочтения всего текста. В некотором смысле, Записки структурно организованы вокруг возможного воскрешения из мрачного, полуневещественного подполья в «живую жизнь». Этот переход, однако, изобилует проблемами, не меньшей из которых является то, что он основывается на долговой зависимости, что отра жает транзакционный язык в писаниях Павла о воскрешении. Прочтение Зап исок в диалоге с Павлом (с посланиями Павла?) открывает довольно неиссле дованный аспект повести и далее показывает, как Достоевский в Записках формулирует и выражает собственные религиозные сомнения. [ABSTRACT FROM AUTHOR]

Resurrection, sacrifice and incest as motifs can be found in the literatures of all nations. Even though, they are at the root of any creation of folk cultures, in each culture, these motifs appear with special features. The aim of this paper is through examples to show how these three motifs were treated in ballads of two different literatures, the English and the Albanian. Our objective is through a comparative approach to find the similarities and differences between them. We decided to analyze at least two ballads for each of the motives, coming from English and the Albanian literatures. The concrete research has three main steps: a) to show the particular characteristics of each ballad, b) to find the meeting points between them, and, c) to find what makes them different. After all the analysis we did we concluded that there are some differences between them and that they have some specific characteristics. But the most specific thing is that although these ballads belong to two different nations and cultures they have some meeting points. The main method of research will be the comparative method because we explore songs of two different literatures. [ABSTRACT FROM AUTHOR]

Resurrection is a recurring metaphor for poetry in Robert Browning's poems, plays and correspondence. Yet his attitude towards this trope is a conflicted one, as Browning often associates resurrection with an objectionable sacrilegious quest as well as with popular forms of Victorian magic, such as spiritualism and mesmerism, which he abhorred. In spite of this seeming rejection of magic, Browning's attitude towards magicians and magic language is also characterized by fascination and attraction, triggered by the occult books he read in his father's large and eccentric library. As a result, magicians and mystical theories often appear in his work, from his first published work, "Pauline" (1833), to his last publication, Asolando (1889). One example of the importance of magic to Browning's poetics of resurrection is the poem "Transcendentalism': A Poem in Twelve Books' (1855), in which Browning conjures up a dead magician so as to compare 'musty volumes' of ineffectual prose with resuscitative poetry inspired by Jacob Boehme's mystical notions of language. Indeed, Browning's dramatic monologues in Men and Women (1855) aim to emulate the resurrecting 'brace of rhymes' uttered by the mage in 'Transcendentalism' so as to galvanise his poetry and gain popular recognition after years of derision and indifference to his work. [ABSTRACT FROM AUTHOR]

A literary criticism of the book "The Resurrection of the Son of God" by N. T. Wright is presented. It focuses on the bodily resurrection of Jesus which is the nature of Jesus' risen body and outlines the disagreement of three groups of Christian theologians concerning the nature of Jesus' risen body. One group affirmed that the risen body of Jesus was a physical body while the other group affirmed the bodily resurrection but does not speak of the risen body of Jesus as a physical body.

This article investigates the possible backgrounds in Jewish pseudepigraphical literature of the notion expressed in Mk 12.25 that the age of resurrection life will be without sexual relations. It identifies the potential for such a view to develop on the basis of presuppositions present in Jubilees of paradise as a temple, then turns to a discussion of depictions of resurrected life in Jewish literature, which normally envisages resurrected life as a transformed state corresponding to present realities and so including both sacred space and other space where marriage and sexual relations belong, often producing abundant progeny. It then considers eschatologies which envisage both an earthly messianic reign and, following it, a more heavenly state, before returning to Mark and related early Christian eschatologies. It concludes that Mk 12.25 most likely reflects notions of resurrected life being in holy space, perhaps linked to ideas of the transformed state as rendering sexual relations also unimportant. [ABSTRACT FROM PUBLISHER]

Political, cultural, and mythological readings have been recovered from Wole Soyinka's The Interpreters, leading one to conclude that these critical readings hardly exceed the bounds of the thematically obvious, avoiding as they do purely textual analysis of the same work. This article, therefore, applying Northrop Frye's concept of mythos - the structure of imagery significantly allied with the central character(s) of this work - offers a textual interpretation of the mythos of resurrection as anchored mainly in Lazarus and Noah, along with other minor characters who bear some slight relation to this mythos. It also shows how said mythos, concealed but later unearthed, ultimately announces the possibility and practicability of pure textual analysis that has been skipped with respect to The Interpreters and, by extension, the entire Nigerian literary tradition. [ABSTRACT FROM AUTHOR]

