Journal articles: 'Esther narrative'

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Salotto, Eleanor. "Detecting Esther Summerson's Secrets: Dickens's Bleak House of Representation." Victorian Literature and Culture 25, no. 2 (1997): 333–49. http://dx.doi.org/10.1017/s1060150300004824.

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In this essay, I suggest that we may read Esther Summerson's narration in Bleak House through the lens of recent feminist theoretical speculations on mimicry and masquerade. I argue that Esther's narrative is a duplicitous one in that it redeploys masculine modes of discourse, calling attention to the production of women in that discourse. Writing a narrative about her life, Esther, in effect, copies masculine discourse, but she also writes over it imprinting her own signature. Esther's writing sheds much light on the text's obsessive focus on writing and copying; she produces copy, the copy of a Victorian ideal woman, but in doing so she engenders blots that preclude a unidimensional reading of her. I contend that Esther adopts a narrative veil; this then is her secret in the text which links feminine identity to mimicry and masquerade. At the center of the text is Dickens's mordant critique of the legal system and its machinations; similarly, I argue that Esther's narrative participates in the demolishing of the idea of a stable notion of feminine identity.

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Beehler, Brianna. "The Doll’s Gift." Nineteenth-Century Literature 75, no. 1 (June 2020): 24–49. http://dx.doi.org/10.1525/ncl.2020.75.1.24.

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Brianna Beehler, “The Doll’s Gift: Ventriloquizing Bleak House” (pp. 24–49) This essay offers a new reading of the split narrative in Charles Dickens’s Bleak House (1852–53). Previous critics of the novel’s split narrative have primarily focused on the unequal knowledge and authority positions of the all-knowing third-person narrator and the unknowing first-person narrator, Esther Summerson. This division, however, does not fully account for the apparent slips and narrative exchanges between the two narrators, in which one narrator takes on the voice or knowledge position of the other. This essay takes up Robert Newsom’s suggestion that the only way to explain these “slips” is to conclude that Esther Summerson writes not only her own narration, but also that of the third-person narrator. However, the essay further argues that Esther uses the third-person narration to ventriloquize the voice of her mother, Lady Dedlock, in an effort to provide herself with the emotional support otherwise denied her. Readers may better understand Esther’s ventriloquism of the third-person narration by tracing how it mirrors her early daily ritual with her doll, in which she assumed both narrative positions at once. Object relations and gift theory further show how this dialogue creates a bond between the two narrations. Thus, characters and family structures that appear in the third-person narration and that may appear distant from Esther are actually her meditations on alternative maternal and familial relationships.

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Goldman, Stan. "Narrative and Ethical Ironies in Esther." Journal for the Study of the Old Testament 15, no. 47 (June 1990): 15–31. http://dx.doi.org/10.1177/030908929001504702.

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Gaines Walton, Julie. "“And all who joined them”: A faithful Christian reading of Esther in a post-Shoah world." Review & Expositor 118, no. 2 (May 2021): 209–13. http://dx.doi.org/10.1177/00346373211017824.

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Esther is, first and foremost, a narrative written by and for the Jewish people, a story the Jewish people have told to and about themselves for centuries. Esther is also a story Christians have frequently interpreted out of context. Christians can avoid culturally appropriating this narrative for their own purposes by committing to situate the story of Esther and the Jewish people in its original context, firmly in the center of any interpretation of the text. Modern readers find their place in the narrative in Esth 9:26-28, among “all who joined” the Jews in observing, remembering, and commemorating the events of the book of Esther, celebrated in the Jewish festival of Purim.

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Chapman, Siobhan. "‘From their point of view’: voice and speech in George Moore’s Esther Waters." Language and Literature: International Journal of Stylistics 11, no. 4 (November 2002): 307–23. http://dx.doi.org/10.1177/096394700201100402.

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George Moore’s Esther Waters 1983 [1894] has been praised by critics for the sustained manner in which Esther serves as the controlling consciousness of her own story. This article explores the possibility of using stylistic accounts of some of the distinctive linguistic features of the text to offer an explanation of this. As an illiterate servant girl as well as an unrepentant ‘fallen woman’, Esther is an unlikely and, at the time of first publication, controversial heroine, let alone central consciousness. The narrative of the novel is considered in terms of Uspensky’s (1973) notion of ‘point of view’, and various later developments of this, in order to assess how Esther acts as ‘characterfocalizer’ for her own story. The manner in which Esther gives ‘voice’ to that story is examined with reference to Leech and Short’s (1981) ‘cline of speech presentation’. Further, it is argued that Esther’s ‘voice’ is not only heard when her speech is represented, but permeates the narration of her story. Bakhtin’s (1981) notion of ‘voice-images’ is used to explore this idea. Throughout the discussion of these themes, comparisons are drawn with Thomas Hardy’s Tess of the D’Urbervilles, a novel very close to Esther Waters in date and theme, but in which some significantly different linguistic choices are made. It is argued that these differences can, in part, account for the different viewpoints, or ideological stances, of the two texts.1

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Kneebone, Emily. "Dilemmas of the Diaspora: The Esther Narrative in Josephus Antiquities 11.184-296." Ramus 36, no. 1 (2007): 51–77. http://dx.doi.org/10.1017/s0048671x00000795.

