By Athalya Brenner
This quantity is the 1st in a chain which gives a basic source for feminist biblical scholarship, containing a finished number of essays, either reprinted and in particular written for the sequence, by way of top feminist students.
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Extra info for A Feminist Companion to the Song of Songs
34 A Feminist Companion to the Song of Songs sexual imagery in Hosea 1 and 2. Her conclusion is that Hosea objectifies female experience as a separate entity inferior to male experience, and that his views must be understood in connection with the historico-political realities of his time (8th century BCE). Betel's article thus deals with what is known as 'unmasking' male attitudes. F. van Dijk exposes the male views and male sexual politics of Hosea 2 in a different way. By defining the Hosean passage as a male love poem, and the SoS as a specimen of female love lyrics, it is possible to point out the differences between the two gendered genres and the ideologies that underlie them.
The same applies to the question of the stylistic, rhetorical and psychological differentials between male and female love poetry, inside the SoS and outside it. The essays collected were chosen for their individual merit as well as representative value. In some cases, a written 'symposium' between feminist and non-feminist views of the same SoS text or issue was instituted. This was done in order to illustrate how a feminist critique, be it as personal as it may be, differs from more orthodox discussions (which are themselves far from being objective, but more often than not pretend universal value).
Modern literary masters have parodized literary conventions of love; Freud has shown the functionality of sexual humour. 1 6. In Retrospect When I was compiling this collection I asked Francis Landy whether he had meanwhile, since a few years had elapsed, wished to modify his critique of Trible's study and of feminist criticism in general. His response to his earlier work and to 1. See C. Brooke-Rose, '111 Wit and Good Humour: Women's Comedy and the Canon', Comparative Criticism 10 (1988), pp. 121-38.