The Church's Lament: Moving the White Church from Grief of Complicity to Lament

Total Page:16

File Type:pdf, Size:1020Kb

The Church's Lament: Moving the White Church from Grief of Complicity to Lament Digital Commons @ George Fox University Doctor of Ministry Theses and Dissertations 10-2019 The Church's Lament: Moving the White Church from Grief of Complicity to Lament Kristin Hamilton Follow this and additional works at: https://digitalcommons.georgefox.edu/dmin Part of the Christianity Commons GEORGE FOX UNIVERSITY THE CHURCH’S LAMENT: MOVING THE WHITE CHURCH FROM GRIEF OF COMPLICITY TO LAMENT A DISSERTATION SUBMITTED TO THE FACULTY OF PORTLAND SEMINARY IN CANDIDACY FOR THE DEGREE OF DOCTOR OF MINISTRY BY KRISTIN HAMILTON PORTLAND, OREGON OCTOBER 2019 Portland Seminary George Fox University Portland, Oregon CERTIFICATE OF APPROVAL ________________________________ DMin Dissertation ________________________________ This is to certify that the DMin Dissertation of Kristin Hamilton has been approved by the Dissertation Committee on October 9, 2019 for the degree of Doctor of Ministry in Leadership and Global Perspectives Dissertation Committee: Primary Advisor: MaryKate Morse, PhD Secondary Advisor: Kurtley Knight, DMin Lead Mentor: Jason Clark, PhD, DMin Copyright © 2019 by Kristin Hamilton All rights reserved ii DEDICATION To my grandmothers, Frances Bogart and Elois Carlson. They taught me that fighting for social justice and loving the church are not mutually exclusive. To my parents, Dennis and Mary Bogart. They have loved me well and continue to teach me how to love the church well. To my husband, Scott. His love strengthens me. He chose to journey alongside me and became a social justice warrior as well. To my children, Cameron and Jill, Grace and Jacob, and Gwen. They have each wisely chosen their own paths to loving people and the church. To my new granddaughter, Iris Hamilton. I have held you in my heart as I have written my dissertation, knowing already that you will be a warrior in your own right. Be strong, faithful, and loving. Your heritage is with you, Jesus will never leave you, and Nana Kiki will love you without end. iii ACKNOWLEDGMENTS I have so much gratitude for the people who helped me complete this work. My entire family, especially Scott, sacrificed much to make it possible for me to research, write, and become. I love you all. My cohort, The Magnificent Sevens: Stu Cocanougher, Jennifer Dean-Hill, Lynda Gittens, Christal Jenkins, Katy Drage Lines, Jim Sabella, Chip Stapleton, and Mary Walker. They held me up, literally and figuratively, which kept me moving forward. Within three years, we went from strangers to family, and I love all of you. The Doctor of Ministry program staff and faculty: Dr. Jason Clark taught me that all is grace, and I’m better than I believed. Dr. MaryKate Morse patiently helped me wade through the deep waters of writing on a topic so important to me. Dr. Loren Kerns and Dr. Clifford Berger encourage me as a student and have made coming to work so much fun. And most of all, Heather Rainey, the best boss/encourager/listener I could ever hope to have. Heather, you have the patience of a saint and the biggest heart I know. I am so honored to call you my friend. The sisters of my heart: Dr. Becky Grisell and (soon to be Dr.) Nancy Blackman. They have been my friends, writing sisters, and partners in crime. It took me a long time and a trip to seminary to find women friends who I could trust and love, who loved me back. Thank you. Finally, to the Black women and non-Black women of color who are antiracism activists on social media, in academia, and politics: I have learned so much from you and you don’t even know it. You have given me strength and courage to “gather my people” in hopes of moving the church of Jesus forward to racial reconciliation. iv EPIGRAPH I need a love that is troubled by injustice. A love that is provoked to anger when Black folks, including our children, lie dead in the streets. A love that can no longer be concerned with tone because it is concerned with life. A love that has no tolerance for hate, no excuses for racist decisions, no contentment in the status quo. I need a love that is fierce in its resilience and sacrifice. I need a love that chooses justice. —Austin Channing Brown, I’m Still Here: Black Dignity in a World Made for Whiteness v Contents DEDICATION ...............................................................................................................iii ACKNOWLEDGMENTS .............................................................................................. iv GLOSSARY ................................................................................................................ viii ABSTRACT ................................................................................................................... ix CHAPTER 1: EXPLORING THE PROBLEM ............................................................... 1 Introduction ............................................................................................................... 1 Kate’s Story ............................................................................................................. 2 My Story.................................................................................................................. 6 The Problem .............................................................................................................. 9 The Church in Denial: Whiteness and White Privilege ............................................. 11 What Is Whiteness? ............................................................................................... 13 Racial Hierarchies .................................................................................................. 