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Early Modern English Musical Treatments Of David's Lament Over Jonathan And The Historicity Of Gay Theology.

Overview

Early modern musical representations of David's Lament over Jonathan provide a corrective to ahistorical arguments in contemporary gay theology about the nature of the love between David and Jonathan in 1 and 2 Samuel. Simultaneously, musical representations also provide positive opportunities for queer people in biblical religions to appropriate the stories of David and Jonathan apart from debates over the morality of homoerotic behavior. This dissertation begins by examining the hermeneutics of gay theologian ...
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Overview

Early modern musical representations of David's Lament over Jonathan provide a corrective to ahistorical arguments in contemporary gay theology about the nature of the love between David and Jonathan in 1 and 2 Samuel. Simultaneously, musical representations also provide positive opportunities for queer people in biblical religions to appropriate the stories of David and Jonathan apart from debates over the morality of homoerotic behavior. This dissertation begins by examining the hermeneutics of gay theologian Gary David Comstock and the theological approach of Carter Heyward that informs his hermeneutics. In this view, David and Jonathan are emblematic of erotic relational theology, a theological position that exhibits significant tensions in its understanding of history. Chapter 2 examines the exegetical stalemate in biblical studies over the relationship of David and Jonathan, showing that interpretive conflicts are a necessary result of ambiguities in the biblical text. Because of these ambiguities, gay theological use of the David and Jonathan narratives is always vulnerable to attack within biblical traditions. As an alternative approach to an exegetical justification of a homoerotic interpretation, chapter 3 demonstrates how musical renditions offer an opportunity for an erotic engagement with the text. The fact that musical treatments of the text exist across history allows for linking erotic appropriation of the text with the history of the text's interpretation. In the final two chapters, the dissertation proceeds in a confessional mode, examining how musical treatments of the story of David and Jonathan from the seventeenth and eighteenth centuries relate to contemporary desires. Chapter 4 shows how musical works by Thomas Weelkes, Thomas Tomkins, and Orlando Gibbons provide various possibilities of identification with the text. It furthermore notes ways in which early Stuart understandings of sensuality in musical and non-musical contexts radically contrast with current ones. Chapter 5 explores George Frederic Handel's oratorio Saul as an example of how a musical work can fail to provide a positive identification. The conclusion returns to relational theological insights from chapter 1, showing how musical performances expand relations between the present and the past.
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Product Details

  • ISBN-13: 9781244717435
  • Publisher: BiblioLabsII
  • Publication date: 9/30/2011
  • Pages: 162
  • Product dimensions: 7.44 (w) x 9.69 (h) x 0.35 (d)

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