Sporen van vrouwenteksten in de Hebreeuwse bijbel
In her contribution, Fokkelien van Dijk-Hemmes asks herself if and to what extent it is possible to find traces of women's texts in the Hebrew bible, and what the significance and gain thereof might be from the perspective of women's studies. Starting with the criticism of E. Schüssler Fio...
| Main Author: | |
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| Format: | Electronic/Print Article |
| Language: | Dutch |
| Check availability: | HBZ Gateway |
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
1991
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| In: |
Proeven van vrouwenstudies theologie ; deel II:
Year: 1991, Pages: 161-244 |
| Online Access: |
Volltext (kostenfrei) Volltext (kostenfrei) |
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| 520 | |a In her contribution, Fokkelien van Dijk-Hemmes asks herself if and to what extent it is possible to find traces of women's texts in the Hebrew bible, and what the significance and gain thereof might be from the perspective of women's studies. Starting with the criticism of E. Schüssler Fiorenza on such an undertaking, and continuing on the lines of her own previous research in this field (see a.o. Proeven, I), Van Dijk arrives at a balanced answer to these questions. She chooses her method (of working) in line with Elaine Showalter's proposal to understand 'women's culture' as a culture put to silence, that partly overlaps and partly eludes the dominant andocentric culture. In her actual research material Van Dijk-Hemmes does not directly look for women as authors; following S.D. Goitein, she takes as her starting-point a number of genres of which women (especially) make use: victory and satire songs, wisdom and exhortation, prophecy and divination, love songs and whore songs, lamentations and prayers. She herself adds another three genres: vows, birth-songs and naming- speeches. The body of text fragments from the Hebrew bible which can be placed and interpreted in this context appears to be surprisingly extensive. In the final part of her article Van Dijk-Hemmes expands upon the thesis that in the Hebrew bible there is not only a women's traditon of songs, but also a women's tradition of stories. By way of conclusion she evaluates the broadening of the concept 'women's texts' she has tried and tested. She draws the conclusion that this broadening makes a choir of women's voices audible and a choice of women's perceptions manifest. | ||
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