By Francis Landy
ISBN-10: 190504898X
ISBN-13: 9781905048984
This studying of Hosea explores the publication from a feminist, psychoanalytical and poetic point of view. what's God doing with a prostitute? How does the subject of prostitution relate to the abjection of the lady because the different, and the myth of sexual ecstasy, accurately simply because she escapes patriarchal order? the place is the prophet located within the dialectic of rage and hope that either seduces and condemns Israel? His voice is either masculine and female, and poetically embodies the sensuality of wayward Israel. the paradox of voice can also be that of the prophet's position, that is either to nurture Israel, as on its Exodus from Egypt, and to be the seize that destroys it. The tricky of voice and prophetic functionality is obvious within the shiny dissection of Israel's social associations, whose disintegration is inversely on the topic of the centrality of the dialogue within the constitution of the ebook, and within the violent swings from melancholy to most unlikely wish. the point of interest on quick and uncontrollable entropy, occur in prolonged tangled metaphors, that occupies the centre of the publication, is framed within the outer chapters through intertextual references to Israel's primordial imaginative and prescient, and the romantic distantiation of the track of Songs, within which the erotic and poetic contradictions of the e-book locate their possibly ironic answer.
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Sample text
13 in English translations), that they may ‘gaze’ at her. 2-7. Like the woman in Hosea, she is metaphorically correlated with the land of Israel, as is particularly evident in this catalogue. The description fragments the body into partobjects, each one of which develops a life of its own and is complexly interconnected with the others; the metaphorical process simultaneously splits and recombines, resulting in a total vision of the world, integrated and transformed through love. In Hosea, sexual metaphor provides similar opportunities for the vision of recreation; fragmentation and integration are, however, projected successively into the text, rendering problematic its logical cohesion.
Te’™n¡t¡h, ‘her fig tree’, in v. 14 is compressed three words later into ’etnâ, ‘a [harlot’s] hire’ [Macintosh 1997: 63]; another example is the extraordinary concatenation of ‘n’s and ‘p’s in wet¡s™r zeNûNeyh¡ miPP¡Neyh¡ weNa’aPûPeyh¡ mibbên å¡deyh¡, PeN ’aPåî†eNNâ, ‘that she should remove her harlotries from her face and her adulteries from between her breasts, lest I strip her bare’, in vv. ) The fantasy is complex, overdetermined, and pornographic, in that, as Setel (1986) says, it depicts women’s sexual shame.
It takes us back to the beginning of the narrative of Israel’s liberation, which for Hosea is also its birth (cf. 1), and to the intimacy of Moses’ initiatory commission. Hosea then becomes an anti-Moses, speaking for a God who says ‘I am not’ to a people that is no longer his; the Exodus, and with it the entire prophetic vocation, is cancelled out. ‘I am that I am’ is not a very forthcoming name; in fact it does not seem to be name at all. Buber, in a celebrated discussion, argues that God thereby sets himself beyond linguistic control; if a name is held to be equivalent to essence, God’s essence is inaccessible to conjuration and irreducible to any manifestation (Buber 1968: 59-60; cf.
Hosea, Second Edition by Francis Landy
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