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Esther is the only book of the Hebrew Old Testament never to allude to God, and to refer to neither the Covenant, the sacred institutions of Israel, nor to Jewish religious practice. The book has long engendered a fascinated revulsion in many of its readers, not only for its notable lack (or writing-out?) of God, but also for its overt celebration of genocide and the dubious moral qualities of its protagonists. Luther famously wanted the book excised from the Christian canon altogether, and the nineteenth-century biblical scholar Heinrich Ewald declared that the story of Esther ‘knows nothing of high and pure truths’, and that on coming to it from the rest of the Old Testament ‘we fall, as it were, from heaven to earth’. Humphreys terms Esther one of the ‘most exclusive and nationalistic units within the Bible’, and for Anderson, writing in the aftermath of the Second World War, the tale resonates horribly with twentieth-century history and ‘unveils the dark passions of the human heart: envy, hatred, fear, anger, vindictiveness, pride, all of which are fused into an intense nationalism’.Rabbi Simeon ben Lakish, on the other hand, placed the Book of Esther on a par even with the Torah, a sentiment echoed, centuries later, by Maimonides, who famously declared that when the Prophets and Hagiographa pass away, only Esther and the Law would remain. And this triumphant assertion of the scroll's worth is reminiscent of the attitude of Josephus, who specifically includes Esther in his list of the twenty-two Jewish records, and who devotes the extensive central section of AJ 11 to the Esther pericope. The dating, both relative and absolute, of the texts of Esther has been fiercely disputed, and need not concern us here; it should suffice to note that two extant Greek translations, or rather adaptations, of the Book of Esther—the Septuagint (LXX) and the highly variant Alpha Text (AT)—offer countless minor variations on the Hebrew Masoretic Text (MT), and insert six extended passages into the narrative.

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Caracciolo, Marco. "Islands of Mind and Matter: Challenging Dualism in J. G. Ballard's ‘The Terminal Beach’ and The Chinese Room's Dear Esther." CounterText 4, no. 3 (December 2018): 341–61. http://dx.doi.org/10.3366/count.2018.0138.

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Ideas enter our mind, a realisation can dawn on us, and we should let bad news sink in. This article argues that experimental narrative can destabilise this widespread tendency to describe mental processes through spatial metaphors. My case studies are J. G. Ballard's short story ‘The Terminal Beach’ (1964) and Dear Esther (2012), an arthouse video game developed by The Chinese Room. These narratives develop and literalise metaphors for mind by foregrounding the continuity between the physical space of the setting (an island) and the protagonists’ existential predicament. Going beyond a dualistic reading of the ‘mind as space’ metaphor, these texts construct spaces that are more than a symbol for the characters’ mental processes: narrative space is causally linked to mind in neurophysiological terms (in Ballard's short story), or extends the protagonist's emotional meaning-making (in Dear Esther). This set-up is unsettling, I contend, because it raises deep questions about the relationship between subjective experience and material realities. By exploring these narratives and their ramifications, the article seeks to open a conversation between the cognitive humanities and the ‘nonhuman turn’ in contemporary literary studies.

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Wood, Sorrel. "Writing Esther: How do Writing, Power and Gender Intersect in the Megillah and its Literary Afterlife?" Open Theology 7, no. 1 (January 1, 2021): 35–59. http://dx.doi.org/10.1515/opth-2020-0146.

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Abstract There are two instances in the entire Hebrew Bible in which women feature as the to write. “One is Esther (Esther 9:29) and the other is:” כתב subject of the verb Jezebel (1 Kgs 21:8). This paper takes this fact as a starting point from which to illuminate the narrative and thematic junctures of writing, power and gender in Esther and its literary afterlife. It utilizes the hermeneutical framework of feminist literary theory, as well as drawing upon narratology and linguistic theory related to gender and power, and textual theory related to metatextuality and intertextuality, in order to explore the ways in which the narrator, the canonization process and the reception history of the text have functioned to constrain and restrain Esther’s authorial identity and status, and conversely the places and spaces where it has been developed and emphasised. Key areas of exploration include the writing culture of the Late Persian and Early Hellenistic periods, creative rewritings of Esther in the Targums and in Rabbinic Haggadah, and a consideration of the implications of the fact that Esther and Jezebel are the only explicitly identified female writers in the Hebrew Bible (Esther. (9:29, 1 Kings 21:8–9)).

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Jackson, Melissa A., and Bert Young. "Horribly hilarious: An interpretation of Esther." Review & Expositor 118, no. 2 (May 2021): 224–30. http://dx.doi.org/10.1177/00346373211023606.

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Finding humor in the book of Esther is not terribly unusual among those who read, study, and commentate on the book. Sustaining that outlook as the body count grows, however, proves more of an interpretive challenge. This interpretation of Esther, one that both adheres to the biblical narrative and follows a thread of the comic through it, undertakes that challenge. Comedy’s aspects of being revelatory and boundary-drawing enable a reading of Esther as farce that reckons with the troubling violence of Esther, without endorsing its replication beyond the story-world it inhabits.

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Sun, Chloe. "Ruth and Esther: Negotiable space in Christopher Wright’s The Mission of God?" Missiology: An International Review 46, no. 2 (November 10, 2017): 150–61. http://dx.doi.org/10.1177/0091829617737501.

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In the volume entitled The Mission of God, author Christopher J.H. Wright (2006) endeavors to search for a missional hermeneutic that unlocks the Bible’s grand narrative. The book’s comprehensiveness and extensiveness would be difficult to match in years to come. However, the books of Ruth and Esther are notably overlooked and mentioned only in passing. This glaring omission implies an insignificance and irrelevance of the two books in contributing to the hermeneutic of missions. Should these two books be included or excluded in the grand narrative of the mission of God? This paper positions Ruth and Esther at an indispensable place in a missional hermeneutic that nuances the intricacies of the Abrahamic covenant, the diaspora, and gender in God’s grand narrative.

