13 found

Year:

  1. Populist Improvisation.Sunil Macwan - 2020 - Renascence 72 (4):195-213.
    Successfully creating polarizing narratives, several populist leaders have come to dominate the global political sphere in recent times. However, the coronavirus pandemic has raised serious questions over their ability to respond to its challenges effectively. Whether they will remain in power after the pandemic is an intriguing question. The key to understanding the dynamics of power among populist leaders lies in analyzing the tactics they employ for the appropriation of political power. In this context, reading Christopher Marlowe’s Tamburlaine the Great (...)
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  2.  1
    The Knower, the Sayer, and the Doer in Norman Maclean’s A River Runs Through It.James Mayo - 2020 - Renascence 72 (4):215-230.
    This essay addresses the connections between Emersonian and Wordsworthian concepts and Norman Maclean’s novella A River Runs through It, specifically those ideas of the Knower, the Sayer, and the Doer from Emerson’s “The Poet,” Emerson’s concept of what constitutes poetry and “The Poet,” as well as Wordsworth’s notions of poetic creativity. As discussed in the essay, Emerson’s concepts of the Knower, the Sayer, and the Doer line up with the three central characters of the novella—The Reverend Maclean, Norman Maclean, and (...)
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  3.  2
    Stalled by Our Lassitude.William Tate - 2020 - Renascence 72 (4):231-248.
    Richard Wilbur’s poem “Lying” considers two kinds of lying. He addresses the traditional accusation that poets tell lies, but he gradually exposes boredom as a subtler and more dangerous form of lying. The essay draws on insights from the philosophers Martin Heidegger and Jean-Luc Marion and considers analogues in Scripture and Hamlet and Paradise Lost in order to draw out the significance of Wilbur’s claim.
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  4.  2
    Lud-in-the-Mist as Memento Mori.Carla Arnell - 2020 - Renascence 72 (3):163-190.
    This essay of practical literary criticism explores how Hope Mirrlees’s fantasy novel Lud-in-the-Mist draws upon biblical and medieval narrative traditions to develop a fantasy tale whose Christian theology is smuggled in as sweetly and subtly as the novel’s fairy fruit. Through my analysis, I argue that Mirrlees uses symbolism and allegory to develop an aesthetic theology aimed at addressing her own and her protagonist’s existential anxiety about death. In the course of that theological tale, she represents faith as an antidote (...)
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  5. [D]Runk with Those That Have the Fear of God.Sean Benson - 2020 - Renascence 72 (3):147-162.
    The standard view is that Shakespeare depicts alcoholic consumption as good in moderation, but bad when used to excess. Although he illustrates in Falstaff and others alcohol’s debilitating effects, Shakespeare also treats occasional drunkenness at festive events—christenings, wakes, church ales—as benign and even salutary. Such occasions are part and parcel of the pre-Reformation tolerance of social drunkenness, what I call good Christian drinking. The REED documents attest to the church’s accommodation of drinking at parish festivities, particularly at ales. I argue (...)
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  6.  2
    Protestant Missionaries in Literature.Christian R. Davis - 2020 - Renascence 72 (3):125-146.
    Protestant cross-cultural missionaries have appeared as characters in literary narratives for some two hundred years. These narratives use three patterns. The first, showing godly missionaries supported by divine interventions, includes nonfiction accounts of missionaries like Hudson Taylor, Jim Elliot, and Don Richardson. The second pattern, showing missionaries as orthodox fanatics, includes Brontë’s Jane Eyre, Maugham’s “Rain,” and Kingsolver’s The Poisonwood Bible. The third pattern, common in postcolonial novels, portrays missionaries with ambivalence and humor and includes elements of Bakhtin’s “carnivalesque”: comic-grotesque (...)
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  7.  9
    The Failure of the Sacraments in Coleridge’s Rime of the Ancient Mariner.Joshua Avery - 2020 - Renascence 72 (2):87-98.
    This essay argues that Coleridge’s Rime of the Ancient Mariner represents in its imagery a tension within Coleridge prior to his conversion to Anglicanism. Specifically, the poem’s treatment of institutional sacraments argues for their apparent inefficacy, at least from the Mariner’s vantage point. The sacramental idea upheld by a High Church view would suggest that particular earthly institutions, such as Holy Communion or matrimony, could function as actual and not merely symbolic vehicles of divine grace. The Rime, however, displays a (...)
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  8.  4
    Editor's Page.John E. Curran - 2020 - Renascence 72 (2):65-65.
  9.  15
    The Decency of Albert Camus.Jesus Deogracias Principe - 2020 - Renascence 72 (2):99-120.
    This essay explores the place of decency and the decent man in the moral and religious thought of Albert Camus. Focusing primarily on the major fictional works, we consider how Camus employs the semantic ambiguity inherent in the notion of being decent, and then develops this into a normative ethical call characterized by responsibility and solidarity. We then explore further how Camus pushes the envelope to make us reflect on whether decency is even possible, both in the sense of addressing (...)
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  10.  4
    Theft as Gift: Percy, Peirce, and Bible in The Second Coming.Franklin Arthur Wilson - 2020 - Renascence 72 (2):67-85.
    This article explores Walker Percy’s use of Charles Sanders Peirce’s concept of “Thirdness” as an interpretive tool in connection with Percy’s use of the Bible in his novel, The Second Coming. In this context, Peirce’s “Thirdness” may be understood as that which mediates between a word and a thing as, indeed, Walker Percy defines “Thirdness” in his essay, “The Delta Factor”. As such, C.S. Peirce’s “Thirdness” serves Percy as a model for understanding the function of “triadic” language in the operation (...)
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  11.  2
    Parker’s Black? A Rereading of Race in Flannery O’Connor’s "Parker’s Back".Christine Grogan - 2020 - Renascence 72 (1):25-42.
    Contributing to the uneasy question of race in Flannery O’Connor's fiction, this article performs a rereading of the last story she penned—“Parker’s Back”—and argues that her final protagonist may have been a product of miscegenation. It discusses the implications this would have on our understanding of this spiritually rich story, and, perhaps even more importantly, of O’Connor’s views on race at the end of her life.
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  12.  7
    Heroes, Tyrants, Howls.Steven Knepper - 2020 - Renascence 72 (1):3-23.
    In recent decades, the philosopher William Desmond has offered both insightful readings of individual tragedies and a striking reformulation of old Aristotelian standbys like hamartia and catharsis. This reformulation grows out of his wider philosophy of the “between,” which stresses humans’ fundamental receptivity or “porosity.” For Desmond, tragedy strips away characters’ self-determination and returns them to porosity. The audience is returned to porosity as well, a process of exposure that can be harrowing, and at times leads to despair, but that (...)
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  13.  3
    Revising Orthodoxy in the Poems of Robert Southwell.Amber True - 2020 - Renascence 72 (1):43-60.
    Community is the framework for the Christian experience. The Greek text from which the English bible is translated uses the ἐκκλησια, which means “assembly,” “assemblage, gathering, meeting,” and in the earliest text, “the universal church to which all believers belong.” Thus, the very idea of Christianity after Christ suggests community. Robert Southwell trained to contribute to a very particular portion of the Christian community in Elizabethan England, but the lyric poetry he produced during this time represents community as flawed and (...)
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