Playing with Death

The task of identifying a single rationale for the violence on display in the book of Jeremiah may end with a coherent answer, but perhaps not a satisfactory one. That violence serves a reforming purpose seems satisfactory to theological readers in search of theodicy, as well trauma analyses that find the violence problematic but understandable. Other interpreters of Jeremiah, such as feminists and postcolonialists, struggle with the gratuitous and seemingly arbitrary nature of the violence. While not an attempt to rationalize the violence, this chapter engages the arbitrariness of the violence through a systematic analysis of four targets of violence in the book of Jeremiah: the prophet, the feminized Israel/Judah as adulterous wife, foreign nations, and the earth. By distinguishing these separate targets, the chapter examines how gender, sexuality, nationality, and speciesism intersect in the enactment of the rhetorical violence in the book. These delineations also set the stage for a central claim of the chapter, that of exceptional violence. Building upon Carl Schmidt’s notion that exceptional violence stems from exceptional vulnerability that requires the state of exception to use unrestrained violence, the chapter considers how the violence as narrated in Jeremiah not only performs this exceptionalism but also has exceptions. By examining who/what dies from the violence in the book, the chapter points out how the politics of death is played out upon different targets.

Braiding Borders: Performance as Care and Resistance on the US-Mexico Border

Braiding Borders, a site-specific performance in which women from both Mexico and the US braided their hair together across the US-Mexico border, challenged exclusionary geopolitical demarcations and physical and rhetorical violence against female, immigrant, and Latinx bodies. As a collective, performative mobilization of bodies, it dismantled and reinvented mobilities of belonging and body politics of dissent.

Timon of Athens (1606?) and Timon (1602?): Rhetorical and Ritualistic Violence

This article seeks to explore representations of theatrical anger in William Shakespeare and Thomas Middleton’s Timon of Athens (1606?) and a play written by students from one of the Inns of Court, the Inner Temple, entitled Timon, written and performed at the Inn circa 1602. The article is concerned with two types of violence exhibited in both plays; rhetorical violence and ritualistic violence. Early modern rhetorical violence is self-consciously performative and manipulative compared to ritualistic violence which is unbridled and emasculating; a bodily performance that cannot be controlled via self-regulation. By exploring cultural perceptions of anger, this article attempts to account for the range of violence performed by the two Timons.

Writing Between Cultures

Writing Between Cultures — This essay examines the traffic in languages or systematic interferences, the tropes of translation whereby the network of the Canadian literary system is produced. It focuses on two moments in that process, one whereby Canadian literatures are produced as Europe's other by vertical translation of Canadian concepts into classical languages and an erasure of horizontal translation among Amerindian languages as manifest in the writing of colonization, especially in the work of Marie de l'Incarnation. The second is the contemporary period where the theatre of cultures of Amerindian playwrights, Daniel David Moses in particular, restages the trope of non-translation to expose therein the rhetorical violence of imperialism and offers in its place a model of horizontal translation between Amerindian languages. Performance as repetition with a difference or rewriting is another mode of translation, characterized by a theory of language as event not as mimesis.