Enemy Brothers Research Articles

Caïn et Abel : de la Bible à la peinture du XIXe siècle

This article proposes to examine, first of all, the literary myth of Cain, whose different mythemes meet much more in his representation in painting than in his literary rewritings. Apart from this, the article undertakes to study the pictorial choices of the representation of the biblical episode of Cain and Abel in four paintings from four different artistic movements of the 19th century, in order to see how each artistic movement and each painter appropriates and then transposes the episode of the enemy brothers into painting. Cet article se propose d’examiner, dans un premier temps, le mythe littéraire de Caïn dont les différents mythèmes se rencontrent beaucoup plus dans sa représentation en peinture que dans ses réécritures littéraires. Dans un second temps, l’article entreprend d’étudier les choix picturaux de la représentation de l’épisode biblique de Caïn et Abel dans quatre tableaux issus de quatre courants artistiques différents du xixe siècle, afin de voir comment chaque courant artistique et chaque peintre s’approprie et, par la suite, transpose en peinture l’épisode des frères ennemis.

‘Bridges Over Troubled Waters’? The Competitive Symbiosis of Social Democracy and Radical Left in Crisis-Ridden Southern Europe

AbstractDuring the economic crisis, the radical left, especially in countries of the European South, continued its course from marginality to mainstream while social democracy found itself trapped in its previous strategic orientations. This article examines the two political families in a relational and comparative perspective, focusing on the interaction of social democratic and radical left parties that evolved in a series of national cases (Greece, Portugal, Spain and France) and in particular within the political and electoral cycle of 2015–17. The ideological, programmatic and strategic responses of these parties to the critical juncture of the crisis, which mark a convergence or deviation in the paths of the two ‘enemy brothers', shed light on their political and ideological mutations, transformations and/or adaptations.

Enemy Brothers: Socialists and Communists in France, Italy, and Spain. By W. Rand Smith. Lanham, MD: Rowman & Littlefield Publishers, 2012. 302p. $75.00.

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Smith (W. Rand) – Enemy Brothers. Socialists and Communists in France, Italy, and Spain . – Lanham, Rowman & Littlefield, 2012. vii + 288 p. Bibliogr. Index

Smith (W. Rand) – Enemy Brothers. Socialists and Communists in France, Italy, and Spain . – Lanham, Rowman & Littlefield, 2012. vii + 288 p. Bibliogr. Index

Enemy brothers: socialists and communists in France, Italy, and Spain

Part I: Introduction Introduction Chapter 1: Enemy Brothers and Critical Junctures Part II: Cases Chapter 2: France: Impossible Victory Chapter 3: Italy: Historically Compromised Chapter 4: Spain: Transcending History Part III: Extensions Chapter 5: Organization Chapter 6: Alliances Chapter 7: Conclusion

Postnationalist African cinemas

List of images Acknowledgements Introduction: African cinema, nationalism and its discontents i African cinema and national(ist) constructions ii Wealth and poverty of nationalist scholarship iii Postnational(ist) imaginary and new paradigms 1. Comedy and film i Comedic archetypes ii Verbal and visual comedy 2. Choreographing subjects i Dance on stage ii Dance, syntax, and discourse 3. Crimes, society and the i Africa and theories of (impossible) crime fiction ii Absent investigation and the triumph of the commandement iii Flawed investigations and the decline of the commandement 4. Myth, tragedy, and cinema i On African cultural specificity and tragic forms ii Oedipal conflicts, enemy brothers, and families in crisis iii Absolutism, oracles and the tragic 5. Epic constructions i Narrative performance ii Epic magnification 6. (Un)masked sexuality i African sexuality as category of analysis ii Sex in the nation and the trouble with representation iii Framing bodies and the temptation of pornography 7. Witchcraft and the postcolonial i From sorcery imaginary to the imaginary sorcerer ii Occult side of power, power of the occult Conclusion: What is African cinema (today)? Bibliography Filmography

Enemy Brothers: Gary Lease and the Scholarship of Religion

AbstractGary Lease, a controversial figure in the study of religion, was best known throughout his long career for his uncompromising antipathy towards theologically and phenomenologically-oriented approaches to the field. Lease developed his analytic perspective on religion around a set of broad, global assumptions about human nature, the mind, and society. These assumptions lie at the root of those provocative positions which have come to characterize Lease's work. This paper argues that those assumptions, which center primarily on his understanding of human thought as sharply and inescapably limited by biological, cognitive, and historical constraints, form the basis for a distinctive and robust framework for the study of religion. This framework posits, among other things, a fundamentally agonistic relationship between the religion and the study of religion.

