The Journey of the Suffering Servant: The Vulnerable Hero, the Feminine Godhead and Spiritual Transformation in Endō Shūsaku’s Deep River

Exchange ◽  
2012 ◽  
Vol 41 (4) ◽  
pp. 320-334
Author(s):  
JinHyok Kim

Abstract This study aims to investigate how the Biblical view of the Suffering Servant transforms a basic pattern of the hero’s journey into a narrative of spiritual growth in modern literature. In this article, especially, I will examine the novel Deep River by the 20th-century Japanese Catholic novelist, Endō Shūsaku, paying special attention to his use of Jungian archetypes. Unlike the beautiful and gracious Holy Mother of Christian belief, the image of Endō’s feminine divinity is what we think as ordinary, depressing, shameful, and even ugly. As the very embodiment of this motherly divine Love, the hero of the novel eventually figures out that his journey should be structured analogously to the narrative of the Suffering Servant. This hero helps people discover the mother-like God and invites them into their own spiritual journey in which they accept the vulnerability, ineffectiveness and helplessness of human existence.

2019 ◽  
Vol 39 (61) ◽  
pp. 145
Author(s):  
Naira Almeida Nascimento

Resumo: Enquadrado no bojo da produção identificada como “literatura dos retornados”, o interesse principal de Ana de Amsterdam (2016a), de Ana Cássia Rebelo, não recai nas imagens traumáticas do retorno ou na violência praticada entre colonizadores e colonizados, como é recorrente no gênero. De forma até sintomática, as lembranças de África são esporádicas na menina de cinco anos que deixou Moçambique junto à família. Em seu lugar, a exuberância de uma Índia portuguesa sonhada e projetada por ela ocupam as lacunas de um presente insatisfatório, dividido entre a criação dos três filhos de um casamento em crise e o emprego burocrático desempenhado numa Lisboa pouco atrativa. Em ambos, tanto na Goa portuguesa como no trajeto para o trabalho, despontam narrativas de mulheres que constituem a síntese entre o diário íntimo de Ana e a escrita testemunhal da diáspora. Numa primeira parte do estudo, recupera-se a gênese do romance no formato do blog assinado pela autora, evidenciando a “escrita do eu”, nos moldes dos estudos de autobiografias, diários e afins. O segundo momento volta-se para a escrita testemunhal no lastro da narrativa pós-colonial e também da pós-memória. Em comum, os dois planos tratam da perspectiva feminina, seja na batalha contemporânea da cosmopolita Lisboa, seja nos desdobramentos silenciados do pós-colonialismo, em meio às histórias duplicadas de outras tantas Anas.Palavras-chave: Ana de Amsterdam; Ana Cássia Rebelo; diário íntimo; literatura de testemunho; blogs.Abstract: Framed in the center of the production identified as “literature of the returnees”, the main focus of Ana de Amsterdam (2016a) by Ana Cássia Rebelo, does not lie in the traumatic images of the return or in the violence practiced between colonizers and colonized, as it is usually the case in this genre. Somehow, even symptomatically, African memories are sporadic in the five-year-old girl who left Mozambique with her family. Instead, the exuberance of a Portuguese India, dreamed and projected by her, occupies the gaps of an unsatisfactory present, dividing herself to raise three children of a marriage in crisis and work in the bureaucratic employment situated in an unattractive Lisbon. In both, Portuguese Goa and on the way to work, narratives of women emerge and represent the synthesis between Ana’s private diary and the testimonial writing of the diaspora. In a first part of the study, the genesis of the novel is recovered in the form of a blog signed by the author, emphasizing the “writing of the self”, in the molds of autobiographies, journals and etc. The second moment turns to the testimonial writing in the basis of the postcolonial narrative and also of the post-memory. In common, the two plans deal with the feminine perspective, whether in the contemporary battle of cosmopolitan Lisbon or in the silenced developments of postcolonialism, in the middle of the duplicate stories of so many Anas.Keywords: Ana de Amsterdam; Ana Cássia Rebelo; diary; testimonial literature; blogs.


Author(s):  
Lila Lamrous

The study of Maïssa Bey’s novel Surtout ne te retourne pas allows to examine how the Francophone novel represents an earthquake as a poetic, metaphorical and political shockwave. The novel is part of a literary tradition but also shows the singularity of the writing and the engagement of the Algerian novelist Maïssa Bey. It allows to examine the feminine agentivity in the context of the disaster camps in Algeria: from the ravaged space/country emerge the voices of women who enter into resistance to improvise, invent their lives and their identities. The earthquake allows them to free themselves, to take a subversive point of view at society and their status as women in an oppressive patriarchal society. The staged female characters arrogate to themselves the right to reread history and take their destiny back.