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Grossman, Jonathan. "'Dynamic Analogies' in the Book of Esther." Vetus Testamentum 59, no. 3 (2009): 394–414. http://dx.doi.org/10.1163/156853309x444981.

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AbstractIn an important methodological article, Paul Noble argues that the constancy of analogy between two narratives should be regarded as one of the indicators for establishing the probability of the analogy. Noble's argument makes sense, but we must take into consideration those instances where the changeover of characters in an analogy has a literary purpose. Even if the molding of the analogy generally allows for the structuring of a fixed parallel, in some cases the analogy between narratives encourages the presentation of a certain character from one narrative as paralleling more than one character in the other, such that the reader has difficulty tracing a continuous and consistent analogy. This phenomenon, assuming that it is intentional, may be called “dynamic analogy”. In this article, several “dynamic analogies” are examined from the book of Esther. It seems that in light of the multiplicity of instances in which this occurs in the book of Esther, it should be regarded as an intentional literary phenomenon which does indeed present an obstacle to the reader in maintaining a steady reading of the analogies between the narratives. The “dynamic analogy” in the book of Esther is a device that causes the reader to feel unequipped to assess fully the situations that he reads about and the characters that he encounters, and thus contributes to the sense of capriciousness and instability that the author is trying to convey.

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Hiebert, Frances F. "Finding Favor: A Missionary Orientation." Missiology: An International Review 17, no. 2 (April 1989): 143–57. http://dx.doi.org/10.1177/009182968901700202.

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Recent attention to narrative form and interest in the function of story as theology call for new appreciation for the book of Esther. Biblical narrative shows that it is in the specificity of human existence that people choose to encounter or ignore God. But in retelling the story, meanings that have much wider application may be communicated. The Esther story shows that post-exilic Jews were faced with new questions about God's purpose for them in relation to other nations. Implications for contemporary mission may be distilled from these glimmers of new understandings of the scope of God's activity in the world.

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Grossman, Jonathan. "The Vanishing Character in Biblical Narrative: The Role of Hathach in Esther 4." Vetus Testamentum 62, no. 4 (2012): 561–71. http://dx.doi.org/10.1163/15685330-12341084.

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Abstract Literary analysis tends to focus on major characters or minor characters as long as their active role in the narrative serves to further the plot. The contribution of minor characters is often viewed as limited to their active role in the narrative. However, sometimes the passive role of a minor character, and even the disappearance of a character from the plot, can serve a valuable literary purpose. This article outlines the nature of the Vanishing Minor Character, whose literary purpose is to disappear at a crucial moment, making room for the remaining characters. The article demonstrates this model using the character of Hathach—the Persian eunuch—who serves as an intermediary between Esther and Mordecai in Esther 4.

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Quick, Laura. "Decorated Women: A Sociological Approach to the Function of Cosmetics in the Books of Esther and Ruth." Biblical Interpretation 27, no. 3 (August 20, 2019): 354–71. http://dx.doi.org/10.1163/15685152-00273p03.

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Abstract The use of cosmetic oils by the heroines of the books of Esther and Ruth is frequently interpreted as a means to enhance their beauty and allurement. Cosmetic use in the Hebrew Bible is routinely condemned, and yet Esther and Ruth receive no censure for their actions. By utilising a sociological approach to the function of cosmetics and body adornment alongside archaeological and textual evidence from ancient Palestine, in this article I consider the use of cosmetics akin to a speech act, able to communicate the social status and sexual intentions of the wearer to those around them. This perspective provides a new access to understanding the characterisation of Esther and Ruth, showing that their intentions in utilising cosmetic oils fundamentally differs in the two books. This has implications for understanding some of the narrative elements within the tales, as well as their reception at the hands of later interpreters.

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Hunter, Dianne M. "Review of Family Secrets and the Psychoanalysis of Narrative by Esther Rashkin." Language and Psychoanalysis 6, no. 2 (December 19, 2017): 103–8. http://dx.doi.org/10.7565/landp.v6i2.1575.

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Wilson, Michelle L. "Esther Summerson's Narrative Relations: Re-inscribing Inheritance in Bleak House." Dickens Studies Annual: Essays on Victorian Fiction 46, no. 1 (August 12, 2015): 209–30. http://dx.doi.org/10.7756/dsa.046.009/209-30.

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Firth, David G. "Esther: The Outer Narrative and the Hidden Reading, written by Jonathan Grossman." Vetus Testamentum 66, no. 1 (January 21, 2016): 164–65. http://dx.doi.org/10.1163/15685330-12341247-08.

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Wénin, André. "Pourquoi le lecteur rit-il d’Haman en Esther 6™?" Vetus Testamentum 60, no. 3 (2010): 465–73. http://dx.doi.org/10.1163/156853310x504865.

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AbstractThis study is dedicated to the narrative working out of the dramatic irony that makes the reader laugh at the expense of Haman in the Masoretic text of Esther 6. Two main devices contribute to create this effect: the transparency in the characterisation of the prime minister of Persia in chaps 3, 5 and 6, and the intelligent use of internal focalisation by the omniscient narrator in 6:6b. In this text, irony has clearly a humoristic function, but also an axiological one.

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Gartner, Matthew. "The Scarlet Letter and the Book of Esther: Scriptural Letter and Narrative Life." Studies in American Fiction 23, no. 2 (1995): 131–51. http://dx.doi.org/10.1353/saf.1995.0016.

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Parker, Julie Faith. "Hardly Happily Ever After: Trafficking of Girls in the Hebrew Bible." Biblical Interpretation 28, no. 5 (November 30, 2020): 540–56. http://dx.doi.org/10.1163/15685152-2805a002.

