Celestial Nonsense: George Macdonald's Apophatic Play

This article seeks to expand the boundaries of literary nonsense to include more overtly theological writers like George MacDonald. According to most critics of nonsense, God and religion are "absolutely forbidden" from the genre, but the reasons for this exclusion are never demonstrated a...

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主要作者: Gabelman, Daniel 1979- (Author)
格式: 电子 文件
语言:English
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出版: Oxford University Press 2022
In: Literature and theology
Year: 2022, 卷: 36, 发布: 3, Pages: 273-297
IxTheo Classification:CD Christianity and Culture
KAH Church history 1648-1913; modern history
Further subjects:B George MacDonald
B Play
B Childlike
B Apophatic
B Nonsense
B Embarrassment
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总结:This article seeks to expand the boundaries of literary nonsense to include more overtly theological writers like George MacDonald. According to most critics of nonsense, God and religion are "absolutely forbidden" from the genre, but the reasons for this exclusion are never demonstrated and seem to be based on taste rather than evidence. After defining the key features of nonsense as play, paradox, and transgression, the article notes a surprising overlap between these features and the traditional characteristics of Western apophaticism. It then explores the structure and style of what G.K. Chesterton calls MacDonald's "celestial nonsense". With a focus on At the Back of the North Wind and frequent comparisons to other children's fantasies (particularly Lewis Carroll's Alice books), the article argues that MacDonald intuits the affinity between nonsense and apophaticism to develop his seraphic style. This style is unashamedly "childlike", a paradoxical and embarrassing blend of silly gravity and solemn levity. The conclusion then gestures to how others (Elizabeth Sewell, Chesterton, Christina Rossetti, J. R. R. Tolkien) might also be profitably considered writers of "celestial nonsense".
ISSN:1477-4623
Contains:Enthalten in: Literature and theology
Persistent identifiers:DOI: 10.1093/litthe/frac012