{"title":"创世纪的复数形式:珍妮·迪斯基在《唯人类》中对上帝和他的话语的重新配置","authors":"Ingrid Bertrand","doi":"10.1075/ETC.8.2.03BER","DOIUrl":null,"url":null,"abstract":"This article is devoted to Jenny Diski’s polyphonic rewriting of the biblical myth of Abraham and Sarah in Only Human: A Divine Comedy (2000). It shows how this subversive novel, through its juxtaposition of two competing narrative voices – an unidentified human narrator and God himself –, challenges the omniscience and transcendence usually attributed to God, but also the power of his creative Word, and launches a reflection on storytelling and truth, presenting thereby an “only human” Bible.","PeriodicalId":42970,"journal":{"name":"English Text Construction","volume":"8 1","pages":"194-206"},"PeriodicalIF":0.1000,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Genesis plural: Jenny Diski’s reconfiguration of God and his Word in Only Human\",\"authors\":\"Ingrid Bertrand\",\"doi\":\"10.1075/ETC.8.2.03BER\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This article is devoted to Jenny Diski’s polyphonic rewriting of the biblical myth of Abraham and Sarah in Only Human: A Divine Comedy (2000). It shows how this subversive novel, through its juxtaposition of two competing narrative voices – an unidentified human narrator and God himself –, challenges the omniscience and transcendence usually attributed to God, but also the power of his creative Word, and launches a reflection on storytelling and truth, presenting thereby an “only human” Bible.\",\"PeriodicalId\":42970,\"journal\":{\"name\":\"English Text Construction\",\"volume\":\"8 1\",\"pages\":\"194-206\"},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2015-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"English Text Construction\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1075/ETC.8.2.03BER\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"LANGUAGE & LINGUISTICS\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"English Text Construction","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1075/ETC.8.2.03BER","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LANGUAGE & LINGUISTICS","Score":null,"Total":0}
Genesis plural: Jenny Diski’s reconfiguration of God and his Word in Only Human
This article is devoted to Jenny Diski’s polyphonic rewriting of the biblical myth of Abraham and Sarah in Only Human: A Divine Comedy (2000). It shows how this subversive novel, through its juxtaposition of two competing narrative voices – an unidentified human narrator and God himself –, challenges the omniscience and transcendence usually attributed to God, but also the power of his creative Word, and launches a reflection on storytelling and truth, presenting thereby an “only human” Bible.
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