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Abstract This article examines elements in the stories of Hagar (Gen. 16:1–3), Abishag (1 Kgs. 1:1–4), Esther (Esth. 2:1–4), and the unnamed Israelite slave girl (2 Kgs. 5:1–4) through the lens of human trafficking, specifically trafficking girls. First, I will argue that our tendency to understand Hagar, Abishag, and Esther as women, not girls, is undermined by the vocabulary used to describe them, as well as other contextual clues. I will then outline the United Nations’ criteria for defining the transport of a person as human trafficking. Most of the article provides narrative analyses of the four texts cited above. By identifying elements of dislocation, trauma, and exploitation in the stories of Hagar, Abishag, Esther, and the Israelite slave girl, I suggest that parts of their stories meet the criteria to fulfill the pattern of human trafficking. This childist interpretation further maintains that these portrayals of girls being trafficked have multiple troubling commonalities, with each other and with human trafficking today.

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Ego, Beate. "The Book of Esther: A Hellenistic Book." Journal of Ancient Judaism 1, no. 3 (May 6, 2010): 279–302. http://dx.doi.org/10.30965/21967954-00103001.

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The dating of the book of Esther remains a contested issue. Scholars who date the book to the Persian or Hellenistic period reflect attention not only to when the book was written, but also to the circumstances around its composition. Points that contribute to the dating of the text include an understanding of the Persian elements in the narrative, the historical setting in which it was composed, and the treatment of foreign domination in the book. A shift in focus from individual elements of the book to an integrated consideration of the book as a whole supports the argument in favor of a Hellenistic dating and a diaspora location for the origins of this book. Among the elements that contribute to this conclusion are the theological claims that underlie the Persian motifs, especially the rejection of proskynesis before a human ruler (Haman or Alexander), the book’s reversal structure, its treatment of Holy War, and the veiled speech of God. The negotiation of rule by foreign powers in light of the tension between Jewish law and the law of an external empire supports a pre-Hasmonean origin for the book.

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Eyring, Mary Kathleen. "Choosing Death: The Making of Martyrs in Early American Criminal Narratives." American Literature 91, no. 4 (December 1, 2019): 691–719. http://dx.doi.org/10.1215/00029831-7917272.

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Abstract In 1701 Puritan minister John Rogers published the criminal narrative of Esther Rodgers, who had been convicted of infanticide and executed. Esther Rodgers appears in Rogers’s Death the Certain Wages of Sin not as a depraved criminal or even a repentant sinner but as a courageous Christian martyr. Much of the productive recent scholarship on Rodgers studies the way her criminal status operated in the public sphere generally or print culture specifically, but the literary construction of her legal criminal status reveals a larger negotiation over marginalized individuals’ ability to consent and dissent in early New England and an unexpected orientation toward choice in early American literature. Rogers and his contemporaries engaged the conventions of the early modern criminal narrative to organize the chaos of maternal tragedy according to fictions of choice and the conventions of ancient and antique scripture to recast execution as a prelude to salvation. But in the ill-fitting spaces between the criminal’s story and the forms to which these authors suited it, readers could see a character who was something more—or less—than murderer or martyr: a sympathetic victim granted the ability to consent only in order to certify her legal culpability, religious conversion, and complicity in the macabre spectacle of her own public execution.

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Royle, Nicholas. "This is not a book review: Esther Rashkin: family secrets and the psychoanalysis of narrative." Angelaki 2, no. 1 (January 1997): 31–35. http://dx.doi.org/10.1080/09697259708571914.

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Reynolds, Daniel. "LETTERS AND THE UNSEEN WOMAN." Film Quarterly 68, no. 1 (2014): 48–60. http://dx.doi.org/10.1525/fq.2014.68.1.48.

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This paper discusses three games that are characterized by what I call “epistolary architecture,” showing how the games use their spatial distribution of communicative acts to subvert the common videogame trope of the unseen woman. In his essay “Game Design as Narrative Architecture,” Henry Jenkins outlines how some games distribute narrative progression across space rather than time, so that arrival at a particular location will trigger an event in the game’s story. Gone Home (2013) and Dear Esther (2012) use similar techniques, but to markedly different effect, by distributing subjective accounts of the past (external to the timeframe of the gameplay) around the game space by way of letters, recordings, and other messages. Bientôt L’été (2013) inverts this scenario. In it, a player walks along a seashore, receiving linguistic fragments brought in by the waves, then later rearticulates these into fractured conversations with another player in a remote location. Each of these games, in its own way, problematizes the trope of the unseen woman, which I argue has been a structuring principle in videogames for decades. In general, the unseen woman has been a destination, the endpoint of a quest and thus fundamentally outside the world of the gameplay. The epistolary architecture of Gone Home, Dear Esther, and Beintôt L’été is fundamental to the games’ ability to subvert this principle. Conversely, each game uses the figure of the unseen woman to complicate the player’s relationship to its story and its setting.

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Bacchi, Ashley. "God as Kingly Foil in 3 Maccabees." Zutot 11, no. 1 (November 19, 2014): 57–69. http://dx.doi.org/10.1163/18750214-12341265.

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This essay re-evaluates the characterization and function of Ptolemy IV Philopator in 3 Maccabees. God’s role as kingly foil to Ptolemy allows for the propagation and maintenance of Egyptian Jewish identity and cultural practice while acknowledging the earthly social order. I argue the author makes a deliberate choice not to offer a consistent earthly advocate within the narrative while emphasizing God’s direct intervention. This choice can be contextualized as a response to works such as 1 and 2 Maccabees and Greek Esther, which advocate the formation of a nation through military campaigns.

