The first half of this introduction to Qoheleth reads the book as a record of ideas mulled over by a dandy at a series of salons. While scholars have attempted to impose order on the bookâs structure and classify it according to genres, I formulate an understanding of the speakerâs lively wisdom from the extraneous voices of John Galsworthy, Beau Brummell and Oscar Wilde. Thomas Carlyleâs Sartor Resartus (The Tailor Retailored) serves as a model of fictional philosophy that allows us to appreciate Qohelethâs existential concerns as both ironic and serious. I keep references to biblical commentaries at bay and create a typology within which the biblical sage comes to life as a social creature of comfort. Part II will draw a specific parallel between the bookâs first chapter and a collage by the conceptual dandy Marcel Duchamp. For the moment Qohelethâs charms are given a fresh face via creative interdisciplinary comparison.â©
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Jennifer Koosed, (Per)mutations of Qoheleth: Reading the Body in the Book (New York and London: T&T Clark, 2006).
Samuel Beeton, Beetonâs Manners of Polite Society: For Ladies, Gentlemen, and Families (London: Ward Lock, 1879), pp. 126-27.
Brent Shannon, The Cut of His Coat: Men, Dress, and Consumer Culture in Britain, 1860-1914 (Athens: Ohio University Press, 2006), p. 130.
See 12.9 and Thomas Krüger, Qoheleth: A Commentary (trans. O.C. Dean; Minneapolis: Fortress, 2004), p. 207 n. 9e, for the sense of ×קת as âput into a good order, arrange a collection of proverbs (thus HALOT)â â and thus my âsuit outâ.
Baudelaire, p. 26.
Shannon, p. 130.
Ian Kelly, Beau Brummell: The Ultimate Dandy (London: Hodder & Stoughton, 2005), p. 7.
T.A. Perry, Dialogues with Koheleth: The Book of Ecclesiastes, Translation and Commentary (University Park: Pennsylvania State University Press, 1993), p. 38; Koosed, p. 24.
Norbert Lohfink, Qoheleth (Continental Commentary series; Minneapolis: Fortress Press, 2003), p. 19.
Ibid., p. 16.
Carlyle, p. 204.
Carlyle, p. 214.
Carlyle, p. 217.
Carlyle, pp. 218-19. The colonial name for the native southern African is now considered pejorative â as might be the generalization about the size of his backside. But Carlyle is in fact mocking the fashionable white manâs affected tone and his assumption that there is a single and superior âdelicate tasteâ. I leave it to the reader to determine whether or not âposterial luxurianceâ is necessarily a negative physical characteristic.
Carlyle, p. 179.
Carlyle, p. 24.
Carlyle, pp. 211-12.
Carlyle, pp. 6, 14-16. Equally, Qohelethâs wealth of experience situates him well above the fray.
Carlyle, pp. 214, 215.
| å ¨é¨æé´ | è¿å»ä¸å¹´ | è¿å»30天 | |
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| æè¦æµè§æ¬¡æ° | 385 | 88 | 18 |
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The first half of this introduction to Qoheleth reads the book as a record of ideas mulled over by a dandy at a series of salons. While scholars have attempted to impose order on the bookâs structure and classify it according to genres, I formulate an understanding of the speakerâs lively wisdom from the extraneous voices of John Galsworthy, Beau Brummell and Oscar Wilde. Thomas Carlyleâs Sartor Resartus (The Tailor Retailored) serves as a model of fictional philosophy that allows us to appreciate Qohelethâs existential concerns as both ironic and serious. I keep references to biblical commentaries at bay and create a typology within which the biblical sage comes to life as a social creature of comfort. Part II will draw a specific parallel between the bookâs first chapter and a collage by the conceptual dandy Marcel Duchamp. For the moment Qohelethâs charms are given a fresh face via creative interdisciplinary comparison.â©
| å ¨é¨æé´ | è¿å»ä¸å¹´ | è¿å»30天 | |
|---|---|---|---|
| æè¦æµè§æ¬¡æ° | 385 | 88 | 18 |
| å ¨ææµè§æ¬¡æ° | 221 | 5 | 1 |
| PDFä¸è½½æ¬¡æ° | 46 | 8 | 0 |