in mydishorts & ~shirts {starknaked for 'g d'} ...
't
Allergrootste
probleem van mensen
is natuurlijk onderdrukking,
gewelddadigheid & misbruik wereldwijd:
we zijn nog steeds als die kolossale 'almachtige &
alwetende' hoogmoedige bijbelreuzen
op hun vergankelijke lemen
voeten?
Although it is crucial
that we take seriously the notion
that there have always been deaths under oppression,
the interpretation and reinterpretation of these deaths as martyrdom is a specific discourse
and one that (speaking conservatively) seems te belong much more to late antiquity
than to the Hellenistic period.
The deaths of the Maccabees,
the death of Rabbi Akiva, and some early Christian deaths as well,
became martyrdoms only at a later moment of discourse,
and it is absolutely stunning how similar in tone the descriptions of Rabbi Akiva's &
Polycarp's martyrdoms are.
In both the Akiva & the Polycarp narratives,
the proconsul speaks to the aged sage with respect and concern,
and in both, the candidate for martyrdom is unwaveringin exactly the same melody,
even if the lyrics vary slightly.
Being killed
is an event. Martyrdom is a literary form,
a genre.
By this
I surely do not mean
that it belongs only to "high" culture,
or does not have significance in the lived world,
but rather that it is a form of "collective story" in the sense
that some of us have elaborated the term:
'WE
COME TO
KNOW [A CULTURE]
THROUGH COLLECTIVE STORIES
THAT SUGGEST THE NATURE OF COHERENCE,
PROBABILITY AND SENSE WITHIN
THE ACTOR'S
WORLD!'
Such
"collective stories"
have enormous impact on social practice
and on the molding of subjectivities.
They are, in the strict sense,
praxis.
Martyrology
is idealized representation
and the characterization of martyrs is portraiture,
to a lesser or greater extent
stereotyped.
It is as well
to recognize from the outset that martyrdoms,
while presented as fact, are not mere historical events - that is,
if they are history at all.
As it happens,
the episodes [in 4 Maccabees]
are also most certainly unhistorical;
but to those concerned, as we are here,
with the representation of the would-be historical,
this makes little difference.
Martyrdom is description,
since in its very nature it demands a public,
a response and a record.
In the Christian tradition,
the terminology itself is a clue,
for the deaths of martyrs bear witness to their faith,
in front of an assumed audience immesurably greater
than the immediate one
at the scene.
And, already,
the martyr's manner of dying
may well have been influenced
by literature.
The event is then shaped
for the future in the telling, to serve, in due course,
as a model for others.
GEEN WONDER,
dat we ons blijven
verzetten tegen onrecht,
oorlog & slavernij [waar ook
ter wereld]!
De kern
van "Yehosjoea's Euangelium"
is niet voor niets, dat bij wijze
van spreken en schrijven,
ieder van ons in staat is
om al die afgoden te
laten vallen keer
op keer
...
Allergrootste
probleem van mensen
is natuurlijk onderdrukking,
gewelddadigheid & misbruik wereldwijd:
we zijn nog steeds als die kolossale 'almachtige &
alwetende' hoogmoedige bijbelreuzen
op hun vergankelijke lemen
voeten?
Although it is crucial
that we take seriously the notion
that there have always been deaths under oppression,
the interpretation and reinterpretation of these deaths as martyrdom is a specific discourse
and one that (speaking conservatively) seems te belong much more to late antiquity
than to the Hellenistic period.
The deaths of the Maccabees,
the death of Rabbi Akiva, and some early Christian deaths as well,
became martyrdoms only at a later moment of discourse,
and it is absolutely stunning how similar in tone the descriptions of Rabbi Akiva's &
Polycarp's martyrdoms are.
In both the Akiva & the Polycarp narratives,
the proconsul speaks to the aged sage with respect and concern,
and in both, the candidate for martyrdom is unwaveringin exactly the same melody,
even if the lyrics vary slightly.
Being killed
is an event. Martyrdom is a literary form,
a genre.
By this
I surely do not mean
that it belongs only to "high" culture,
or does not have significance in the lived world,
but rather that it is a form of "collective story" in the sense
that some of us have elaborated the term:
'WE
COME TO
KNOW [A CULTURE]
THROUGH COLLECTIVE STORIES
THAT SUGGEST THE NATURE OF COHERENCE,
PROBABILITY AND SENSE WITHIN
THE ACTOR'S
WORLD!'
Such
"collective stories"
have enormous impact on social practice
and on the molding of subjectivities.
They are, in the strict sense,
praxis.
Martyrology
is idealized representation
and the characterization of martyrs is portraiture,
to a lesser or greater extent
stereotyped.
It is as well
to recognize from the outset that martyrdoms,
while presented as fact, are not mere historical events - that is,
if they are history at all.
As it happens,
the episodes [in 4 Maccabees]
are also most certainly unhistorical;
but to those concerned, as we are here,
with the representation of the would-be historical,
this makes little difference.
Martyrdom is description,
since in its very nature it demands a public,
a response and a record.
In the Christian tradition,
the terminology itself is a clue,
for the deaths of martyrs bear witness to their faith,
in front of an assumed audience immesurably greater
than the immediate one
at the scene.
And, already,
the martyr's manner of dying
may well have been influenced
by literature.
The event is then shaped
for the future in the telling, to serve, in due course,
as a model for others.
GEEN WONDER,
dat we ons blijven
verzetten tegen onrecht,
oorlog & slavernij [waar ook
ter wereld]!
De kern
van "Yehosjoea's Euangelium"
is niet voor niets, dat bij wijze
van spreken en schrijven,
ieder van ons in staat is
om al die afgoden te
laten vallen keer
op keer
...
05 jan 2010 - bewerkt op 06 jan 2010
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