Download Plotted, Shot, and Painted: Cultural Representations of by J. Cheryl Exum PDF

By J. Cheryl Exum

Plotted, Shot, and Painted stakes out new territory for feminist biblical feedback. It considers what occurs to biblical girls in pop culture, in artwork and in movie, and it foregrounds questions on how gender pursuits have an effect on interpretation and in regards to the roles and obligations of commentators and readers. This moment revised version includes an extra bankruptcy, ’Lot and his Daughters’, and an multiplied bankruptcy on Delilah. Exum’s mastery of biblical scholarship, movie feedback, feminist concept, and an unlimited literary and creative repertoire is overwhelming ... a superb paintings of study and demanding pondering ... The e-book introduces the reader to a very wealthy number of severe studies, which some distance transcends the constraints of traditional biblical scholarship. Francis Landy, Prooftexts ... a pleasure to read-still discovered, but in addition witty and passionate. here's a new type of biblical feedback. we're conversing the following of items that truly topic, issues that experience prompted damage to girls and in addition to males, and issues that may be made larger ... it really is approximately cinema, paintings, literature, renowned music, and pornography. In different phrases, it areas the Bible precisely the place it's going to be, on the middle of our cultural event from ’high’ paintings to ’low’ artwork ... David Jasper, Biblical Interpretation ... crucial for all considering literary, feminist, and cultural readings and illustration of biblical texts. W. Lee Humpheys, spiritual reports evaluation

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Additional info for Plotted, Shot, and Painted: Cultural Representations of Biblical Women

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5. On the problem with the rape/seduction opposition, see Ellen Rooney, ‘“A Little More than Persuading”: Tess and the Subject of Sexual Violence’, in Rape and Representation (ed. A. R. Silver; New York: Columbia University Press, 1991), pp. 87-114. The film David and Bathsheba gives Bathsheba power by turning the encounter into a seduction scene. Susan Hayward holds Gregory Peck off until she gets what she wants: ‘There are women you could send for and send away again. I am not one of them’. At this point, she has ceased to call him ‘Sire’ and addresses him as ‘David’.

5. Carlo Maratti, David and Bathsheba. the act of looking. She thus not only colludes with but also participates in making herself the object of the voyeuristic gaze. 5). Bathsheba gazes infirmity had stalked into the sunlight’). To the gatekeeper at the toll bar, Oak remarks on the ‘greatest’ of her faults with one comment, ‘vanity’. 46 Plotted, Shot, and Painted at herself, while King David looks on from the balcony in the background. Bathsheba’s two servants look at each other, not at her. Yet again it is clear that the woman’s nakedness is for the sake of the spectator, who alone is offered the full frontal view.

At this point, she has ceased to call him ‘Sire’ and addresses him as ‘David’. In part this portrayal is due to the fact that Zanuck and King have in Susan Hayward an important female star whom they want to showcase. They flesh out her character and show her desire; she acts, she is motivated, and the film evinces a 1950s concern with the woman’s feelings. In the final analysis, however, the film reinscribes the gender ideology of the text according to which women are a temptation that can cause a man’s downfall, women lead men astray, women are dangerous.

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