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Lawrence A. Peskin
Encounters between Americans, Muslims, and Jews in North Africa played a foundational role in Americans’ early understanding of Islam and Judaism. At a time when the United States population had few Jews and virtually no free Muslims, North Africa was one of the places Americans were most likely to meet individuals from these groups.
Initially, American sailors and diplomats encountered North African Muslims and Jews as the result of frequent ship captures by Barbary corsairs beginning in the colonial period and culminating in the 1780s and 1790s. After 1815, the sailors and diplomats were joined by missionaries journeying to the Mediterranean region to convert Jews and Muslims as well as non-Protestant Christians.
These encounters prompted a good deal of literature published in the United States, including captivity narratives, novels, plays, histories, and missionary journals. These publications reinforced two dominant views of Islam. First, the early focus on Barbary corsairs capturing American “slaves” reinforced old notions of Islam as despotic and Muslims as “savages” similar to Native Americans. Missionary accounts prompted more thoughtful approaches to Muslim theology at the same time that they reinforced existing notions of Islam as a deceitful religion and revivified millenarian hopes that the declining Ottoman Empire foretold the Second Coming.
As a result of the captivity crises, Americans often had to deal with the area’s small but influential group of Jewish merchants in order to get terms and credit to free their countrymen. These fraught negotiations reinforced older European stereotypes of Jews as sharpers and Shylocks. As with Islam, the missionary period brought more thoughtful consideration of Jewish theology as Americans engaged in chiliastic hopes of bringing the Jews to Jerusalem.
After 1850 or so, Americans interested in Jews or Muslims looked less frequently to North Africa. Growing immigrant populations, first of Jews and then of Muslims, meant that Americans could encounter people of all three Abrahamic faiths at home. At the same time, missionary interests moved east, into the Holy Land, Syria, Turkey, and ultimately East Asia. Nevertheless, the early impact of North Africa on American thinking retained its influence, as is evident from President Barack Obama’s 2009 speech on American-Islamic relations delivered in Cairo.
Jerome F. D. Creach
“Violence in the Old Testament” may refer generally to the Old Testament’s descriptions of God or human beings killing, destroying, and doing physical harm. As part of the activity of God, violence may include the results of divine judgment, such as God’s destruction of “all flesh” in the flood story (Gen. 6:13) or God raining fire and brimstone on Sodom and Gomorrah (Gen. 19:24–25). The expression may also include God’s prescription for and approval of wars such as the conquest of Canaan (Josh. 1–12). Some passages seem to suggest that God is harsh and vindictive and especially belligerent toward non-Israelites (see Exod. 12:29–32; Nahum and Obadiah), though the Old Testament also reports God lashing out against rebellious Israelites as well (Exod. 32:25–29, 35; Josh. 7).
Christians have wrestled with divine violence in the Old Testament at least since the 2nd century
Assessment of the significance of records of or calls for violent acts in the Old Testament are difficult, however, because of the complex literary and canonical context in which such passages appear and because of the incongruity between ancient Israelite culture and the culture(s) of readers today. Studies that compare the Old Testament presentation of violence with that of contemporary ancient Near Eastern nations offer potentially more controlled results. Comparative studies alone, however, cannot account for the multiple layers of tradition that often make up Old Testament references to violence. That is, while Assyrian and Babylonian records of warfare presumably describe what Mesopotamian kings actually did in battle, the Old Testament often reports wars and military conflicts, and the aspirations of the leaders of Judah, from the perspective of a defeated people. Thus, even Judah’s desire to defend itself militarily morphed into an expression of hope in God.
Given the complexity of the development of the Old Testament canon, a fruitful and ultimately more accurate way of treating the subject is to determine how ancient Israelites thought about violence and how the subject then affected the overall shape of the Old Testament. A logical starting point in this endeavor is the Hebrew word ḥāmas. This term connotes rebellion against God that results in bloodshed and disorder and a general undoing of God’s intentions for creation. Thus, violence appears to intrude on God’s world, and God acts destructively only to counteract human violence. For example, in Gen. 6:11–13 human violence ruined the earth and thus prompted God to bring the flood as a corrective measure. This way of understanding violence in the Old Testament seems to identify the Old Testament’s own concern of violence and presses a distinction between divine destruction and judgment and human violence.
Despite this potentially helpful approach to violence in the Old Testament, many problems persist. One problem is the violent acts that religious zeal prompts. Old Testament characters like Phinehas (Num. 25), Elijah (1 Kgs. 18:39–40; 2 Kgs. 1), and Elisha (2 Kgs. 2:23–25; 9) killed, ordered killing, or participated in killing in order to purify the religious faith and practices of the Israelites. Nevertheless, most texts that contain problems like this also contain complementary or self-corrective passages that give another perspective. The complexity of the material with regard to violence makes it possible to argue that the Old Testament opposes violence and that the ultimate goal, and divine intention, is peace.