2019 ◽  
Vol 7 (8) ◽  
pp. 10
Author(s):  
S. Shobana

The paper aims to research the search for self-identity and feminism in Manju Kapur's Home. Home is a masterful novel of the acts of kindness, compromise, and secrecy that lies at the center of each family. The novel, narrate of Indian family life spans three generations whose destiny and dreams are pasted to the Banwarilal cloth shop.  Nisha the protagonist has got to struggle for establishing her identity and to survive during this male-dominated world.  In Indian society, women have never been acknowledged as a person outside their              pre-destined roles of a woman, daughter, and mother.  The female hero of Home tries to free herself of ‘dependence syndrome' thrust upon her by the agents of social organization. The paper focuses on the journey of the feminine protagonist, Nisha towards individuality and self-identity and don't wish to be seen as a self-sacrificing rubber-doll. She had to struggle for her existence as, like different heroines of Manju Kapur, she is within the transformation to innovate the search of autonomy and feminine identity.  


Author(s):  
Philip Sheldrake

The word “spirituality” has become increasingly common. What does it mean? It is not limited to spiritual practices, such as meditation, but suggests the pursuit of a life shaped by a sense of meaning, values, and perhaps transcendence. Although the word is used in different religions, and by people with no religious beliefs, its origins were Christian and referred to living life under the influence of God’s spirit. Nowadays, in a consciously plural world, Christian spirituality has a specific content whose origins are the Jewish and Christian scriptures. In particular, Christian spirituality is associated with following the teachings of Jesus Christ or imitating his values. The main New Testament word for this is “discipleship,” which has two main elements. First, there is a call to personal transformation (conversion). Second, Christians are to continue the mission of Jesus to transform the world and to build the kingdom of a God of love. In that fundamental sense, Christian spirituality is inherently concerned with social transformation. In the Gospel of Matthew, this includes sharing in Jesus’ work of forgiveness and healing. In the Gospel of Mark it involves selfless service of others. The history of Christian spirituality is a varied story of ways of approaching discipleship. Needless to say, part of what makes Christian spirituality distinctive is its underlying beliefs—in other words, how it understands the reality of God, the value of the material world, human nature, and identity and how these interconnect. The great variety of spiritual traditions and writings within Christianity originated at different times and places. However, they are continually being adapted in the light of new historical and cultural contexts. Scholars have sometimes found it helpful to identify different types of Christian spirituality. Their choices vary, and the types are interpretative tools rather than straightforward descriptions. “Types” help us to identify distinctive styles of spiritual wisdom. The ascetical type, sometimes associated with monasticism, highlights discipline and detachment from material pleasures as the pathway to spiritual growth. The mystical type focuses on the desire for an immediacy of presence to, and intuitive knowledge of, God, frequently via contemplative practice. The active type promotes everyday life and service to other people as the context for spiritual growth. The aesthetic type covers a range of ways in which the spiritual journey is expressed in and shaped by the arts, music, and literature. Finally the prophetic type of spirituality embraces an explicit commitment to social justice and the transformation of society. Christian spirituality has become a major area of study. It is an interdisciplinary field shaped by scripture, theology, and Christian history, but which may also draw upon psychology, the social sciences, literature, and the sciences. The study of Christian spirituality is also “self-implicating,” in the sense that it is not treated in a purely theoretical way but includes a quest for practical wisdom. Finally, the traditions of Christian spirituality increasingly engage with important issues of social and cultural transformation, for example interreligious dialogue, peace and reconciliation, ecological questions, the future of cities, the world of business, and the meaning of healthcare.


PMLA ◽  
1979 ◽  
Vol 94 (1) ◽  
pp. 22-35 ◽  
Author(s):  
David H. Miles

Composed in the tradition of German idealist aesthetics, Lukács' Theory of the Novel (1916) establishes him not only as an heir to Hegel but, more important, as a forerunner of Benjamin, Adorno, Goldmann, and Auerbach. Lukács begins by constructing a phenomenology of narrative mind in which modern consciousness is played otf against its Other, against the epic vision of earlier poets. Whereas the Homeric epic is characterized by a wholeness of sensibility and vision, novelistic consciousness is ironic, alienated and self-divided. Thus the novelistic hero's journey becomes a Hegelian one into the problematic realms of inwardness, memory, and imagination: from Cervantes to Flaubert we witness a retreat from participation in the world to interpretation of it. Lukács' philosophical meditations prefigure much in recent novel theory: Benjamin's and Adorno's commentaries on alienation in narrative, Goldmann's notion of the problematic hero, and Auerbach's concept, in Mimesis, of Homeric realism.


