Theology and literature after postmodernity by Zoë Lehmann Imfeld, Peter Hampson, Alison Milbank
By Zoë Lehmann Imfeld, Peter Hampson, Alison Milbank
This quantity deploys theology in a reconstructive method of modern literary feedback, to validate and exemplify theological readings of literary texts as an inventive workout. It engages in a discussion with interdisciplinary methods to literature within which theology is alert and attentive to the demanding situations following postmodernism and postmodern literary feedback. It demonstrates the scope and explanatory strength of theological readings throughout a variety of texts and literary genres. Theology and Literature after Postmodernity explores a reconstructive method of interpreting and literary research within the collage atmosphere, with contributions from interdisciplinary students all over the world
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In repartee with the wise fool Feste, she holds her own. Her soliloquy praising Feste stresses the importance of his timing, responsiveness, and spontaneity, a performer’s most important qualities. By the play’s end, the Duke arguably becomes a little like her. In the ﬁnal scene, she and Sebastian piece together their family history: they are fraternal twins, their identities crystallized for other characters only in each other’s presence. 261). He imitates Viola’s plucky response to the wrack or shipwreck she suﬀered just before the play opens: he reacts to the scene before him and seizes the opportunity for reciprocal love.
115–138. Institutes of the Christian Religion, trans. Ford Lewis Battles (Philadelphia: Westminster Press, 1960), p. 561. William Perkins, A Treatise Tending unto a Declaration Whether a Man be in the Estate of Damnation (1590), pp. 266–267; Richard Hooker, A Learned and Comfortable Sermon of the Certaintie and Perpetuitie of Faith in the Elect (1587); Richard Baxter, Reliquiae Baxerianae, ed. Matthew Sylvester (London, 1696), pp. 127–128. 221–250. 36 It may seem perverse to discuss Twelfth Night in the context of religious faith, for in the sixteenth century, true faith was often contrasted with theatricality.
12 In the 1990s, a shift began, one presaging a broadening and deepening of literary scholars’ engagements with religion. 13 This is not to say that literary studies has moved closer to theology necessarily. 14 For that speculative work to gain credence in literature and language departments, it must do its historical homework. And that 10 11 12 13 14 See for instance Jonathan Dollimore’s Radical Tragedy: Religion, Ideology, and Power in the Drama of Shakespeare and His Contemporaries, 3rd edn.