Broadly, visualization stands for a specific mode of imagination in which certain objects or concepts are “viewed as” or “viewed in light of” something else. In the religious context, something is “discovered” as the sacred in the process of visualization. In essence, what constitutes an object or image as sacred is the way this entity is encountered through visualization: it is this act that provides a surplus of value to the entity. When we visualize something, we activate multiple cognitive mechanisms and the added meaning is gained through metonymic and metaphoric structures. The new value of an entity or the discovery of new meaning is often a consequence of the blend of the existing inputs. Historically, ritualized visualization evolved in the Hindu context alongside the Vedic rituals and later became a central feature of everyday Hinduism. Tantric traditions in particular utilize visualization to gain greater access to the mechanism of the mind. Studying visualization thus not only reveals how an imaginative life meshes with reality in constituting the sacred, but it also demonstrates the power of imagination in transforming everyday reality.
William Blake (1757–1827) was a British artist, engraver, poet, and writer on theological themes. His illuminated books were the product of his technological inventiveness, and are characterized by the juxtaposition of texts and images in which a dialectic between two different media is a means of stimulating the imagination of the viewer and reader. Influences on Blake are often hard to trace, though he explicitly cites and criticizes Milton and Swedenborg, as well as the contemporary artist Joshua Reynolds. Such influences, which might help explain Blake’s ideas, seem less important than the extraordinary inventiveness which one finds in his words and images and their production, which have analogies to earlier themes, but without offering the evidence that demonstrates direct dependence. Blake’s emphasis is on the importance of “inspiration” rather than “memory,” and as such he set great store on the creativity of the poetic genius and its reception by the engaged reader or viewer. The visual was primary for Blake. It was a major part of his attempt to produce that which is “not too explicit as the fittest for Instruction,” to allow the reader/viewer to work out what the meaning of words and images was and how one might inform the other. Much of his work is inspired by the Bible, though the heterodox approach he takes to biblical interpretation is frequently at odds with mainstream Christian opinion. Blake’s lifelong fascination with the work of John Milton led him both to challenge and refine his great predecessor’s views and, in Milton a Poem, to enable the departed spirit of Milton to discern the worst of his intellectually self-centered excesses. Blake’s interpretative method, his hermeneutic, is encapsulated in some words he wrote to a client who was perplexed by his work. In it he gave priority to imaginative engagement with the Bible which was only then complemented by rational reflection: “Why is the Bible more Entertaining & Instructive than any other book. Is it not because they are addressed to the Imagination which is Spiritual Sensation & but mediately to the Understanding or Reason?” (Letter to Trusler 1799, E702-3). His ongoing work and the complex idiosyncratic mythology that he invented reflect the changed circumstances of the reaction to the events in revolutionary France. Themes of the Blake corpus, such as prophecy, challenge the hegemony of authoritative texts like the Bible. His critique of dualism and monarchical view of God pervade his work.
Born in 1757, Blake lived most of his life in London with the exception of four, often difficult, years in Felpham, Sussex (1800–1804). He was married to Catherine Boucher (1762–1831), who in his later years was a collaborator in his engraving and printing. Arguably, the companionship of Job’s wife in the Illustrations of the Book of Job, so different from the impression one gets from the brief reference to Job’s wife in the biblical book, may reflect their marriage. The Felpham years were difficult because they marked a time of great personal upheaval, when the ideas which formed his long illuminated poems, Milton a Poem and Jerusalem: The Emanation of the Giant Albion, took shape. As a consequence of an incident with a soldier in Felpham, he was put on trial at this time for sedition, for comments he was alleged to have made to this English soldier. This experience seared his visionary imagination and left its trace in the repeated references to the soldier who brought the charge against him, Schofield, which are dotted throughout Blake’s Jerusalem. Blake was trained as an engraver and pioneered his own technique. This remained the basis of his art, and arguably offered a means that complemented his visionary imagination (Joseph Viscomi, Blake and the Idea of the Book, 1993). After his move back to London, he lived in obscurity and on the fringes of poverty, indebted to the support of patrons like Thomas Butts, for whom he painted many biblical scenes, and later John Linnell. Only in the last years of his life was he discovered by a group of artists. Toward the end of his life he was adopted as an artistic father figure by a group called “The Ancients,” which included George Richmond, Samuel Palmer, and Edward Calvert.
The Hebrew Bible is a book that was primarily written by men, for men, and about men, and thus the biblical text is not particularly forthcoming when it comes to the lives and experiences of women. Other evidence from ancient Israel—the society in which the Hebrew Bible was generated—is also often of little use. Nevertheless, scholars have been able to combine a careful reading of the biblical text with anthropological and archaeological data, and with comparative evidence from the larger biblical world, to reconstruct certain features of ancient Israelite women’s culture. These features include fairly comprehensive pictures of women’s lives as wives and childbearers within Israel’s patrilineal and patrilocal kinship system and of women’s work within the economy of a typical Israelite household. Because the Bible is deeply concerned with religious matters, many aspects of women’s religious culture can also be delineated, even though the Bible’s overwhelmingly male focus means that specific details concerning women’s religious practice must be painstakingly teased out of the biblical text. The Bible’s tendency to focus on the elite classes of ancient Israelite society likewise means that it is possible to sketch a reasonable portrait of the experiences of elite women, especially the women of the royal court, although, again, this information must often be teased out of accounts whose primary interest is elite men.
