Browsing by Subject "reception history"

The New Testament contains two important and potentially conflicting understandings of resurrection. One integrates resurrection into salvation, suggesting that it is restricted to the righteous; this view is found most prominently in the Pauline epistles. The other understands resurrection as a prerequisite for eschatological judgment and therefore explicitly extends it to all; this view is found most prominently in the book of Revelation. In the former, moral transformation is part of the process that results in resurrection; in the latter, moral transformation only affects what comes after resurrection, not the event of resurrection itself. The New Testament itself provides no account of how to hold together these understandings of resurrection and moral transformation.

This dissertation is an investigation of the ways in which second- and third-century Christian authors creatively struggled to bring together these two understandings. I select key authors who are not only important in the history of early Christian discussions of resurrection but who also make extensive use of the Pauline epistles. For each author, I investigate not only how they develop or resist the Pauline connection between resurrection and moral transformation but also how they relate that connection to the doctrine of the resurrection of all to face judgment found in Revelation (if they do at all).

The results are remarkably diverse. Irenaeus develops the Pauline connection between resurrection and moral transformation through the Spirit of God but fails to account for the resurrection of those who do not receive that Spirit in this life (although affirming that resurrection nonetheless). Tertullian begins from the model that takes resurrection to be fundamentally a prerequisite for judgment and struggles to account for Paul's connections between resurrection and salvation. Two Valentinian texts, the Treatise on the Resurrection and the Gospel of Philip, adopt the Pauline model to the exclusion of the resurrection of the wicked. Origen connects resurrection to moral transformation in yet another way, making it an event that pedagogically reflects the moral transformation of all rational creatures--whether for the better or worse. For Methodius of Olympus, the resurrection of the body produces the moral transformation that is the eradication of the entrenched inclination to sin, but the moral transformation in this life that is the resistance of the promptings of that entrenched inclination produces reward after the resurrection. In each case, strategies for holding together the two views found in the New Testament reveal the fundamental theological commitments underlying the author's overall understanding of resurrection.

Lee Edelman notes that “queerness can never define an identity; it can only ever disturb one.” This statement reinforces a particular view of queerness: one that suggests that it is, first and foremost, an action, and secondly, that it is an action that is meant to challenge already existing structures. And while the act of disruption itself is not always queer, queering-as-action emphasizes the destabilization of entrenched ideas, norms, and binaries.

My dissertation examines the music, productions, and subsequent reception of four operas by Britten at the time of their premieres — Billy Budd (1951), Gloriana (1953), A Midsummer Night’s Dream (1960), and Owen Wingrave (1971) — focusing on how these operas each present various ways of queering and forms of queer disruption. On a musical level, these works subvert a largely nineteenth-century heteronormative model of opera that dictated voice types within certain roles, the power and relationship dynamic between male and female characters, and portrayals and performances of gender. On a social level, these four operas tell stories that engage with and disrupt ideas of wartime-era constructions of nation and empire at a time when the desire to depict British strength and relevance competed with the rise of new global superpowers.

Britten’s operas fit within a timeline that runs alongside the postwar era in Britain. In a period shaped by World War II and its aftermath, postwar Britain encapsulated significant political and cultural shifts that includes the dissolution of the British Empire, student and youth protest movements, and the decriminalization of homosexuality. How these works were reviewed and discussed by critics as well as citizens will show how these operas (and their disruptions) relate to, reinforce, and reject these social shifts. Through the perusal of press reviews and archival materials, I explain how these disturbances are realized by those experiencing these operas at the moment of their premieres. These primary sources also reveal how Britten’s postwar operas run counter to and engage with large cultural and societal changes in postwar Britain.