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Day, Linda. "Power, Otherness, and Gender in the Biblical Short Stories." Horizons in Biblical Theology 20, no. 1 (1998): 109–27. http://dx.doi.org/10.1163/187122098x00084.

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AbstractThe concern of this article will be with the books of Ruth, Esther, Daniel, Judith, and Tobit. I would argue that we might profitably compare these five books with regard to themes running throughout them. All evidence similarities in how they portray power relationships, alienation and otherness, theology and divine activity, gender categories, and how their protagonists attain ultimate success. Though this set does not represent a collection of works traditionally grouped together in biblical studies,1 find, nonetheless, that these five literary documents evidence ample similarities that we may beneficially consider how they relate to one another. First and most obvious is that each of these books is a free-standing work which is named by a single character, and thus the action is (at least initially) focused around this individual. They are all most likely compositions of the same general time period in Jewish history, during the Second Temple period. All are narrative in structure and brief in length, and might be seen as representatives of a short story genre.2 In all of them we find continuations and reworkings of ideas from the Torah and the Prophets.3 Also, they all function as diaspora narratives; that is, addressing issues that Jews would have been facing in the diaspora. Esther, Daniel, and Tobit are written directly about diaspora situations. Ruth and Judith, though set within in the geographical boundaries of Judah, likewise deal with the question of the relationship between Israelites and other peoples and how to successfully live with other cultures.

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Ziskin, Clara, Esther Williams, and Alla Shmukler. "Fantasy at the Service of Mathematics." Journal of Humanistic Mathematics 11, no. 2 (July 2021): 359–73. http://dx.doi.org/10.5642/jhummath.202102.20.

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This article aims to introduce the reader to a book published in 2016 under the title “Amazing Tales from the Magic Wood and Famous Problems of Mathematics” by Elli Shor and Clara Ziskin. The book offers an original method of presenting mathematical facts and history through a fantasy narrative. The book’s two authors, Clara Ziskin and Alla Shmukler (Elli Shor), together with consultant psychologist Esther Williams, share here several excerpts taken from the first part of the book as well as related illustrations and mathematical riddles, so that the reader can form an informed impression of the book, its structure, and its nature.

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Song, Angeline. "Heartless Bimbo or Subversive Role Model?: A Narrative (Self) Critical Reading of the Character of Esther." Dialog 49, no. 1 (March 2010): 56–69. http://dx.doi.org/10.1111/j.1540-6385.2009.00502.x.

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Wechsler, Michael G. "Saadia’s Seven Guidelines for “Conviviality in Exile” (from His Commentary on Esther)." Intellectual History of the Islamicate World 1, no. 1-2 (2013): 203–33. http://dx.doi.org/10.1163/2212943x-20130109.

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Saadia Gaon (892–942ce) viewed himself not only as a pedagogue and scholar, but also as the chief steward of his people’s religious health and interrelated constitutional ethos—that special scholar who is raised up by God “in every generation … to instruct and teach the people, that by his hand they might succeed in all of their affairs.” This self-perception is especially pronounced in Saadia’s commentary on Esther, which he construes as a specific paradigm of the manner in which Jewish life is to be lived amidst and in interaction with a dominant Gentile population. In his introduction Saadia didactically (and dialectically) unpacks the paradigmatic utility of the book by presenting seven “guidelines” (tadābīr) which are required for the socio-spiritual health of any ethnos (Arab. umma) “when abased beneath the population of the dominant powers”—which steps he subsequently applies to the situation of Israel in the book of Esther and around which, moreover, he organizes that book’s unfolding narrative structure. In the present article we briefly survey these seven “guidelines” and the manner in which they are “unpacked” by Saadia in the body of his commentary, focusing our attention on selected passages that reveal something of the realia—both psychological and practical—attending Jewish-Gentile conviviality, and Saadia’s approach thereto, in a tenth-century Islamicate milieu.

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Vialle, Catherine. "Aux commencements des livres grecs d'Esther: Le songe de Mardochée." Vetus Testamentum 58, no. 1 (2008): 101–16. http://dx.doi.org/10.1163/156853308x246342.

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AbstractThough mainly known in its Hebrew version, the book of Esther have also come to us in three Greek textual forms, the three of them significantly diverging from each other as well as from the MT. As biblical scholars know, they open with a chapter commonly referred to as "Addition A". I intend in this essay to compare this addition and especially the three following topics: the space and time structure, the narrative of the dream, and the characterization of Mordecai. In all three Greek versions, the very presence of the dream (its meaning however remains rather obscure) installs the reader in the same position as Mordecai: he has to wait to see what happens next in order to perceive some elements of interpretation and fulfilment.

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Carlisle, Janice. "THE SMELL OF CLASS: BRITISH NOVELS OF THE 1860s." Victorian Literature and Culture 29, no. 1 (March 2001): 1–19. http://dx.doi.org/10.1017/s1060150301291013.

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EVENBEFORE ESTHER LYON enters the narrative of Felix Holt, she is introduced to the eponymous hero, whom she will eventually marry, through two smells — one present, the other absent; one highly conventional, the other distinctly unusual. As the narrator explains, Mr. Lyon’s sitting room contains “certain things” that are “incongruous” with its “general air” of “privation,” among them the “delicate scent of dried rose-leaves” and a wax candle. Lyon, embarrassed by what he takes to be Felix Holt’s unspoken criticism of such indulgence, explains to his visitor, “You are doubtless amazed to see me with a wax-light . . . but this undue luxury is paid for with the earnings of my daughter, who is so delicately framed that the smell of tallow is loathsome to her” (Eliot 53–54; ch. 5).1 Esther’s association with the scent of roses is quite unremarkable: it simply and quickly registers her as a wholly acceptable marriage partner. Lyon’s reference to the smell of tallow candles is, however, according to the practices of Victorian fiction, quite unconventional, first because it explicitly evokes a smell that is not there, the strong odor of candles made from animal fat; secondly, because it identifies a good smell or the relative lack of one, that of wax candles, with a negative moral judgment: Esther’s practice of spending her earnings on such candles is, to Lyon at least,

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Jordan, Alyce A. "Material girls: Judith, Esther, narrative modes and models of queenship in the windows of the Ste-Chapelle in Paris." Word & Image 15, no. 4 (October 1999): 337–50. http://dx.doi.org/10.1080/02666286.1999.10443997.

