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Playing the Victim: Violence, Suffering, and Feminine Submission in The Passion of the Christ

机译:扮演受害者:《基督受难记》中的暴力,痛苦和女性屈服

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摘要

This essay critically interrogates the graphic violence that defines the 2004 blockbuster The Passion of the Christ. It reads that violence in terms of theologies of suffering, opposing liberation theologians who privilege empathetic victimhood with Jesus as a goad to social activism against contextual theologians who fear that such celebrations of suffering only undermine possibilities for human agency. The Passion's violence facilitates a characterization of Jesus as victim and his faithful followers as submissive and feminine whereas his oppressors, the Roman and Temple guards, are aggressive and masculine. All of these humans are juxtaposed to the omnipotent God who controls the earthly scene. This close reading of the film suggests that celebrations of Jesus' suffering cannot inspire Christian activism when his suffering is framed as God ordained. Instead, in this divinely controlled world, the models of Christian discipleship are the feminine characters who practice submission even in the face of great violence.
机译:本文严谨地审视了定义2004年大片《基督受难记》的图形暴力。它读到,从痛苦神学角度讲,暴力是反对解放神学家,他们反对移情的神学家以耶稣为移交对象,以此作为社会行动主义的力量,而反对情境的神学家,后者担心这样的痛苦庆祝只会破坏人为代理的可能性。激情的暴力有助于将耶稣描述为受害者,而将他的忠实信徒描述为顺从和女性化,而他的压迫者,罗马和圣殿卫队则具有侵略性和阳刚之气。所有这些人类都与控制尘世场景的全能上帝并列。这部电影的仔细阅读表明,当耶稣的苦难被描绘成上帝的旨意时,庆祝耶稣的苦难就无法激发基督徒的行动主义。取而代之的是,在这个神圣控制的世界中,基督徒门徒训练的榜样是即使在遭受严重暴力的情况下仍会屈服的女性角色。

著录项

  • 来源
    《Journal of Media and Religion》 |2008年第3期|150-169|共20页
  • 作者

    Kristy Maddux;

  • 作者单位

    Department of Communication, University of Maryland,;

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  • 原文格式 PDF
  • 正文语种 eng
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