Browsing by Subject "Intertextuality."
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Item “Behold, your house is left to you” : the theological and narrative place of the Jerusalem Temple in Luke’s Gospel (and beyond).(2014-06-11) Rice, Peter H. (Peter Harrison); Parsons, Mikeal Carl, 1957-; Religion.; Baylor University. Dept. of Religion.This study examines the place of Jerusalem and its Temple within Luke’s Gospel, arguing, in Part One, that Luke’s treatment of these related entities must be explored and understood against the broader horizon of Luke’s use of Scripture, his rhetorical milieu, and his theological context. Attending to Luke’s rhetorical context indicates sensitivity to what is termed here “subtle communication,” especially via double-meanings and use of allusion (intertextuality). Placed within Luke’s theological context, the recent destruction of Jerusalem confronted Luke (along with other late-first-century readers of Israel’s Scripture) as above all a problem of theodicy: how to defend God in the face of Jerusalem’s utter devastation. In surveying previous literature on this topic, this study notes two frequent failures: to give Luke full credit as a theologian, as well as to account properly for the narrative shape of his Gospel. Attempting in Part Two to remedy these common shortcomings, this study undertakes a reassessment of the place of Jerusalem and its Temple in Luke’s Gospel, analyzing crucial scenes within the Gospel in light of the Gospel’s overall narrative flow. This analysis yields a portrait of the Jerusalem Temple in Luke’s Gospel that is complex, multi-fold, and coherent, one comprised of four interwoven strands constituting an engaging theological response to the pressing theodical concerns of his day. These strands are: 1) an interpretation of Jerusalem along the lines of Shiloh, the rejected one-time holy place of God; 2) an emphasis on the Temple’s role in disclosing Jesus’ identity, logically coupled with a narratival shift away from the Jerusalem Temple as a sacerdotal cultic site, begun with Jesus’ (and to a lesser degree John’s) arrival, and culminating at the cross; 3) an identification of Jesus as a prophet, indeed as the greatest of the prophets, vis-à-vis, and thus in conflict with, the city now described as murderer of the prophets; and 4) an appeal to a spectrum of (mostly prophetic) scriptures that depict God’s judging his people, especially the Jerusalem authorities, for their wickedness. It concludes with a brief treatment of Acts.Item Fiction based on fact : subversions of power and propriety in Charles Reade's matter-of-fact romances.(2011-09-14) Nydegger, Amanda L.; Barcus, James E., 1938-; English.; Baylor University. Dept. of English.As Charles Reade began to write It Is Never Too Late to Mend, he developed a method of research and writing that he would use throughout the remainder of his career. In the Memoir, he declares: “The plan I propose to myself in writing stories will, I see, cost me undeniable labor. I propose never to guess where I can know” (198). This obsessive drive to discover and integrate facts into his fiction can be seen in all of his novels, but none so clearly as in the five he subtitled “a matter-of-fact romance.” Since the early 1900s, Reade has been completely excluded from the literary canon, and few critics have devoted any significant attention to his works. His two long matter-of-fact romances, Hard Cash and Never Too Late have received the bulk of critical study, but these novels are too often relegated to sensation, novel-with-a-purpose, or propagandist fiction without exploring the five matter-of-fact romances together as a whole. This dissertation provides an analysis of all five matter-of-fact romances, treating them as a new genre with its own set of criteria rather than trying to pigeonhole them into traditional genres such as realism or sensation fiction. Reade uses the matter-of-fact romance to accomplish two distinct objects. First, he creates a woven fabric of intertextuality which he uses to invite readers to engage closely with the text, and through a number of different techniques he encourages the reader to remain in direct contact with his narrative. Secondly, through the self-conscious creation of a new genre at the height of the debate between realism and idealism, Reade subverts conventional nineteenth-century concepts of genre and art. This subversion of genre extends to the content of his matter-of-fact romances where Reade further subverts Victorian concepts of power and propriety. An evaluation of subversions of power in the prison and the asylum, subversions of propriety with regard to women’s rights and roles, and psychological subversions of power form the basis of this study.Item Imagining membership and its obligations : the voice of John Ruskin in Wendell Berry's fiction.(2012-11-29) Kimery, Millard J.; Donnelly, Phillip J. (Phillip Johnathan), 1969-; English.; Baylor University. Dept. of English.This study explores the ways in which John Ruskin’s artistic and social criticism illuminate persuasive elements in Wendell Berry’s fiction, primarily his three major novels: A Place on Earth, Hannah Coulter, and Jayber Crow. By attending to Ruskin’s voice, readers of Berry learn how ethical formation requires cultivation of the imagination through an attentiveness to particulars that is informed both by sympathy and an affectionate sense of obligation to others. This insight transforms Berry’s fiction from simply another mode of the social criticism found in his essays to a concrete vision of the good life. Chapter One establishes a link between Ruskin and Berry in the similarities between the Agrarian Movement in twentieth-century America and Tory Radicalism in nineteenth-century England. Chapter Two discusses intertextuality, exploring the literary relationship between Ruskin and Berry in light of Berry’s idea of “convocation.” Chapter Three addresses realism and reconciles Ruskin’s stance on realism with the emphasis on imagination that Berry claims for his fiction. Chapter Four examines Berry’s novel, A Place on Earth, in light of Ruskin’s argument with proponents of classical liberalism. Ruskin’s claim that obligations are not devoid of affection illuminates both community and care of the land in Berry’s fiction. Chapter Five places Berry’s short story, “Making It Home,” in dialogue with Ruskin’s speech to the military cadets at Woolrich Academy. The comparison reveals the close relationship between economic practices and practices of modern warfare, and clarifies the critique of military heroism implicit in the story’s end. Chapter Six takes up the question of imagination’s role in ethical formation. Ruskin’s art criticism elucidates the connections, in Hannah Coulter, between vision, desire, and agricultural practice, as Hannah learns that attending to particulars is never just a matter of material perception. Chapter Seven returns to the themes of obligation and autonomy with a study of the protagonist in Jayber Crow as a pastoral figure. Comparison with Ruskin reveals an opposition between pastorship and institutional oversight that is similar to the nineteenth-century debates over the Poor Laws and that places Jayber in dialogue with opposing interpretations of professionalism.