20 White Privilege, White Supremacy, and White Power ............................................ 25 Individual Prejudice Versus Structural Oppressions ................................................ 28 White Evangelical Denial and Anger ....................................................................... 32 CHAPTER 2: THE MYTH OF CHRISTIAN INTERVENTION .................................. 40 Introduction ............................................................................................................. 40 The White Church and Slavery, Abolition, and the Post-Civil War Era .................... 43 White Christians in the Mid-Twentieth Century and Civil Rights Era ...................... 48 The Church and Racism in the Late Twentieth Century and Today .......................... 54 Conclusion .............................................................................................................. 59 CHAPTER 3: MOTIVES, CONSEQUENCES AND BREAKTHROUGHS ................. 62 Grief Cycles and Motives ........................................................................................ 62 Grieving the Idea of Being Good ........................................................................... 64 Grieving the Idea of Entitlement to Privilege ......................................................... 67 What Does It Look Like to Be “Stuck?” .................................................................. 71 Consequences .......................................................................................................... 75 Separation and Loss ............................................................................................... 76 Bargaining or Baby Steps ........................................................................................ 79 Breaking the Cycle and Moving Toward the Next Stage .......................................... 83 CHAPTER 4: A CALL TO LAMENT – SHIFTING TOWARD CHANGE ................. 89 Introduction ............................................................................................................. 89 What is Lament? ...................................................................................................... 90 Lament in Scripture ................................................................................................. 93 Lamentations ......................................................................................................... 97 Psalms ................................................................................................................... 99 Nehemiah and Corporate Lament ......................................................................... 101 Lament in Modern American Churches.................................................................. 102 Lament in American Culture – Prophetic Voices ................................................... 108 “To Whom Can We Go?” ...................................................................................... 112 CHAPTER 5: LEARNING TO LAMENT AND AFFECTING RECONCILIATION . 115 vi Introduction: Becoming Tuned to Lament .............................................................. 115 Learning the Language .......................................................................................... 117 Music and Lament ............................................................................................... 118 Lamentations and Psalms ..................................................................................... 122 Hearing from the Oppressed and Building Our Vocabulary of Lament ................. 126 Heartbreak Beyond Explanation ........................................................................... 128 What Is Next? Steps Toward Repentance and Change ........................................... 130 CHAPTER 6: CONCLUSION, APPLICATION, AND A DREAM FOR THE FUTURE ...................................................................................................................................
Recommended publications
  • Program Notes Scene I
    PROGRAM SCENE I NOTES GIOVANNI GIROLAMO KAPSBERGER (C. 1580 – 1651) CLAUDIO MONTEVERDI (1567 – 1643) Toccata arpeggiata Lamento della ninfa While little is known of Kapsberger’s life, he is primarily remembered as a composer As you walk through Venice for the first time, nobody can escape two things: the for theorbo, a large guitar-like instrument that was common in the period. This work, labyrinth of canals, and the striking Piazzo San Marco (St Mark’s Square), which which features on our ARIA award-winning recording Tapas, comes from a beautiful has been walked by countless musical geniuses over the years. One of these was 60-page manuscript published in Venice in 1604, titled Libro primo d'intavolatura di Claudio Monteverdi, who was the head of music at the stunning St Mark’s Basilica chitarrone (first book of theorbo tablature). Tablature is a form of music notation that which dominates the square. Famed for its extraordinary acoustic, St Mark’s indicates fingering rather than specific pitches. In this case, it shows which fingers Basilica was practically Monteverdi’s home, and it was during his over 30 years here are to be placed on which strings of the theorbo. The manuscript below constitutes that he cemented his position as one of the most influential and monumental figures the entirety of the music notated by Kapsberger for this piece: all other aspects in music history. He is usually credited as the father of the opera, and also as the of realising the music are left to the performers. However, the marking arpeggiata most important transitional figure between the Renaissance and Baroque periods indicates that is to be played with arpeggios: musical phrases that take individual of music.
