Download On Lies, Secrets, and Silence: Selected Prose, 1966-1978 by Adrienne Rich PDF

By Adrienne Rich

At factor are the politics of language; the makes use of of scholarship; and the subjects of racism, historical past, and motherhood between others referred to as forth via wealthy as "part of the trouble to outline a feminine cognizance that is political, aesthetic, and erotic, and which refuses to be incorporated or inside the tradition of passivity."

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On Lies, Secrets, and Silence: Selected Prose, 1966-1978

At factor are the politics of language; the makes use of of scholarship; and the themes of racism, heritage, and motherhood between others referred to as forth by means of wealthy as "part of the trouble to outline a feminine recognition that's political, aesthetic, and erotic, and which refuses to be incorporated or inside the tradition of passivity.

Additional resources for On Lies, Secrets, and Silence: Selected Prose, 1966-1978

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The Harrowing of Hell “Anne” and the Greek Paschal Tradition in Conversation HOPE K. BARTEL and TIMOTHY E. G. BARTEL While most of the characters in Joss Whedon’s Buffy the Vampire Slayer are agnostic at best about the existence of God, they are confident about the existence of hell — they live and study above the mouth of hell, they mention hell on an almost daily basis, and some of them, like Angel and Spike, are in some sense from hell. Despite the show’s hellish focus from the beginning, it is not until the first episode of season three, “Anne” (one of only twenty-one episodes in the series both written and directed by Whedon), that Buffy herself actually goes to hell.

On the other side, those converted by Jasmine are clearly onceborn, and it is telling that Whedon has his characters reject that world. 6), where characters actually transform into the costumes they are wearing, also underscore how Whedon develops a coherent spiritual philosophy by portraying the tantalizing but ultimately unsatisfying status of being once-born. 19. It should be noted that Darla actually is a human at the time of her rejection of her former self, but she is speaking of her 1600s human self.

In that moment of carnality, their innocence is gone, replaced by knowledge. The purity that protected Buffy is washed away by her sexual congress. There is more to this chapter of the story than the obvious and very 44 Joss Whedon and Religion clever high school metaphor of the beloved boy who charms his way into the bed of his girlfriend and then turns into a jerk once the deed is done. And while many a teenage girl can claim her boyfriend became a postcoital demon, perhaps Buffy is the only character for whom this is literally true.

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