The essay first explores the representation of power in the novel as it relates to certain binaries such as ‘self’ and ‘other’; ‘just and ‘unjust’; and ‘powerful’ and ‘vulnerable’. Secondly, the novel’s resolution of key conflicts and how alterities are affirmed will be discussed. The Oxford English Dictionary defines colonialism as an “alleged policy of exploitation of backward or weak peoples by a large power”. Waiting for the Barbarians is set in an unspecified place and time but serves as an as an allegory to imperial or colonial atrocities that were committed by those in power. In this novel, Coetzee considers the nature of oppression and its effect on both the oppressor and the oppressed.
21 interrupts the whole sequence of sexual prohibitions, and therefore biblical commentators have argued that the verse divide this section into two parts. This verse seems to be unrelated to the chapter 18, and it also confronts problems of interpretation. Leading scholars to highly debated this verse, which has lead to a twofold conclusion: a) the verse is not related to the sexual prohibitions presented in the chapter, and b) Mōlek worship was included among prohibited sexual unions because it was labeled as תּוֹעֵבָ֖ה. Rashi indicates that whoever gives her offspring to Mōlek is liable to kārēt. He argues that the one is accountable to kārēt once the zārâʿ is giving to Mōlek, i.e.
This is problematic, because no divine command is given. King Ahasuerus does not revoke his previous decree, he simply allows Mordecai to write a new decree establishing that the Jews can defend themselves against attacking enemies, and they do just that. The Jews of this book listen to King Ahasuerus, a non-Jew, and a non-Israelite. It is unsurprising to learn that this book was a
The theory of exile in Edward Said’s perspective The original meaning of exile is banishment and it refers to a person who displaced from origin home and not allowed to return, as Said mentioned in his article Reflections on Exile “anyone prevented from returning home is an exile”, even this kind of exile is by voluntary or involuntary, by choice or by force. The theme of exile was not born in the twentieth century or the postcolonial theorists found out it. According to one of the hypothesis that the beginning of exile as it is mentioned in Bible was the story of Adam and Eve, who were forced to leave Eden (Gen 3:23-24), also the story Israel’s exile in Babylon was a form of divine punishment for past sin. In the twentieth century, many writers discussed the theme of exile in their works in several fields such as politics, literature, history, geography and so on. One of the most prominent and influent Arab American scholar in the twentieth century, which the theme of exile was central in his critical and scholarly works, is Edward Said.
The Shadow Lines is an attempt by Amitav Ghosh to show the Blurring of lines or borders between East and West, castes and religious beliefs through an unconventional post-colonial novel which shows the colonised travelling and moving to and from the coloniser’s territory. But the instigation to present such a world sans boundaries, ironically enough, comes through a personal experience of communal riots. The quest for identity and
Søren Kierkegaard is considered the father of existentialism (“Christian and Theological Existentialism”). Kierkegaard wrote a book about the paradox surrounding Abraham sacrificing Isaac. The narrator questions whether “Abraham’s faith in God can justify killing his son” (Søren Kierkegaard: A Master of Refraction 78). Another existentialist, Karl Jaspers, argues that, “free will makes all faith essentially existential. Jaspers also argues that, since life is absurd, it is less absurd to believe in a God which promises eternal life than to believe in nothing at all (“Christian and Theological Existentialism”).
The dreads described in Levi’s prisoner novel stand against the experiences conveyed in the poems of the reclusive Dickinson of the United States, in which the topics of the individualism and identity are recurring. Both authors, nevertheless, in their attempt to apprehend the individual’s place in the larger world, and the nature of humanity, have challenged the relationship between the individual and the monstrous figures surrounding it, and, if farther abstracted, between the small and the enormous. Despite the complexity of individual’s relationship with the world surrounding, both Emily Dickinson and Primo Levi, in their respective works, examine the relative role of the individual in society and nature, in their struggle to comprehend the self’s place in the
It is also a violent novel about killings, bombs and reprisal killings. It raises interesting questions related to colonialism or to revolutionary strivings. Is there a sort of rejection of colonialist and foreign powers influence? This novel, at a certain extent, exposes the legacy of colonialism on the society through mentalities, social and economic issues. The once-colonized peoples are struggling and splitting within national boundaries that bind them together.
The patriarchal and imperialist undercurrents of travel writing—analyzed by critics like Mary Louise Pratt, Sara Mills, David Spurr, Tim Youngs, and, most recently, Inderpal Grewal— suggest that an unsuspecting view of travel writing as a mode to celebrate human freedom needs to be allied to the modern realities of class, race, and gender privilege (Holland 1943: 3). In his recent study of modern British travel writing, Mark Cocker
By thus rejecting the norms of the early 18th century novel, Sterne’s work is a massive paradox for it takes the two genres of novel and anti-novel and combines them under one impressive and fearless text. “The tendency among critics has been to comment on its structural oddities without first discovering to what literary kind it belongs and what its author was trying to do.”( Jefferson, D.W 227 as qtd in Oana Ivan) This paper will attempt to define a novel and highlight the several ways in which Laurence Sterne’s