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Queer Theory and the Prophetic Marriage Metaphor in the Hebrew Bible (Hardcover, New)
Loot Price: R3,879
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Queer Theory and the Prophetic Marriage Metaphor in the Hebrew Bible (Hardcover, New)
Series: BibleWorld
Expected to ship within 12 - 17 working days
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"The volume is tightly argued and well reasoned and the book is
penned with humour the book could be described - methodologically,
ideologically, and stylistically - as roguish. And quite
delightfully so." - The Bible and Critical Theory "Stuart
Macwilliam writes with charm and a high degree of epistemological
and methodological awareness."- Review of Biblical Literature Using
queer theory and building on feminist biblical scholarship, Queer
Theory and the Prophetic Marriage Metaphor in the Hebrew Bible
critiques the heteronormativity of the marriage metaphor in the
Hebrew Bible, with particular reference to Jeremiah 2-3, Hosea 1-3
and Ezekiel 16 and 23. Section I explores methodological issues
involved in the application of queer theory to biblical texts. It
surveys the development of the core idea of gender performativity
mainly in the work of Judith Butler and demonstrates how her denial
of any notion of gender identity in the pre-discursive stage of
development led to the perception, and sometimes the practice, of
queer theory as a neo-conservative academic exercise. The Section
concludes with arguments for the political potential of queer
theory. In Section II the introductory chapter 3 offers an
ideological theory of metaphor: metaphor is perceived as a means of
both justifying and reinforcing gender performativity. In chapter 4
it is argued that the addressees of the marriage metaphor are the
male citizens of Judah / Israel. This allows room for the following
chapters in the Section to speculate about the implications of a
metaphor that compares male citizens with the wife of Yhwh.
Linguistic evidence for breakdowns in gender performativity is
sought within the text of Jeremiah 1-2 by means of an anti-schema
that maps the gender structure of the metaphors vehicle in relation
to the tenor. Section III offers a methodology of camp derived from
reader-response and autobiographical criticism. A camp performance
of Ez.23.11-21 is then reported and then used as a basis for
subverting the masculinist horror of the text: it reveals Oholibah
both as the (self)-repulsive sex addict of the writers fascinated
imagination and a powerful and defiant camp-iconic figure.
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