    [Show full text]
  • “Innocent Bystanders”: White Guilt and the Destruction of Native Americans in Us Literature, 1824-1830
    University of Kentucky UKnowledge Theses and Dissertations--English English 2020 “INNOCENT BYSTANDERS”: WHITE GUILT AND THE DESTRUCTION OF NATIVE AMERICANS IN US LITERATURE, 1824-1830 Noor Al-Attar University of Kentucky, [email protected] Author ORCID Identifier: https://orcid.org/0000-0002-2170-2226 Digital Object Identifier: https://doi.org/10.13023/etd.2020.489 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Al-Attar, Noor, "“INNOCENT BYSTANDERS”: WHITE GUILT AND THE DESTRUCTION OF NATIVE AMERICANS IN US LITERATURE, 1824-1830" (2020). Theses and Dissertations--English. 118. https://uknowledge.uky.edu/english_etds/118 This Doctoral Dissertation is brought to you for free and open access by the English at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--English by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • III CHAPTER III the BAROQUE PERIOD 1. Baroque Music (1600-1750) Baroque – Flamboyant, Elaborately Ornamented A. Characteristic
    III CHAPTER III THE BAROQUE PERIOD 1. Baroque Music (1600-1750) Baroque – flamboyant, elaborately ornamented a. Characteristics of Baroque Music 1. Unity of Mood – a piece expressed basically one basic mood e.g. rhythmic patterns, melodic patterns 2. Rhythm – rhythmic continuity provides a compelling drive, the beat is more emphasized than before. 3. Dynamics – volume tends to remain constant for a stretch of time. Terraced dynamics – a sudden shift of the dynamics level. (keyboard instruments not capable of cresc/decresc.) 4. Texture – predominantly polyphonic and less frequently homophonic. 5. Chords and the Basso Continuo (Figured Bass) – the progression of chords becomes prominent. Bass Continuo - the standard accompaniment consisting of a keyboard instrument (harpsichord, organ) and a low melodic instrument (violoncello, bassoon). 6. Words and Music – Word-Painting - the musical representation of specific poetic images; E.g. ascending notes for the word heaven. b. The Baroque Orchestra – Composed of chiefly the string section with various other instruments used as needed. Size of approximately 10 – 40 players. c. Baroque Forms – movement – a piece that sounds fairly complete and independent but is part of a larger work. -Binary and Ternary are both dominant. 2. The Concerto Grosso and the Ritornello Form - concerto grosso – a small group of soloists pitted against a larger ensemble (tutti), usually consists of 3 movements: (1) fast, (2) slow, (3) fast. - ritornello form - e.g. tutti, solo, tutti, solo, tutti solo, tutti etc. Brandenburg Concerto No. 2 in F major, BWV 1047 Title on autograph score: Concerto 2do à 1 Tromba, 1 Flauto, 1 Hautbois, 1 Violino concertati, è 2 Violini, 1 Viola è Violone in Ripieno col Violoncello è Basso per il Cembalo.
    [Show full text]
  • Catalogue of the Athenaean Society of Bowdoin College
    The University of Maine DigitalCommons@UMaine Maine History Documents Special Collections 1844 Catalogue of the Athenaean Society of Bowdoin College Athenaean Society (Bowdoin College) Follow this and additional works at: https://digitalcommons.library.umaine.edu/mainehistory Part of the History Commons This Monograph is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Maine History Documents by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. Pamp 285 CATALOGUE OF THE ATHENANE SOCIETY BOWDOIN COLLEGE. INSTITUTED M DCCC XVII~~~INCORFORATED M DCCC XXVIII. BRUNSWICK: PRESS OF JOSEPH GRIFFIN. 1844. RAYMOND H. FOGLER LIBRARY UNIVERSITY OF MAINE ORONO, MAINE from Library Number, OFFICERS OF THE GENERAL SOCIETY. Presidents. 1818 LEVI STOWELL . 1820 1820 JAMES LORING CHILD . 1821 1821 *WILLIAM KING PORTER . 1822 1822 EDWARD EMERSON BOURNE . 1823 1823 EDMUND THEODORE BRIDGE . 1825 1825 JAMES M’KEEN .... 1828 1828 JAMES LORING CHILD . 1829 1829 JAMES M’KEEN .... 1830 1830 WILLIAM PITT FESSENDEN . 1833 1833 PATRICK HENRY GREENLEAF . 1835 1835 *MOSES EMERY WOODMAN . 1837 1837 PHINEHAS BARNES . 1839 1839 WILLIAM HENRY ALLEN . 1841 1841 HENRY BOYNTON SMITH . 1842 1842 DANIEL RAYNES GOODWIN * Deceased. 4 OFFICERS OF THE Vice Presidents. 1821 EDWARD EMERSON BOURNE . 1822 1822 EDMUND THEODORE BRIDGE. 1823 1823 JOSIAH HILTON HOBBS . 1824 1824 ISRAEL WILDES BOURNE . 1825 1825 CHARLES RICHARD PORTER . 1827 1827 EBENEZER FURBUSH DEANE . 1828 In 1828 this office was abolished. Corresponding Secretaries. 1818 CHARLES RICHARD PORTER . 1823 1823 SYLVANUS WATERMAN ROBINSON . 1827 1827 *MOSES EMERY WOODMAN . 1828 In 1828 this office was united with that of the Recording Secretary.
