Religion, Feminism, and Idoloclasm identifies religious and secular feminism's common critical moment as that of idol-breaking. It reads the women's liberation movement as founded upon a philosophically and emotionally risky attempt to liberate women's consciousness from a three-fold cognitive captivity to the self-idolizing god called 'Man'; the 'God' who is a projection of his power, and the idol of the feminine called 'Woman' that the god-called-God created for 'Man'. Examining a period of feminist theory, theology, and culture from about 1965 to 2010, this book shows that secular, as well as Christian, Jewish, and post-Christian feminists drew on ancient and modern tropes of redemption from slavery to idols or false ideas as a means of overcoming the alienation of women's being from their own becoming. With an understanding of feminist theology as a pivotal contribution to the feminist criticism of culture, this original book also examines idoloclasm in feminist visual art, literature, direct action, and theory, not least that of the sexual politics of romantic love, the diet and beauty industry, sex robots, and other phenomena whose idolization of women reduces them to figures of the feminine same, experienced as a de-realization or death of the self. This book demonstrates that secular and religious feminist critical engagements with the modern trauma of dehumanization were far more closely related than is often supposed. As such, it will be vital reading for scholars in theology, religious studies, gender studies, visual studies, and philosophy.

Religion, Feminism, and Idoloclasm identifies religious and secular feminism's common critical moment as that of idol-breaking. It reads the women's liberation movement as founded upon a philosophically and emotionally risky attempt to liberate women's consciousness from a three-fold cognitive captivity to the self-idolizing god called 'Man'; the 'God' who is a projection of his power, and the idol of the feminine called 'Woman' that the god-called-God created for 'Man'. Examining a period of feminist theory, theology, and culture from about 1965 to 2010, this book shows that secular, as well as Christian, Jewish, and post-Christian feminists drew on ancient and modern tropes of redemption from slavery to idols or false ideas as a means of overcoming the alienation of women's being from their own becoming. With an understanding of feminist theology as a pivotal contribution to the feminist criticism of culture, this original book also examines idoloclasm in feminist visual art, literature, direct action, and theory, not least that of the sexual politics of romantic love, the diet and beauty industry, sex robots, and other phenomena whose idolization of women reduces them to figures of the feminine same, experienced as a de-realization or death of the self. This book demonstrates that secular and religious feminist critical engagements with the modern trauma of dehumanization were far more closely related than is often supposed. As such, it will be vital reading for scholars in theology, religious studies, gender studies, visual studies, and philosophy.

The dominant theme of post-Holocaust Jewish theology has been that of the temporary hiddenness of God, interpreted either as a divine mystery or, more commonly, as God's deferral to human freedom. But traditional Judaic obligations of female presence, together with the traditional image of the Shekhinah as a figure of God's 'femaleness' accompanying Israel into exile, seem to contradict such theologies of absence. The Female Face of God in Auschwitz, the first full-length feminist theology of the Holocaust, argues that the patriarchal bias of post-Holocaust theology becomes fully apparent only when women's experiences and priorities are brought into historical light. Building upon the published testimonies of four women imprisoned at Auschwitz-Birkenau - Olga Lengyel, Lucie Adelsberger, Bertha Ferderber-Salz and Sara Nomberg-Przytyk - it considers women's distinct experiences of the holy in relation to God's perceived presence and absence in the camps.
God's face, says Melissa Raphael, was not hidden in Auschwitz, but intimately revealed in the female face turned towards the other as a refractive image of God, especially in the moral protest made visible through material and spiritual care for the assaulted other.

The dominant theme of post-Holocaust Jewish theology has been that of the temporary hiddenness of God, interpreted either as a divine mystery or, more commonly, as God's deferral to human freedom. But traditional Judaic obligations of female presence, together with the traditional image of the Shekhinah as a figure of God's 'femaleness' accompanying Israel into exile, seem to contradict such theologies of absence. The Female Face of God in Auschwitz, the first full-length feminist theology of the Holocaust, argues that the patriarchal bias of post-Holocaust theology becomes fully apparent only when women's experiences and priorities are brought into historical light. Building upon the published testimonies of four women imprisoned at Auschwitz-Birkenau - Olga Lengyel, Lucie Adelsberger, Bertha Ferderber-Salz and Sara Nomberg-Przytyk - it considers women's distinct experiences of the holy in relation to God's perceived presence and absence in the camps.
God's face, says Melissa Raphael, was not hidden in Auschwitz, but intimately revealed in the female face turned towards the other as a refractive image of God, especially in the moral protest made visible through material and spiritual care for the assaulted other.

The widespread assumption that Jewish religious tradition is mediated through words, not pictures, has left Jewish art with no significant role to play in Jewish theology and ethics. "Judaism and the Visual Image" argues for a Jewish theology of image that, among other things, helps us re-read the creation story in Genesis 1 and to question why images of Jewish women as religious subjects appear to be doubly suppressed by the Second Commandment, when images of observant male Jews have become legitimate, even iconic, representations of Jewish holiness. Raphael further suggests that 'devout beholding' of images of the Holocaust is a corrective to post-Holocaust theologies of divine absence from suffering that are infused by a sub-theological aesthetic of the sublime. Raphael concludes by proposing that the relationship between God and Israel composes itself into a unitary dance or moving image by which each generation participates in a processive revelation that is itself the ultimate work of Jewish art.

Thealogy and Embodiment' both analyses and contributes to spiritural feminism's postmodern construction of the female body as a metaphor and medium of divine generativity. Addressing religious studies and women's studies students and all those interested in contemporary spirituality, Raphael counters reformist feminism's recurrent criticism of goddess feminism as naively essentialist and sub-political. She presents spiritual feminism as a set of religio-political manoeuvres that powerfully resist such patriarchal degradations of female/natural generativity as environmental destruction, weight-reducing diets, and menstrual taboos.

The widespread assumption that Jewish religious tradition is mediated through words, not pictures, has left Jewish art with no significant role to play in Jewish theology and ethics. Judaism and the Visual Image argues for a Jewish theology of image that, among other things, helps us re-read the creation story in Genesis 1 and to question why images of Jewish women as religious subjects appear to be doubly suppressed by the Second Commandment, when images of observant male Jews have become legitimate, even iconic, representations of Jewish holiness. Raphael further suggests that 'devout beholding' of images of the Holocaust is a corrective to post-Holocaust theologies of divine absence from suffering that are infused by a sub-theological aesthetic of the sublime. Raphael concludes by proposing that the relationship between God and Israel composes itself into a unitary dance or moving image by which each generation participates in a processive revelation that is itself the ultimate work of Jewish art.