Antigone

Rene Girard’s mimetic theory allows for an anthropological recontextualization of ancient Greek literature against the backdrop of biblical texts. The story (epic), dialogue (drama, rhetoric) and reflection (lyric, philosophy) are the basic forms of mythos and logos, in which man translates and gives shape to his violent origin. Greek drama, which represents the ‘poli-tical’ crisis of human existence, offers a partial deconstruction of the scapegoat mechanism as the hidden foundation of society. On the tragic stage all protagonists are divided and united in a non-decidable dispute – a mimetic-sacrificial non-difference which is decided at the expense of the hero/scapegoat who eventually ‘makes a difference.’ Sophocles’ Antigone resists the mythical lie of a decisive difference between the mimetic doubles and enemy brothers Eteocles and Polynices. As a prefiguration of Christ (praefiguratio Christi ), the tragic heroine Antigone reveals the collective hatred and the unanimous violence against the scapegoat as the bloody foundation of human civilization. Antigone’s ethical ‘an-archy’ and ‘nonin-difference’ remains a blind spot in Heidegger’s and Lacan’s philosophical and psychoanalytical interpretations.

From Cain and Abel to Esau and Jacob

FROM CAIN AND ABEL TO ESAU AND JACOB Angel Barahona UniversidadComplutense, Madrid The theme of twins or of enemy brothers is one which fascinates anthropologists owing to its frequency, the beauty of its mythopoetic settings, and its social significance. The theme always appears in relation to fratricidal violence, and is always linked to myths offoundation or origin. Clyde Kluckhohn in his book about brothers "born in immediate sequence" reminds us that the death of one of them brings with it a momentary peace, the foundation ofa new social order. Thus it is not the fact ofbeing twins, or antagonistic brotherhood per se which is the key to the stories, but violence: Twins are impure in the same way that a warrior steeped in carnage is impure, or an incestuous couple, or a menstruating woman. All forms of violence lead back to violence. We overlook this fact because the primitive concept of a link between the loss ofdistinctions and violence is strange to us; butwe need only consider the calamities primitive people associate with twins to perceive the logic of this concept. Deadly epidemics can result from contact with twins, as can mysterious illnesses mat cause sterility in women and animals. Even more significant to us is the role oftwins in provoking discord among neighbors, a fatal collapse of ritual, the transgression of interdictions—in sort, their part in instigating asacrificial crisis....Behindthe image oftwins lurks the baleful aspectofthesacred, perceived as a disparate but formidableunified force. (Girard 1977, 58) All the mythological, literaryand historical accounts oftwinswhichwe have involve bloody conflict: Eteocles and Polyneices, Romulus and Remus, Richard the Lion Heart and John Lackland, and so on. To a 2 Angel Barahona surprising extent even the development of the different stories is similar. When Polynices departs from Thebes leaving his sister there, hoping to reign through her, he takes with him his fraternal conflict as if it were an attribute of his being. Wherever he goes his brother appears to him, and will oppose him to the death. When an oracle announced to Adrastrus that his two daughters would marry, respectively, a lion and a wild boar, animals which are different in their appearance but identical in their violence, it was presaging fraternal conflict. In Euripides' The Suppliant Women, the king tells how he came upon his sons-in-law. At his door, one night, Polynices and Tideus, both reduced to poverty, were quarreling furiously over possession ofa camp bed. Their brotherhood by virtue ofmarriage with two sisters brings them within the fraternalcategory, likeOedipus and Creon, orDionysus and Pentheus, rival cousins. A plot of land or a kingdom, a woman or an object, the status of firstborn or an unjust inheritance, all give pretexts for conflict. We cannot avoid conflict when desires converge on the same object. It is difficult for the brothers to be aware of their symmetry, their reciprocity, the intense violence which is hidden behind their brotherhood,—an awareness which might spare them their confrontations—because they never occupy the same positions atthe same time. The reciprocity is real, but it is the sum of non-reciprocal moments. The antagonists occupy the same positions in time, but successively, not simultaneously. The same acts and the same sentiments appear in cyclical alternation, but the brothers cannot directly observe their own reciprocity, and thus their identical nature, because they seem to be differentiated by the role which each one plays. Cain and Abel There are many stories ofconfrontations between brothers in Scripture, including those related to the rights of the first born. From Genesis 4,5 onwards we see how these are an interminable source ofconflicts. The first example, Cain and Abel: "And the LORD had regard for Abel and his offering, but for Cain and his offering he had no regard. So Cain was very angry, and his countenance fell" anticipates the themes ofthe blessing and the looking at the face. And we can observe the games of symmetry with the language: "the LORD had regard for Abel and his offering, but forCain and his offering he had no regard." Cain and Abel are presented as an agriculturalist and as a shepherd respectively, two forms ofsocial life. In this quarrel...