    [Show full text]
  • Brünnhilde's Lament: the Mourning Play of the Gods
    The Opera Quarterly Advance Access published April 18, 2015 Brünnhilde’s Lament: The Mourning Play of the Gods Reading Wagner’s Musical Dramas with Benjamin’s Theory of Music n sigrid weigel o center for literary and cultural research, berlin It was Brünnhilde’s long, final song in the last scene of Götterdämmerung,in Achim Freyer’s and James Conlon’s Los Angeles Ring cycle of 2010, that prompted me to consider possible correspondences between tragedy and musical drama and, in addition, to ask how recognizing such correspondences affects the commonplace derivation of musical drama from myth1 or Greek tragedy2 and tying Wagner to Nietzsche’s The Birth of Tragedy. The impression I had gained from Linda Watson’s rendition of the song did not fit a reading in terms of apotheosis: the way the downfall of the world of the gods is usually staged, when, at the end of the cycle, Brünnhilde kindles the conflagration and follows murdered Siegfried into death. It seemed to me much more that what we heard was a long-extended lament. This performance did not seem to match the prevailing characterization of the scene as “solid and solemn” (fest und feierlich), as Peter Wapnewski has put it, speak- ing of an “apotheotic finale” and a “solemn-pathetic accusation.” In his words, “Now Brünnhilde sings forth the end. In the powerful scene of lonely grandeur that de- mands the singer-actress’s dramatic power to their limits—and beyond.”3 In Freyer’s and Conlon’s Götterdämmerung, tones of lament rather than the pathos of accusa- tion could be heard in Brünnhilde’s final song.
    [Show full text]
  • SONS of the AMERICAN REVOLUTION Oraanized April 30, 1689 Pr
    OFFICIAL BULLETIN 01" THE NATIONAL SOCIETY 01" THI! SONS OF THE AMERICAN REVOLUTION Oraanized April 30, 1689 Pr.. ident General Incorporated b:r Act oi Conlll'eu June 9, 1906 Mooe• Greeley Parker, M. 0., Lowell, Mau. OCTOBER, 1911 Number 2 Volume VI Published at the office of the Secretary General (A. Howard Clark, Smithsonian Instl· tutlon), Washington, D. C., in May, October, December, and March. Entered as second-class matter, May 7, 1908, at the post-office at \Vashington, D. C., under the Act of July 16, t894· TnE OFFICIAL BuLLETIN records action by the General Officers, the Board of Trustees, the Executive and other National Committees, lists of members deceased and of new members, and important doings of State Societies. Secretaries of State Societies and of Local Chapters are requested to promptly communicate to the Secretary General ac- counts of all meetings or celebrations. PRACTICAL PATRIOTISM. Education of Aliens. The Society of the Sons of the American Revolution has done good work during the last twenty years in the erection of numerous monu­ ments and tablets commemorative of the important events and the eminent patriots of the War for Independence. Much has also been accomplished toward the permanent preservation of the records of that period. During the last four years the Society has been carrying on a still greater work in preserving the principles and the iastitutions founded by the men of I776. The millions of aliens in the United States are being taught what the Nation stands for, what it means for them to become a part of the body politic, participating in the duties and responsibilities of actiYe citizens in an intelligent manner.
