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Situating Paul's texts in the context of early Jewish messianism, this book is part of a set of critiques devoted to the period when Judaism and Christianity were not fully distinct, placing Paul in the context of what has been called "Judaeo-Christianity." The exploration of messianism leads to the other figure discussed, Walter Benjamin.
This volume brings together essays by different generations of Italian thinkers which address, whether in affirmative, problematizing or genealogical registers, the entanglement of philosophical speculation and political proposition within recent Italian thought. Nihilism and biopolitics, two concepts that have played a very prominent role in theoretical discussions in Italy, serve as the thematic foci around which the collection orbits, as it seeks to define the historical and geographical particularity of these notions as well their continuing impact on an international debate. The volume also covers the debate around OCyweak thoughtOCO (pensiero debole), the feminist thinking of sexual difference, the re-emergence of political anthropology and the question of communism. The contributors provide contrasting narratives of the development of post-war Italian thought and trace paths out of the theoretical and political impasses of the presentOCoagainst what Negri, in the text from which the volume takes its name, calls OCythe Italian desertOCO."
This article has its origins in a more ambitious project tackling instances of screen dialogues that remain unsubtitled, rendering them incomprehensible to viewers from foreign linguistic communities. Palestinian director Elia Suleiman's The Time that Remains (2009) was intended to take up a modest section of a few paragraphs elaborating on the function of tarab songs in mediating the affective-discursive modalities of the film, but the narrative resisted the oppressive – and deeply regulated – confinements of a representational analysis. Rather than receding to the background, the songs seemed to insert themselves along ruptures transcending the pure discursivity of the soundtrack, giving rise to a question that forms the thrust of the article: what affective-discursive function do these songs serve and how much meaning is lost by failing to subtitle them for the benefit of non-Arab audience? Drawing upon insights from affective-discursive theories, Deleuzian approaches to cinema and Heideggerian insights into the nature of understanding, what follows is an investigation of the relationship between cinema and translation, specifically how subtitles merit examination as a unique form of praxis. I shall argue that songs and some objects in films interpellate viewers on both representational and non-representational planes of meaning-construction that often gets lost in audio-visual translation.
New Modernist Studies, while reviving and revitalizing modernist studies through lively, scholarly debate about historicity, aesthetics, politics, and genres, is struggling with important questions concerning the delineation that makes discussion fruitful and possible. This volume aims to explore and clarify the position of the so-called ‘core’ of literary modernism in its seminal engagement with the Great War. In studying the years of the Great War, we find ourselves once more studying ‘the giants,’ about whom there is so much more to say, as well as adding hitherto marginalized writers – and a few visual artists – to the canon. The contention here is that these war years were seminal to the development of a distinguishable literary practice which is called ‘modernism,’ but perhaps could be further delineated as ‘Great War modernism,’ a practice whose aesthetic merits can be addressed through formal analysis. This collection of essays offers new insight into canonical British/American/European modernism of the Great War period using the critical tools of contemporary, expansionist modernist studies. By focusing on war, and on the experience of the soldier and of those dealing with issues of war and survival, these studies link the unique forms of expression found in modernism with the fragmented, violent, and traumatic experience of the time.
If the philosopher Alain Badiou asks of what present are we the living witnesses in philosophy today, the writing in this second volume of essays addresses a related question to works of art today: what art can (still) be at the time of a global existential crisis, in a world living at the edge of, if not inexorably moving toward, a final ecological catastrophe? In four essays the author turns to works of art she considers critical with regard to this question of art situating itself at the limit: the last film of Jean-Luc Godard, Adieu au langage; Pasolini's faux documentary, La Rabbia (Rage), a fragment of a Paul Celan poem, as questioned by Jacques Derrida, the plastic art of Abdel Abdemassad and Anselm Kiefer. She interrogates these chronologically disparate works neither as representations or diagnoses of a present in a change of epoch, a word in crisis or at the edge of a catastrophe, nor as works that are symptomatic of such times and worlds. Instead, the writing metaphorically 'listens to' voices that arrive from inside a world without an exit as exemplary responses to the question: what art can (still) be at such times, in such worlds? What creation - new gesture or performative or language - can be commensurate with the intensity of forces pressing against such presents? These are some of the questions that this second volume, under a borrowed sub-title from Giorgio Agamben, addresses to Art. In four essays - punctuated by shorter texts on Derrida's letters and Cixous' recent auto-fictional works - the writing patiently observes how each work in the small corpus gives a new sense to the term and is a singular creation of a unique instance of "contemporaneity."
Archaeology and the Letters of Paul illuminates the social, political, economic, and religious lives of those to whom the apostle Paul wrote. Roman Ephesos provides evidence of slave traders and the regulation of slaves; it is a likely setting for household of Philemon, to whom a letter about the slave Onesimus is addressed. In Galatia, an inscription seeks to restrain the demands of travelling Roman officials, illuminating how the apostolic travels of Paul, Cephas, and others disrupted communities. At Philippi, a list of donations from the cult of Silvanus demonstrates the benefactions of a community that, like those in Christ, sought to share abundance in the midst of economic limitations. In Corinth, a landscape of grief extends from monuments to the bones of the dead, and provides a context in which to understand Corinthian practices of baptism on behalf of the dead and the provocative idea that one could live"as if not" mourning or rejoicing. Rome and the Letter to the Romans are the grounds for an investigation of ideas of time and race not only in the first century, when we find an Egyptian obelisk inserted as a timepiece into the mausoleum complex of Augustus, but also of a new Rome under Mussolini that claimed the continuity of Roman racial identity from antiquity to his time and sought to excise Jews. Thessalonikē and the early Christian literature associated with the city demonstrates what is done out of love for Paul-invention of letters, legends, and cult in his name. The book articulates a method for bringing together biblical texts with archaeological remains. This method reconstructs the lives of the many adelphoi--brothers and sisters--whom Paul and his co-writers address. Its project is informed by feminist historiography and gains inspiration from thinkers such as Claudia Rankine, Judith Butler, Giorgio Agamben, Wendy Brown, and Katie Lofton.
In this study, Lynne Moss Bahr explores the concept of temporality as central to Jesus's proclamation of the Kingdom of God. Using insights from continental philosophy on the messianic, which expose the false claim that time progresses in a linear continuum, Bahr presents these philosophical positions in critical dialogue with the sayings of Jesus regarding time and time's fulfillment. She shows how the Kingdom represents the possibilities of a disruption in time, one that reveals the intrinsic relation between God and humanity. In illustrating how Jesus's sayings regarding time are thus expressions of his messianic identity-as of the world and not of the world--Bahr argues that the meaning of Jesus's identity as Messiah is embedded in the disjuncture of time, in the impossibility of "now," from which the Kingdom comes . Bahr's use of critical theory in this study expands the concept of God's Kingdom beyond the traditional confines of the discipline.

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