Download A Big-Enough God: A Feminist's Search For A Joyful Theology by Sara Maitland PDF

By Sara Maitland

Maitland, British novelist (Three instances desk, Daughter of Jerusalem, Ancestral Truths, etc.) and Christian feminist (A Map of the hot Country), has the following produced a fantastically written ebook that's half paean to God and half explication of religion. regardless of its subtitle, it's also a pondering person's seek, not only a feminist's. delivering within the obtrusive acts of divine construction buttresses for the unconventional act of human religion, Maitland's is a God who struggles to make Herself identified to and enjoyed through construction. "Joy is the sport, the enjoying, among God and God's creation," Maitland writes; and the results of her chronicling of that online game is, because the subtitle extra appropriately studies, a cheerful theology that, just like the God it celebrates, appears on construction and unearths it first-class. suggested for all who search to complement their religious trips or just to extend their theological sensibilities.

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However, Hollway remarks, "he still does not account for how people are constituted as a result of certain truths being current rather than others" (p. 237). She then reformulates, and redistributes, Foucault's notion of power by suggesting that power is what motivates (and not necessarily in a conscious or rational manner) individuals' "investments" in discursive positions. If at anyone time there are several competing, even contradictory, discourses on sexuality-rather thfrln a single, all-encompassing or monolithic, ideologythen what makes one take up a position in a certain discourse rather than another is an "investment" (this term translates the German Besetzung, a word used by Freud and rendered in English as cathexis), something between an emotional commitment and a vested interest, in the relative power (satisfaction, reward, payoff) which that position promises (but does not necessarily fulfill), Hollway's is an interesting attempt to reconceptualize power in.

In classical and commercial cinema, the space-off is, in fact, erased, or, better, recontained and sealed into the image by the cinematic rules of narrativization (first among them, the shot/reverse-shot system). But avant-garde cinema has shown the space-off to exist concurrently and alongside the represented space, has made it visible by remarking its absence in the frame or in the succession of frames, and has shown it to include not only the camera (the point of articulation and perspective from which the image is constructed) but also the spectator (the point where the image is received, re-constructed, and re-produced in/as subjectivity).

It is an attempt to suggest a way in which lesbians could reread and write about texts" (p. 66). The irony is in that Culler's statement-in line with Derridean deconstruction, which is the context of his statement-is intended to make gender synonymous with discursive difference(s), differences that are effects of language or positions in discourse, and thus indeed independent of the reader's gender (this notion of difference was already mentioned a propos of Michele Barrett's critique of it). What Kennard is suggesting, then, is that Culler can read not only as a woman but also as a lesbian, and that would "subsume lesbian difference" not only "under a universal female" but also under the universal male (which Jonathan Culler himself might not accept to represent, in the name of differance).

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