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Frolov, Serge. "TWO EUNUCHS, TWO CONSPIRACIES, AND ONE LOYAL JEW: THE NARRATIVE OF BOTCHED REGICIDE IN ESTHER AS TEXT- AND REDACTION-CRITICAL TEST CASE." Vetus Testamentum 52, no. 3 (2002): 304–25. http://dx.doi.org/10.1163/156853302760197467.

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AbstractThe article revisits the problem of relationship between the Hebrew and Greek versions of the book of Esther, using the episode, in which Mordechai discloses a regicidal conspiracy of two eunuchs, as a test case. Analyzing the pattern of agreements and disagreements between the four versions of the episode (MT ii 21-23; AT A 11b-18; LXX A 12-17; ii 21-23), it argues that the A-text had a Hebrew Vorlage. This Vorlage emerged in the process of profound revision of what we know as the Masoretic text, aimed at making it more specific and disallowing certain interpretations. The author of the LXX knew both the Masoretic version and the Hebrew Vorlage of the A-text; hence his or her willingness to tell the story twice, in Addition A and in chapter ii.

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Poulsen, Frederik. "Else K. Holt: Narrative and Other Readings in the Book of Esther. The Library of Hebrew Bible/Old Testament Studies 712." Dansk Teologisk Tidsskrift 84, no. 1 (July 16, 2021): 96–97. http://dx.doi.org/10.7146/dtt.v84i1.128073.

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Savran, George. "Esther Fuchs Sexual Politics in the Biblical Narrative: Reading the Bible as a Woman JSOT Supplement Series, 310, Sheffield Academic Press, Sheffield, 2000." Nashim: A Journal of Jewish Women's Studies & Gender Issues 6 (October 2003): 209–15. http://dx.doi.org/10.2979/nas.2003.-.6.209.

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Gravett, Sandie. "BOOK REVIEW: Esther Fuchs. SEXUAL POLITICS IN THE BIBLICAL NARRATIVE: READING THE HEBREW BIBLE AS A WOMAN Sheffield, England: Sheffield Academic Press, 2000." NWSA Journal 15, no. 1 (April 2003): 179–81. http://dx.doi.org/10.2979/nws.2003.15.1.179.

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Crawford, Sidnie White, and Kristin de Troyer. "The End of the Alpha Text of Esther: Translation and Narrative Technique in MT 8:1-17, LXX 8:1-17, and AT 7:14-41." Journal of the American Oriental Society 122, no. 1 (January 2002): 131. http://dx.doi.org/10.2307/3087684.

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Dunlop, William L., Grace E. Hanley, and Tara P. McCoy. "The narrative psychology of love lives." Journal of Social and Personal Relationships 36, no. 3 (December 5, 2017): 761–84. http://dx.doi.org/10.1177/0265407517744385.

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Narrative identity is an internal and evolving story about the self. Individual differences in narrative identity have been found to correspond with several important constructs (e.g., well-being, health behaviors). Here, we examined the nature and correlates of participants’ love life narrative identities. In Study 1, participants provided autobiographical narratives from their love lives and rated their personality traits and authenticity within the romantic domain. In Study 2, participants again provided narratives from their love lives and completed measures assessing their attachment tendencies and relationship contingent self-esteem. Narratives were coded for agency, communion, redemptive imagery, contaminated imagery, affective tone, and integrative complexity. Across our studies, the communion and positive tone in participants’ love life narratives was associated with certain traits, authenticity, attachment tendencies, and relationship contingent self-esteem. These results suggest that love life narrative identity represents a promising construct in the study of functioning within the romantic domain.

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Carter, Richard. "Virtual Literatures: Technology, Agency, Meaning." CounterText 2, no. 3 (December 2016): 338–55. http://dx.doi.org/10.3366/count.2016.0064.

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What does it mean when the technologies and techniques of literary expression intersect with those of simulated virtual environments? Specifically, how are the expressive properties of scriptural markings reshaped and recast when conveyed and received through modes of viewing and interaction afforded by digital rather than printed spaces? Virtual-literary works such as New Word Order: Basra (2003) and Dear Esther (2012) raise just these questions, which have significant implications for conceptualising the literary experience within a digital context. This article develops a response to these issues by concentrating less on the technical differences between printed and digital media and focusing instead on how their expressive potential is actualised within the space of the interpretative encounter. It presents a model, derived from work in the sociology of science and the digital humanities, in which the literary is understood as emerging from a performative matrix of intersecting actors, materials, and processes in real time – of which the medium is one component. From this standpoint, the significance of the virtual-literary encounter is that it represents an extension of these performative vectors into comparatively novel digital contexts, enabling different narrative, thematic, and semantic aspects to be crystallised in relation to alternative technocultural developments. Such encounters are countertextual in demonstrating the potentialities of literary expression beyond the naturalised spaces of print – a reframing rather than a superseding of the literary.