    [Show full text]
  • THE BOOK of JOB Blessed Be the Name of the Lord! Rev
    CONCORDIA SEMINARY LENTEN SERMON SERIES LENTEN SERMON SERIES THE BOOK OF JOB Blessed be the Name of the Lord! Rev. Reed Lessing 801 SEMINARY PLACE • ST.LOUIS, MO 63105 • 314-505-7000 • WWW.CSL.EDU The Book of Job: Blessed be the Name of the Lord! Newsletter Article One of the Bible’s greatest wisdom books is the book of Job. This Lent we are going to explore this magnificent composition that is numbered among some of the greatest literature of all time. Nine sermons will help us dig deeply into Job’s central message and supporting truths, while six Sunday Morning Adult Bible Classes will further address the book’s major topics and themes. We all suffer—personally and privately. We also suffer in more public ways. A husband loses a job. A child gets divorced. A parent dies. And now, thanks to the media, we are able to see and experience more and more of the world’s catastrophes and suffering. We need the book of Job, now, more than ever. Martin Luther asserted that “Job is magnificent and sublime as no book of Scripture.” Others have called Job “the Shakespeare of the Bible.” Yet the early Christian scholar Jerome perhaps put it best when he called the book of Job an “eel,” since the more one tries to contain it, the slipperier it becomes! The purpose of our Lenten emphasis is to learn how to apply Job to our lives, so that the book becomes less like an eel and more like a loving companion through life’s dark valleys.
    [Show full text]
  • Nt Lament in Current Research and Its Implications for American Evangelicals
    JETS 57/4 (2014) 757–72 NT LAMENT IN CURRENT RESEARCH AND ITS IMPLICATIONS FOR AMERICAN EVANGELICALS KEITH CAMPBELL* I. INTRODUCTION Shortly after OT scholar Hermann Gunkel (re)identified the lament genre in 1933, NT researchers began exploring its influence on the NT. Explorations gradu- ally increased, with significant contributions spanning several NT genres and disci- plines. The time has come to critically assess this field, to provide avenues for fu- ture researchers to explore and, of more specific concern to JETS readers, to raise awareness that American evangelical NT scholars have largely overlooked this field—to the detriment of evangelical churches. Covering contributions made to the Gospels, Paul’s letter to the Romans, the book of Revelation, and NT theology, my assessment begins in the 1980s after OT lament research had matured and when narrative and theological interests in the NT lament began to emerge.1 To provide an overview of the field, I summarize in the first three sections influential contributions to NT lament research before as- sessing these contributions in the fourth section. In the final section I explore vari- ous ways that evangelical scholarship, with a view toward influencing the church, can (and should) build upon these contributions. II. GOSPELS I begin with a groundbreaking, unpublished dissertation that, to my knowledge, every researcher (myself included) has overlooked: Rosann Catalano’s “How Long, O Lord?”2 Catalano is groundbreaking not because her exploration of * Keith Campbell is visiting lecturer of NT and Christian studies at Shanghai Normal University, No. 100 Guilin Road, Shanghai, China 200234. 1 It is difficult to demarcate some of the following contributions according to this taxonomy.
    [Show full text]
  • United States Department of the Interior National Park Service National Register of Historic Places Registration Form
    NPS Form 10-900 OMB No. 1024-0018 United States Department of the Interior National Park Service National Register of Historic Places Registration Form This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in National Register Bulletin, How to Complete the National Register of Historic Places Registration Form. If any item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. 1. Name of Property Historic name: Shelburne Falls Historic District Other names/site number: ______________________________________ Name of related multiple property listing: ___________________________________________________________ (Enter "N/A" if property is not part of a multiple property listing ____________________________________________________________________________ 2. Location Street & number: _____________________________________________ City or town: Shelburne State: Vermont County: 05482 Not For Publication: Vicinity: ____________________________________________________________________________ 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act, as amended, I hereby certify that this nomination ___ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets
    [Show full text]
  • 47000 Spies of the Revolution/Katherine & John
    Accession Number Title Author Publisher Year 47000 Spies of the Revolution/Katherine & John Bakeless Scholastic Book Services 1962 47001 King Charles I/Pauline Gregg Phoenix Press 1981 The Capture of Ticonderoga, Annual Address before the Vermont Historical Society delivered at Montpelier, VT on Tuesday Evening, October 8, 47002 1872/Lucius E. Chittenden Heritage Books, Inc. 1997 47003 The Year of Decision, 1846/Bernard DeVoto Little, Brown & Co. 1943 In Search of a Warm Room, A Story of Survival during 47004 WWII as Documented in a Diary/Anne Jung Holden Warren Publishing 2002 Report of the Gettysburg Memorial Commission, Ohio Memorials at Gettysburg/H.A. Axline, J.S. Robinson, 47005 Emil Kiesewetter Butternut and Blue 1998 47006 Mornings on Horseback/David McCullough Simon & Schuster 2003 From Yorktown to Santiago with the Sixth US 47007 Cavalry/W.H. Carter State House Press 1989 Chickamauga and Chattanooga Battlefields, United States Department Chichamauga and Chattanooga National Military Park, of the Interior, National 47008 Georgia-Tennessee/James R. Sullivan Park Service 1956 One Hundred Fifty Years of Methodism in Mansfield and Richland County/Robert Moore, Virgil Hess, Ralph 47009 Postlewaite Mansfield Printing 1964 47010 Castles Their Construction and History/Sidney Toy Dover Publications 1984 Hardtack and Coffee, or The Unwritten Story of Army 47011 Life/John D. Billings, Charles W. Reed Heritage Books, Inc. 1990 Enemy Views, The American Revolutionary War as recorded by the Hessian Participants/Bruce E. 47012 Burhoyne, John Gardner Heritage Books, Inc. 1996 S.S. Leopoldville Disaster, December 24, 1944/Allan 47013 Andrade The Tern Book Co. 1997 A Century of War, The history of worldwide conflict in 47014 the 20th Century/David Miller Crescent Books 1997 History of the Defenders of The Philippines, Guam and 47015 Wake Islands/Edward Jackfert, Andrew Miller Turner Publishing Co.
