Book contents
- Frontmatter
- Contents
- Preface
- Introduction: Divining Prophetic Voices
- Part I The Crucible of Experience and the Life of Dialogue
- Part II Legacies of Colonialism and Resistance
- 6 Theology and Conquest: Bartolomé de las Casas and Indigenous Death in Mexico
- 7 Postcolonial Studies and Decolonizing Spiritualities: Reading Haitian Vodou with Rosemary Ruether and Frantz Fanon
- 8 The Poor, the Marginalized, the Colonized: Losing Paradise for Ruether's Suffering Christ
- 9 Torture and Empire: Sustaining a Theological Critique of US Interrogation and Detention Policies in the Obama Era
- 10 Redemption, Latinas, and the Contribution of Rosemary Radford Ruether
- Part III Angles on Ecofeminism
- Notes
- Bibliography
- Contributors
- Index
8 - The Poor, the Marginalized, the Colonized: Losing Paradise for Ruether's Suffering Christ
from Part II - Legacies of Colonialism and Resistance
- Frontmatter
- Contents
- Preface
- Introduction: Divining Prophetic Voices
- Part I The Crucible of Experience and the Life of Dialogue
- Part II Legacies of Colonialism and Resistance
- 6 Theology and Conquest: Bartolomé de las Casas and Indigenous Death in Mexico
- 7 Postcolonial Studies and Decolonizing Spiritualities: Reading Haitian Vodou with Rosemary Ruether and Frantz Fanon
- 8 The Poor, the Marginalized, the Colonized: Losing Paradise for Ruether's Suffering Christ
- 9 Torture and Empire: Sustaining a Theological Critique of US Interrogation and Detention Policies in the Obama Era
- 10 Redemption, Latinas, and the Contribution of Rosemary Radford Ruether
- Part III Angles on Ecofeminism
- Notes
- Bibliography
- Contributors
- Index
Summary
Silence from and about the subject was the order of the day. Some of the silences were broken and some were maintained by authors who lived with and within the policing strategies.
Toni Morrison, Playing in the DarkEdward Said's use of Morrison's quotation at the beginning of his eloquent work Culture and Imperialism dramatically connects the imperial endeavor to the culture that it reflects and reinforces, a culture well represented in any country through the genre of the novel. The novel also introduces the silence of “the invisible Other” in a profound way, as a silence not indicative of indifference to the authority imposed from without, but a silence hiding an often violent voice. Said acknowledges that he is not telling us that the novel “caused imperialism, but that the novel, as a cultural artifact of bourgeois society, and imperialism, are unthinkable without each other.” The novel as a genre contains an “entire system of social reference that depends on the existing institutions of bourgeois society, their authority and power.” I am focusing here on the literature of Latin America and Haiti, arguing that literary works are definite reflections of the frequent political upheavals one finds in South America, Central America and the Caribbean. For years little read in the US, the novels of the Americas now have made major impacts on the world literary scene, but they also tell more than a story, with a plot, characters and romantic development.
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- Information
- Voices of Feminist Liberation , pp. 115 - 128Publisher: Acumen PublishingPrint publication year: 2012