Like religion, art has been a fundamental component of human experience since the beginning of time. Often working in partnership, occasionally at odds, art and religion form a combination that has been a source of inspiration, pedagogy, contemplation, and celebration of the relationship between the human and the divine. However, each individual religion and its culture have encountered the arts differently; these encounters are reflected in distinctive attitudes toward the human, sex, gender, sexuality, race, ethnicity, and class, as well as configuration of the holy.
The human figure has been a common denominator in the arts envisioning transformations in cultural and societal attitudes, economic and political perceptions, and religious doctrines. Traditional wisdom suggests that the majority of world cultures and religions are established upon a patriarchal structure so that representations of the male body project attitudes of power while the female body projects negative attributes. More recent scholarship by feminist art historians, critics, cultural historians, and religious historians provides new ways of looking at the female figure and the role of women in religious art including the history of women artists, patrons, collectors, and, most recently, as critics and curators.
Further surveying the iconography of specific women, whether deities, historical personages, or legendary beings, in the history of a religion affords the opportunity not simply to analyze variations in artistic styles but also to witness how religion shapes and informs cultural, societal, and even legal definitions of women. While the majority of scholarly investigations have focused on Western religions, the possibilities of both comparative analyses and innovative studies of non-Western iconographies of women in religious art can both inform and expand global recognition of the categories of gender, race, and ethnicity as well as research methodologies. The Western model of iconography may be found wanting and open to enrichment through engagement with new categories and models of analysis.
Luther develops a new concept of the Word of God that concentrates on the word and image of Christ. He uses performative images and presence metaphors not only in the field of Christology, but also in the field of creation and consummation. The Word of God and the image of Christ are the only medial possibilities for proclaiming the presence of God with the prevalence of the oral word over the written word (scripture). Christ is understood as the personal Word of God, which can be communicated only through interpersonal mediality and polysemy. The cultural technique of communication makes faith possible (e.g., through the sermon, Lord’s Supper, or baptism). Rhetoric is the effective and affective way to communicate this Word of God.
The rhetoric of the crucified as the imaginative Word of God is the medium that liberates the believer from being entangled with sin, hell, and death. Yet speech cannot be functionalized to become a guaranteed presence of this word—although Christ understands himself as a communicator. At the same time, his word is a rhetorical strategy for coping with the absence of God. The cry at the cross, “My God, my God, why hast Thou forsaken me?” (Mark 15:34) is a verbal expression of the complete Godforsakenness of the crucified. The words on the cross express the radical absence of God. The rhapsodic cry is centered on abandonment. It cannot be whitewashed by ontology or logic. With these words Luther accentuates the negativity of the dead body as a communicative practice. The Word of God (and the word of the Christian) is characterized by polysemy: the word of the resurrection of Christ is gospel. Only this oral word enables the perception of resurrection. In many other dogmatic fields, such as creation, theological anthropology, incarnation, the sacraments, ecclesiology, and eschatology, faith and words belong together because God’s companionship with us is verbal. The iconic and metaphoric character of the word is not a representation of the fourfold sense of scripture, but a unique way to accentuate the performativity and at the same time the polysemy of the Word of God.
One of the world’s most endangered religious minorities, the Yazidis are a predominantly Kurdish-speaking group numbering some 500,000 souls, who once inhabited a wide area stretching across eastern Turkey, northern Syria, northern Iraq, and western Iran. Of these territories, only the community in Iraq still numbers in the hundreds of thousands. Most come from two areas: Sheikhan, a collection of villages and towns to the northeast of Mosul, and Sinjar, a mountain to the northwest close to the border with Syria. Until recently these areas seemed stable; however, in August 2014, the so-called Islamic State (Da‘esh) attacked the ancient community of Yazidis of Mount Sinjar, massacring hundreds of men, enslaving thousands of women and children, and driving the population of some 350,000 Yazidis into camps for internally displaced persons in the Kurdistan region. They are targeted because of their non-Abrahamic religion; for many years they have been erroneously known as “devil-worshippers.” In fact, their belief system incorporates visible elements from the three “religions of the Book” (Judaism, Christianity, and Islam) and traces of lesser-known religions, upon a substratum that may derive from Iranian religions (Zoroastrianism or similar). It is not a proselytizing faith, and religious relationships within the community are determined by birth. Marrying out is traditionally forbidden.
Yazidis are relative newcomers to urban life and are often socially, economically, and educationally disadvantaged. Internal pressures, especially from the youth, to “modernize” the religion have existed at least since the 1990s. However, the main drive toward change comes now from the Yazidis’ loss of confidence in their safety in Iraq and their consequent migration toward Europe and the stresses of diaspora life. At the same time, an increasingly activist younger generation is demanding justice. The future of Yazidism is unclear, but it will certainly never be the same again.