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Cook, Johann. "The End of the Alpha Text of Esther: Translation and Narrative Technique In MT 8:1-17, LXX 8:1-17 and AT 7:14-41 (review)." Hebrew Studies 46, no. 1 (2005): 433–37. http://dx.doi.org/10.1353/hbr.2005.0020.

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Crowell, Rebecca L. Nelson, Julie Hanenburg, and Amy Gilbertson. "Counseling Adolescents With Hearing Loss Using a Narrative Therapy Approach." Perspectives on Administration and Supervision 19, no. 2 (June 2009): 72–78. http://dx.doi.org/10.1044/aas19.2.72.

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Abstract Audiologists have a responsibility to counsel patients with auditory concerns on methods to manage the inherent challenges associated with hearing loss at every point in the process: evaluation, hearing aid fitting, and follow-up visits. Adolescents with hearing loss struggle with the typical developmental challenges along with communicative challenges that can erode one's self-esteem and self-worth. The feeling of “not being connected” to peers can result in feelings of isolation and depression. This article advocates the use of a Narrative Therapy approach to counseling adolescents with hearing loss. Adolescents with hearing loss often have problem-saturated narratives regarding various components of their daily life, friendships, amplification, academics, etc. Audiologists can work with adolescents with hearing loss to deconstruct the problem-saturated narratives and rebuild the narratives into a more empowering message. As the adolescent retells their positive narrative, they are likely to experience increased self-esteem and self-worth.

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Stewart, Lindsey. "‘A New and Fierce Disorder’s Raging’: Monomania in Mary Barton (1848)." Journal of Victorian Culture 24, no. 4 (March 5, 2019): 492–506. http://dx.doi.org/10.1093/jvcult/vcy072.

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Abstract This article examines Elizabeth Gaskell’s use of the early psychiatric idea of monomania in her novel Mary Barton (1848). Digital searches show a steep rise in the textual use of the word so that by the mid-1830s it might be described as popularly familiar, albeit still invested with the esotericism and prestige of medical vocabulary. The furore in the press circulating around monomaniacal assassins would not have escaped Gaskell’s notice as she began the novel, which was written intermittently between the years 1844 and 1847 and set in c. 1834 to 1840. John Barton, and his sister-in-law, fallen woman Esther, are gripped by obsessive, avenging missions fostered by the pathogenic environments they inhabit. Their trajectories are similar: the loss of a child, a recourse to opiates and alcohol to manage misery and hunger, and an expulsion from the normalizing world of domesticity. The narrative describes both as monomaniacs. I argue that these monomanias are equivalent to a tormenting class consciousness wherein their over-abundant imaginations refuse to accept their lot. A challenge to the notion that the working class were morally at fault, monomania is presented as a condition caused by an environment that can only foster despair. The text does not simply pathologize the characters, but presents the social structure itself as pathological. Gaskell uses a gothic formulation of the disease as ‘haunting’ and ‘incessant’. It is a novelistic version which is both proto-sensational in the projects its sufferers pursue (murder and detection) whilst also signifying a nervous collapse brought about by material deprivation. Gaskell’s monomaniacs come closest to replicating the aetiologies of their ‘real’ counterparts in County Asylums.

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Budziszewska, Magdalena, and Karolina Hansen. "“Anger Detracts From Beauty”: Gender Differences in Adolescents’ Narratives About Anger." Journal of Adolescent Research 35, no. 5 (April 29, 2019): 635–64. http://dx.doi.org/10.1177/0743558419845870.

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In a mixed-design narrative study, we explore how adolescent boys and girls represent experiences of anger and how their narrations are linked to self-esteem and anxiety. Polish teens from three nonurban public schools ( N = 101, 55% female, Mage= 15.5) wrote narrative accounts of their typical anger experience. We use a thematic analysis framework to analyze the patterns in these narratives. Boys and girls told stories within school, family, and relationship contexts. However, boys provided more stories that focused on the theme of everyday incidental instances of anger, whereas girls provided more stories focused on the theme of negative inner experiences. In-depth analysis resulted in the emergence of two complex narrative patterns: Anger as Outburst and Anger as Burden. Anger as Outburst described heated anger related to difficulties in self-control and aggression and was more characteristic of boys. Anger as Burden contained stories of prolonged anger related to negative self-evaluation and was more characteristic of girls. Anger as Burden was also related to higher anxiety and lower self-esteem. We conclude that in the given cultural context, adolescents lack positive narratives to frame their anger adaptively.

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Conterno, Chiara. "Erinnerungstopographien in Katja Petrowskajas Vielleicht Esther." Jahrbuch für Internationale Germanistik 50, no. 1 (January 1, 2018): 233–45. http://dx.doi.org/10.3726/ja501_233.

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Abstract Um den dynamischen, nicht fixierbaren mnestischen Prozessen – seien sie durch Erinnerung oder eher durch Vergessen geprägt – im transkulturellen Kontext näherzukommen, greift Alexandra Lübke auf den Begriff ,,Erinnerungstopographien“ zurück,2 weil dieser Ansatz sowohl ein zeitlich-diachrones, als auch ein räumliches und ein repräsentatives Moment umfasst. Neben dem topographischen Aspekt enthalte dieser Begriff ein narratives Element, das erzählt wird, wiederkehren kann und wandelbar ist. Der Erinnerungsprozess greife Topoi und Motive aus individuellen sowie gesellschaftlichen und kulturellen Archiven auf und versetze sie durch die Narration in andere zeitliche und räumliche Bezüge. Dies bedinge – so Lübke – eine diskontinuierliche, teilweise nicht widerspruchsfreie netzartige Anordnung. So ein netzartiges Konzept gestatte den Blick auf Widersprüchliches, Diskontinuierliches, Zerstreutes.3

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Liao, Hsiao-Wen, Susan Bluck, and Gerben J. Westerhof. "Longitudinal Relations Between Self-Defining Memories and Self-Esteem: Mediating Roles of Meaning-Making and Memory Function." Imagination, Cognition and Personality 37, no. 3 (October 5, 2017): 318–41. http://dx.doi.org/10.1177/0276236617733840.

