„Babylon, Mutter aller Greuel auf Erden“: Literarisches Weiterschreiben der Mythen von Babel und Babylon
The episode oft he tower of Babel, as narrated in Genesis 11,1-9, is reflected in the Bible itself in many different ways: ‚Babel‘ can refer to the exile of the Jewish people in ‚Babylon‘, whereas the ‚whore of Babylon‘ (Joh 17-18) serves as an allegorical and apocalyptic personification of evil. Th...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Deutsche Bibelgesellschaft
[2021]
|
| In: |
Die Bibel in der Kunst
Year: 2021, Volume: 5, Pages: 1-25 |
| Standardized Subjects / Keyword chains: | B
Bible. Genesis 11,1-10
/ Babylon (Motif)
/ Abschiedsreden Jesu
/ Bible. Johannesevangelium 18
/ Literature
/ Intellectual history 1900-2100
B Language (Motif) |
| IxTheo Classification: | CA Christianity HA Bible |
| Online Access: |
Volltext (kostenfrei) |
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| 520 | |a The episode oft he tower of Babel, as narrated in Genesis 11,1-9, is reflected in the Bible itself in many different ways: ‚Babel‘ can refer to the exile of the Jewish people in ‚Babylon‘, whereas the ‚whore of Babylon‘ (Joh 17-18) serves as an allegorical and apocalyptic personification of evil. The different aspects of this motif form an interdependent and vivacious cluster, that is highly productive for literary imagination. Many German-speaking poets and narrative authors turned to this motif in the 20th century and even in our times. They turn to ‚Babel‘ in order to al-lude to a second fall of man (mirroring the first one of Adam and Eve); to describe the sinful state of modern metropoles like Berlin; they integrate biblical images into their writings in order to illustrate man’s hybris; they use the tower of Babel as a political metaphor of warning; they in-tegrate allusions to Babel into literary reflections about their experience of exile; they deal with the inappropriateness of language as such and draw a line towards the possible hope, that pen-tecost has finally overcome the Babylonian language confusion. There can be little doubt: The productive power of the biblical motif is still alive. | ||
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