Enemy Brothers: Problems and Prospects in the Inter‐Korean Economic Cooperation

Pacific FocusVolume 11, Issue 2 p. 43-55 Enemy Brothers: Problems and Prospects in the Inter-Korean Economic Cooperation Kyung-Hee Kwon, Kyung-Hee Kwon Kyung Hee Kwon is currently a Lesturor of Sungshin Women‘ s University. She received PH.D from Sungshin Women’ s University in 1994 and completed a Post-Doctoral Program in the State University of New York at Albany in 1995. Her special interest includes Southeast Asian Politics, Far Eastern Politics, and the North-South Korean Relations.Search for more papers by this author Kyung-Hee Kwon, Kyung-Hee Kwon Kyung Hee Kwon is currently a Lesturor of Sungshin Women‘ s University. She received PH.D from Sungshin Women’ s University in 1994 and completed a Post-Doctoral Program in the State University of New York at Albany in 1995. Her special interest includes Southeast Asian Politics, Far Eastern Politics, and the North-South Korean Relations.Search for more papers by this author First published: September 1996 https://doi.org/10.1111/j.1976-5118.1996.tb00181.x AboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Volume11, Issue2September 1996Pages 43-55 RelatedInformation

Scandal and the Dance: Salome in the Gospel of Mark

O F ALL the arts, only dance is mentioned in the gospels, and then in only two of them, Mark and Matthew, which relate the story of the beheading of John the Baptist. Mark's is the richer text. He tells us that, in the course of a banquet given by Herod, the daughter of the tetrarch's wife, came in, and danced, and pleased Herod and his There is nothing further on the dance itself. It is not described in our two gospels, nor is the dancer's name mentioned. Our direct information is minimal, and yet the dancer and her dance have always fired the erotic and aesthetic imagination of the West. danced upon the capitals of Romanesque churches and has kept on dancing ever since. Closer to us in time are Flaubert's Herodias, Mallarme's Herodiade, Oscar Wilde's Salome, and the Salome of Richard Strauss and of Hugo von Hofmannsthal. Why this fascination? Mark's narrative (Mark 6:14-29) is not lengthy and deals exclusively with the relations of desire and hatred which separate and join the characters. Herod wanted to take the wife of his own brother, as his second wife. John the Baptist condemned this action, and with resentment in her heart, demanded his head. Herod did not want to comply and had John imprisoned, not so much to punish him for his insolence, it appears, as to protect him from who, however, prevailed, as a result of having her daughter dance in the presence of Herod and his guests. It all begins as in myth, with a story of rival brothers. Real brothers may be driven to rivalry by their very proximity; they dispute the same paternal heritage, the same crown, the same woman. But this alone does not explain the proliferation of enemy brothers in myth. Do they have the same desires because they resemble one another, or do they resemble one another because they have the same desires? Is it kinship that determines the duplication of desires, or is it the duplication of desires that is expressed in the theme of the rival brothers, often the rival twins? In our text both statements must be true. Herod and his brother constitute both a symbol and a real his-