This article analyses the religious theme in two novels of Michel Houellebecq, Les Particules élémentaires and La Possibilité d'une lie. These two novels oppose the dying contemporary world with its future in a way that makes them mirrors of each other: they reinterpret Christian dogma in a technological fashion, giving birth to two opposed Utopias, the first achieving total success through a complete annihilation of the "old" humankind and the second representing the utter failure of its attempt to bring back the dead. Three theological themes are illustrated in Houellebecq's works: communion of the Saints, resurrection of the flesh, and Original Sin, whose role is central to the two novels. In La Possibilité d'une lie, it is precisely because the old humankind is resurrected as such, still in the throes of Original Sin, that the new world cannot arise. [ABSTRACT FROM AUTHOR]

An essay is presented on the role of Beatrice in Dante's life, which is purported to be Vita nuova or new life, and its relation to the New Testament of the Bible dealing with resurrection. It argues that the persona of Beatrice, which is "new life," should be heard in a Christian context particularly on the New Testament's contextualization of a new and resurrected life. The author comments on the use of language and affective imagination wherein Vita nuova came to be sonceptualized.

Whilst animation and horror are not unfamiliar bedfellows, this chapter examines how two recent films, Corpse Bride and Monster House, have breathed new life into the tradition. Although a tension exists between the nostalgic meditation upon the Gothic film, and the showcased new developments in the respective animation styles, these films generate a productive evocation of the uncanny through the clash. Within such an aesthetic of the familiar/unfamiliar, notions of the real and fantasy help guide a classification of terror, and a reflexive application of genre unites the form of the films with the central theme of remembrance. Through bringing to the surface the stresses of passionate relationships (both pursued and lost), a particular focus is placed upon gender and its fearful incarnations, especially in respect of overwhelming desires. With both films exploring the emotions of love and lost love, a key question is the function of nostalgia, and how it enables Corpse Bride and Monster House to tackle the harrowing topic of bereavement within a framework of hope. In effect, the fear of losing a loved one, and the possibility of overcoming that fear, structure a reflection on romance and rage, duty and decay, amidst the finite nature of everlasting love. [ABSTRACT FROM AUTHOR]

The article focuses on the influence of the Hellenistic culture on the concept of resurrection in the Jewish apocalyptic literature. It examines Jewish and Greek traditions about a bodily existence after death. There is much evidence for Greek influence on the biblical idea of the resurrection. This evidence strengthens the argument that the Jewish view of the resurrection is strongly influenced by Greek ideas. The adaptation of Greek ideas was not done just by a few apocalyptic eccentrics but by those persons who were given the duty to translate the "Hebrew Bible."

The article discusses resurrection in the comedies of playwright William Shakespeare. The resuscitation of Juliet following Romeo's death in "Romeo and Juliet" is compared to the character Bottom's comic portrayal of Pyramus in "A Midsummer Night's Dream." Allusions to the writings of Paul the Apostle in Bottom's speech as Pyramus are also outlined.

Examines the apocalyptic character of the Matthew 27:52-53 passage. Differences between a resuscitation and a resurrection; Observations about the apocalyptic use of the term holy city in earliest Christian literature; Gospel origins of the holy city.

Interprets free space, sacred place and intertextual geographies discussed in the book "Sketches of Slave Life," by Peter Randolph. Designations of slave states and free states; Separation of spiritual experience from secular concerns; African American writers' insistence on movement in space and its relevance to biblical concepts of conversion, resurrection and transfiguration.

Focuses on a piece of writing "With Pascin at the Dôme," a section of Hemingway's Paris memoir. Writer's meeting with the painter Jules Pascin at the Dôme; Resurrection of an event in the distant past as apparent objective of the sketch; Actual combination of details as a product of Hemingway's imagination dramatizing the most important themes of industry and idleness, poverty and affluence, innocence and corruption in this book.

Focuses on John Donne's use of the subject of resurrection as the central trope of his imagination, informing his religious as well as his amorous work. Meaning of the title of Donne's work `Resurrection, imperfect'; Ruth E. Falk's interpretation of the meaning of Donne's work.

Presents the address of the American Academy of Religion (AAR) president concerning postmodernism in literature as reflected in William Butler Yeats' poem `The Second Coming.' Transition from modernism to postmodernism; Elusive terms in the postmodernist vocabulary; Derridean concept of difference; Concept of resurrection; Sense of the ending of a civilization and its prophecy of the coming of a new destructive god.

Discusses D.H. Lawrence's combination of classical and Christian resurrection myths in the short story 'The Horse Dealer's Daughter.' Literary allusions; Transformation of analogues in 19th-century fiction to express characteristic themes; Techniques and themes that connect the story to the works Lawrence completed during the last five years of his life.

Discusses examples of how English dramatist William Shakespeare either dramatize the pattern of death and resurrection directly or strongly imply it in language and imagery. Exploration of the fantasy of self-effacement in Shakespeare's plays; Exploration of the fantasy in the context of contemporary family and social dynamics; Relation to the imaginative process of theater.