Un-Straightening Boaz in Ruth Scholarship

2015 ◽  
Vol 23 (4-5) ◽  
pp. 541-552
Author(s):  
Brett Krutzsch

Scholarly interpretations of Boaz’s sexuality in the book of Ruth largely assume that Boaz experiences sexual desires for Ruth specifically and for women generally. This essay will highlight the heterosexual bias that has commonly framed scholarly interpretations of Boaz and that imposes heterosexual attraction into the text. This essay illustrates that Boaz’s sexuality, far from an obvious aspect of the text, is largely produced through interpretive imagination. Although some scholars have questioned Ruth’s sexuality and her relationship with Naomi, Boaz’s sexuality has largely remained under-analyzed, leaving in place the assumption that the text is clear about his desires for women.


1970 ◽  
pp. 64-69
Author(s):  
Ikran Eum

In Egypt, the term ‘urfi2 in relation to marriage means literally “customary” marriage, something that has always existed in Egypt but nowadays tends mostly to be secretly practiced among young people. Traditionally, according to Abaza,3 ‘urfi marriage took place not only for practical purposes (such as enabling widows to remarry while keeping the state pension of their deceased husbands), but also as a way of matchmaking across classes (since men from the upper classes use ‘urfi marriage as a way of marrying a second wife from a lower social class). In this way a man could satisfy his sexual desires while retaining his honor by preserving his marriage to the first wife and his position in the community to which he belonged, and keeping his second marriage secret.


2009 ◽  
Vol 6 (3) ◽  
pp. 44-60 ◽  
Author(s):  
Jonathan García ◽  
Miguel Muñoz Laboy ◽  
Vagner de Almeida ◽  
Richard Parker

2016 ◽  
Vol 14 (1) ◽  
pp. 23-42
Author(s):  
Andrew Watt ◽  
Deiniol Skillicorn ◽  
Jediah Clark ◽  
Rachel Evans ◽  
Paul Hewlett ◽  
...  

2001 ◽  
Vol 26 (1) ◽  
pp. 94-105 ◽  
Author(s):  
Bruce Parr

Rock ’n’ Roll Circus promotes an expectation of performance that is energetic, challenging, irreverent, and sexual. Their 1998 production in Brisbane of Sweetmeats follows the company's earlier work, such as The Dark, which established its reputation in Australia for idiosyncratic physical theatre with an acute awareness of its erotic potential and appeal. A close analysis of the construction of (sexual) desires and erotic energies in Sweetmeats illustrates how the study of sexuality is also the study of what may appear to be non-sexual. Interactions are a key to an appreciation of this form of physical theatre, whether they are between body and body, human and apparatus, sexual and non-sexual, desires and anxieties, and straight and queer. Lines of demarcation are blurred and superfluous. This analysis of Sweetmeats in performance makes use of Peta Tait's investigation of sexed bodies in physical theatre, and Elizabeth Grosz's (re)conceptualization of lesbian desire and its generation through contact between surfaces. Grosz's approach is particularly applicable to a form of theatre which relies on the energy of physical contact between performers, and between performer and apparatus. The latter is exploited effectively in Sweetmeats such that a circulation of multifarious, strange desires (and anxieties) permeates the production, in some sense ‘queering’ it.


2019 ◽  
Vol 1 (2) ◽  
pp. 229-256
Author(s):  
Diyan Putri Ayu

Marriage is a strong contract (mitsaqan Ghalidzan), containing transcendental values ​​(divine), carried out consciously by men and women to form a family whose implementation is based on willingness and agreement between the two. Understanding that a woman (wife) under any circumstances must fulfill her husband's sexual desires and if the wife refuses her husband's sexual invitation, then he is said to be a great sinner often used as a legitimate tool in the name of religion. Thus, it becomes natural if then the husband's sexual coercion of his wife which should be between each other intercourse in ways that are ma'ruf and loving. Given this reality, the author will discuss the main problem is the analysis of Maqashid Shari'ah on the effects of marital rape in Law No.23 Th. 2014 and RUKHP. The results of the analysis explained that in an effort to deal with the wife of a victim of domestic violence must be in line with the objectives of Islamic law, namely the protection of the 5 main principles in Islam, namely maintaining religion, life, reason, descent and wealth. Perkawinan merupakan akad yang kuat (mitsaqan Ghalidzan), mengandung nilai-nilai transendetal (ilahiyah), dilakukan secara sadar oleh laki-laki dan perempuan guna membentuk keluarga yang pelaksanaanya didasarkan pada kerelaan dan kesepakatan diantara keduanya. Pemahaman bahwa wanita (istri) dalam keadaan apapun harus memenuhi keinginan seksual suaminya dan jika istri menolak ajakan seks suaminya, maka ia dikatakan berdosa besar kerap kali dijadikan alat legitimasi atas nama agama. Dengan demikian, menjadi wajar jika kemudian terjadi pemaksaan seksual suami terhadap istri yang seharusnya diantara keduanya saling menggauli dengan cara-cara yang ma’ruf dan penuh kasih sayang. Dengan adanya kenyataan inilah, maka penulis akan membahas Pokok permasalahanya adalah analisis Maqashid Syari’ah terhadap akibat tindakan marital rape dalam UU No.23 Th. 2014 dan RUKHP. Hasil analisis mejelaskan bahwa dalam upaya penanganan istri korban kekerasan dalam rumah tangga harus sejalan dengan  tujuan hukum islam yakni perlindungan terhadap terjaminya 5 prinsip utama dalam islam yakni memelihara agama,jiwa, akal, keturunan dan harta.


2021 ◽  
pp. 136787792110413
Author(s):  
Sara De Vuyst

Narratives on ageing are deeply entangled with discourses on happiness. This article draws on Sara Ahmed’s critique on the disciplinary dynamics of the promise of happiness to explore how happiness scripts make certain ‘happy objects’ such as beauty aspirations, sexual desires, and life choices seen as ‘right’ for older women and others as ‘wrong’. My aim is to contribute to new feminist theorisations of women’s ageing by exploring the unhappy archives of older women and looking for ways in which normative happiness scripts are challenged, destabilised and rewritten. Articulations of resistance are found through interpretative engagement with representations of older women who feel alienated by the ‘right’ happy objects, deliberately make ‘wrong’ object choices or turn the ‘right’ happy objects into tools to dismantle ageist, sexist and heteronormative structures. These resistance strategies come together in my theorising of the grumpy old women as affect alien and a patchwork of unruliness.


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