Song of Songs (7:10[11]) against Genesis (3:16): a case of subversive programmatic intertextuality
Exegesis, discourse analysis, intertextuality. The paper defends the hypothesis that Song of Songs 7:10(11) reads programmatic and subversively, inverting it, the text of Genesis 3:16, which should mean that on the horizon production of Song of Songs, refuses to take female desire as intrinsically e...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2013 |
| País: | Brasil |
| Institución: | Escola Superior de Teologia (EST) |
| Repositorio: | Estudos Teológicos (Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:www.est.edu.br/periodicos:article/354 |
| Acceso en línea: | http://periodicos.est.edu.br/index.php/estudos_teologicos/article/view/354 |
| Access Level: | acceso abierto |
| Palabra clave: | Song of Songs; Desire; Intertextuality; Gen 3:16; Song 7:10(11) Teologia; Teologia Bíblica; Ciências da Religião; Cântico dos Cânticos; desejo; Intertextualidade |
| Sumario: | Exegesis, discourse analysis, intertextuality. The paper defends the hypothesis that Song of Songs 7:10(11) reads programmatic and subversively, inverting it, the text of Genesis 3:16, which should mean that on the horizon production of Song of Songs, refuses to take female desire as intrinsically evil and subjective marker of divine punishment of the sin of Eve, moreover, the mark of legitimation of male dominance over women. Refusing to submit to the theological imagination of Gen 3:16, the Beloved takes her desire, reveals the desire of the Beloved and invites him to the mutuality of desire experienced in the fi eld, insinuating thus a return to “paradise”. |
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