    [Show full text]
  • Using the Psalms of Lament to Address Grief Issues
    North American Association of Christians in Social Work (NACSW) PO Box 121; Botsford, CT 06404 *** Phone/Fax (tollfree): 888.426.4712 Email: [email protected] *** Website: http://www.nacsw.org “A Vital Christian Presence in Social Work” DARKNESS IS MY CLOSEST FRIEND: USING THE PSALMS OF LAMENT TO ADDRESS GRIEF ISSUES Terry L. Smith, M. Div., MSW, Ed. D. Presented at: NACSW Convention 2007 March, 2007 Dallas, TX I. Processing the Experience of Grief A. Because we love and get attached, grief is an inevitable part of living. It is our response to the losses we experience throughout life. Though we share common grief reactions, each person’s experience of loss and grief is unique. B. Situations of profound loss tax us physically, cognitively, emotionally, and spiritually. We grieve with all of our might, mind, heart, and soul. C. Models of grief counseling share a common denominator: one must accept the reality of the loss and experience the pain of the loss. D. People have found a variety of ways to acknowledge the reality and pain of loss and begin the process of making meaning out of the experience. 1. J. K. Rowling’s mother died while she was writing her first Harry Potter book. The event led her to make her hero suffer the death of his parents. 2. Black Cadillac represents Rosanne Cash’s grappling with hurt and her search for answers subsequent to the deaths of her stepmother, father, and mother within a year and a half. 3. Lee Smith wrote her novel On Agate Hill (Algonquin Books) as a prescription following her 33 year-year-old son’s death of acute myocardiopathy.
    [Show full text]
  • The Captive Woman's Lament in Greek Tragedy Dué, Casey
    The Captive Woman's Lament in Greek Tragedy Dué, Casey Published by University of Texas Press Dué, Casey. The Captive Woman's Lament in Greek Tragedy. University of Texas Press, 2006. Project MUSE.muse.jhu.edu/book/3081. https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/3081 Access provided at 16 Oct 2019 21:06 GMT from University of Washington @ Seattle chapter one men’s songs and women’s songs Are the voices of women in men’s poetry representative of women’s inde- pendent song traditions? What role, if any, did women’s song traditions play in the shaping of men’s epic traditions (and, later, tragedy)? In recent years scholars have begun to suggest that women’s lament traditions may have played a crucial role in the development of epic and tragedy, which were traditionally performed by men.1 Sheila Murnaghan has noted, for example, that the majority of women’s speech in the Iliad and the Odyssey is closely related to lament in both language and theme.2 Epic poetry narrates the glory of heroes, the klea andrôn, but it also laments their untimely deaths and the suffering they cause by means of the mournful songs performed by the women left behind. Turning to the Classical period, we fi nd that Greek tragedy is similarly infused with feminine voices and indeed femininity, as the work of such scholars as Helene Foley, Nicole Loraux, and Froma Zeitlin has shown over the course of the past two decades.3 While a defi nitive and comprehensive answer to the vexed question of the prominent roles women play in drama and their relationship to “real life” is yet to be found (and may never be), it seems clear at least that Greek drama employed the feminine to confront 1.
    [Show full text]