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The present study examines Hsiao-Wen Liao is now at the Department of Psychology, Stanford University, CA, USA. the role of self-defining memories in predicting self-esteem using a 1-year longitudinal design with an adult lifespan sample ( N = 1,216; age range 18–92; Mage = 49.52; SDage = 17.25). The interplay between narrators’ personality at the life story level and two social-cognitive processes, meaning-making and functional memory use, is investigated. Participants provided three self-defining memories, and their personality positivity was assessed in terms of the ratio of positive-to-all memories. Memory narratives were reliably coded for meaning-making, and participants reported the extent to which they use each remembered event to serve adaptive functions. One year later, participants completed a measure of self-esteem. Personality positivity at Time 1 predicts greater self-esteem at Time 2. The effect of personality positivity occurs, however, completely through creating positive meaning and using memories functionally. The findings contribute to the literature on narrative identity and autobiographical memory by delineating how memory processes relate to self-regulation over time. The relative roles of personality and social-cognitive processes in autobiographical narratives in linking to self-esteem are discussed.

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Vall, Berta, and Lluís Botella. "Making sense of immigration processes." Narrative Inquiry 25, no. 2 (December 31, 2015): 203–23. http://dx.doi.org/10.1075/ni.25.2.01val.

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This article analyses the narrative disruption processes and quality of life of adolescent immigrants in Spain. Furthermore, it also provides a new methodological approach to assess meta-subjective and narrative quality of life. Participants were 30 adolescents (15 immigrant and 15 autochthons) selected form a sample of 884 adolescents (from which 204 were immigrants). Data regarding quality of life was collected applying the Friendship Quality Scale and the Vancouver Index of Acculturation to all the participants (n = 884). According to the punctuation of the questionnaires a subsample was chosen, the Biographical Grid was applied to 30 participants; the immigrants group was also asked to write a text. Results indicate that both perceived quality of life and self-esteem of immigrant’s group are lower than the autochthons’ while narrative disruption is higher. A deeply explanation about some of the causes of these results is provided by the narratives’ analysis.

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Schmidt Goering, Greg. "Intersecting Identities and Persuasive Speech." biblical interpretation 23, no. 3 (July 6, 2015): 340–68. http://dx.doi.org/10.1163/15685152-00230a03.

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The similarities between Judah’s speech before Joseph in Genesis 44 and Esther’s series of requests before Ahasuerus in the book of Esther provide an unusual opportunity for an intersectional exploration of multiple identities as reflected in persuasive discourse. The speeches of the two figures not only contain verbal similarities but also occur at decisive moments in the narratives, when hidden identities are revealed, and they even share a set of rhetorical tactics. Each speech unfolds in a setting where the speaker’s identity is shaped by a combination of intersecting factors involving class, ethnicity, gender, sexuality, and relatedness. Judah and Esther both model ways in which Jews who inhabited these intersecting categories could shape social realities in their diasporic communities despite structural constraints on their status. Subtle differences between the rhetorical strategies of the two figures provide further clues to the ways in which persuasive discourse and intersecting identities mutually influenced one another.

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Stone, Rebecca, Merry Morash, Marva Goodson, Sandi Smith, and Jennifer Cobbina. "Women on Parole, Identity Processes, and Primary Desistance." Feminist Criminology 13, no. 4 (September 26, 2016): 382–403. http://dx.doi.org/10.1177/1557085116670004.

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The current study employs a prospective mixed-methods design to examine women parolees’ identities early in their supervision and the association of their identity development at that point to their record of subsequent arrests. Guided by narrative identity theory, we first conduct quantitative analysis of the relationship between redemption and contamination narratives and subsequent arrests. We then return to the qualitative interview data to search for additional explanatory themes that shed further light on women’s identity and desistance from crime. Results indicate that identity verification from parole officers and others increases women’s self-esteem and assists them in overcoming barriers to desistance.

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Alam, Hamid, Sakina Riaz, and Sajjad Hussain. "Childless Women: Narratives from Khyber Pakhtunkhwa." Pakistan Journal of Women's Studies: Alam-e-Niswan 26, no. 1 (May 30, 2020): 149–68. http://dx.doi.org/10.46521/pjws.026.01.0022.

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This article documents the experiences of childless Pakhtun women of Khyber Pakhtunkhwa as narrated by them. These narratives present primary data on the most significant issue about which research studies are relatively scarce. This exploratory study drawing upon in-depth interviews of 45 childless women and 20 men in the 3 districts of Khyber Pakhtunkhwa through convenient purposive sampling techniques, presents a narrative of the physical and mental health and lifestyle behaviours of childless women and men currently within 25-60 years of age. Research findings indicate that childless women become more anxious about their social and economic security and hopelessness escalates as the end of childbearing approaches. Further, their self-esteem goes low and depression, anxiety, and grief goes up. Stigmatization, conjugal dissonance and stereotypical attitudes of society injure their selfidentity. This empirical study recommends more studies to be undertaken on the plight of childless persons.

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Moseley, Merritt. "The Ontology of Esther's Narrative in "Bleak House"." South Atlantic Review 50, no. 2 (May 1985): 35. http://dx.doi.org/10.2307/3199233.

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Journal articles on the topic 'Esther narrative'

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