2017 ◽  
Vol 2 (Volume 2, Issue 2: Winter 2017) ◽  
pp. 95-103
Author(s):  
Raj Balkaran

This paper decodes the story of Campbell’s namesake, Joseph of Genesis, son of Jacob. It demonstrates that Joseph, much more so than Moses, represents the archetypal hero. Joseph is called to adventure into the unknown. Due to the boundedness of the Abrahamic worldview, Joseph must leave monotheistic Israel to fulfil his potential in polytheistic Egypt. It is as viceroy of Pharaoh that he comes into his own power, his political eminence an emanation of his intuitive, creative power. Joseph’s journey itself serves as the Call to Adventure for the hero’s journey of Israel: Israel, as a people, must recognize Joseph’s creative power and follow him into Egypt to realize their own procreative power. Before returning to the familiarity of the desert, the motherless children of Israel are called into the unknown to be nourished by the Nile. It is at the banks of the Nile that they fulfil their divine mandate to multiply. Joseph’s intuitive power—the ability to receive and interpret prophetic dreams—makes explicit what is implicitly encoded in the Campbellian hero’s journey: the masculine individual consciousness venturing into the feminine collective unconscious, matrix of creativity, in pursuit of wholeness. His story moreover celebrates the centrality of personal transformation to the Campbellian heroic quest, flourishing through embodiment of transformational leadership.


NAN Nü ◽  
2002 ◽  
Vol 4 (1) ◽  
pp. 70-109 ◽  
Author(s):  
Keith McMahon

AbstractPrecious Mirror of Boy Actresses is the most serious piece of fiction about male love since the late Ming and the lengthiest of all in Chinese literary history. It is remarkable in its extension of the egalitarian implications of the qing aesthetic that it inherits from the late Ming and from earlier Qing literature such as Dream of the Red Chamber. In the homoerotic relationship it idealizes, lovers who are rigidly separated in terms of status nevertheless experience a sublime love which necessarily results in the liberation of the man of lower status. The novel makes unique use of the qing aesthetic's idealization of the feminine to arrive at this ethically pragmatic conclusion whereby liberation is achieved. The foregrounding of this sublime love and the qing-perfected characters who embody it, moreover, link the novel with other works of the period which portray a China that is ultimately a stable and invulnerable entity. Thus Precious Mirror's interpretation of qing carries a historical significance in spite of the novel's obliviousness of the social and political turmoil of China in the mid-nineteenth century.


Author(s):  
Cari Callis

From 1963 to present day, Hayao Miyazaki has recounted the Heroine’s Journey of strong girls and young women through his animated films, television series and manga. Theatrically released in 2001 his hand drawn masterpiece Sen to Chihiro no Kamikakushi (Sen and Chihiro’s Spiriting Away) became the highest grossing film in Japanese history. It was dubbed into English and released by Disney in 2002, and went on to win the Academy Award for what is still the only foreign film to have ever won the Best Animated Feature category. Many critics have ranked it as the best animated film ever made. It’s a coming of age fantasy written and directed by Miyazaki and animated by his Studio Ghibli. It’s the Heroine’s Journey of 10-year-old Chihiro Ogina who is on her way to moving to a new home when she’s sidetracked into the Shinto spirit world of folklore. Her parents are transformed into pigs by the witch Yubaba, and Chihiro must find a way, as she works in Yubaba’s bathhouse to free her parents and escape back to the human world. This essay examines and analyzes how Spirited Away follows the 10-stage model that Maureen Murdock describes in her book Heroine’s Journey: Woman’s Quest for Wholeness. Murdock was a student of Campbell’s and came to believe through her work with women in therapy that his model of the Hero’s Journey didn’t acknowledge the psychological-spiritual aspects of a women’s journey. It argues that Miyazaki and his male dominated studio didn’t follow the Joseph Campbell model of The Hero’s Journey by simply telling a Shero’s journey or one that replaces the male protagonist with a female one, but that he celebrates the psycho-spiritual journey of Chihiro that Murdock outlines.


Author(s):  
Maria Lúcia Dal Farra
Keyword(s):  

The text aims to draw attention to a novel that has gone completely unnoticed by criticism, relegated to oblivion. Even though its author, a Northeastern woman, was known at that time for another aspect of her work, the more political one, the novel, published in 1965, has not yet received the reading worthy of what it raises. This may be explained by the engendering of the questions posed, both concerning the feminine condition, and the narrative and discursive relationships. I try, then, to underline the labyrinthine exploration of time, semantic games, metaphorical inflections, improprieties, metonymic employment, etc., which could have given it the prominent place of a vanguard narrative.


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