By Jill Scott (auth.)
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Additional resources for A Poetics of Forgiveness: Cultural Responses to Loss and Wrongdoing
Imagine if Kill Bill were to be remade in a sequel from the perspective of the victims, showing interviews with family members and friends, and footage from the funerals complete with touching eulogies. My point is that Murphy’s arguments in favor of the “commonsense morality” of revenge are on shaky ground because they are based partly on audience responses to Silverado (1985), a film made expressly for the purposes of entertainment. Indeed, Murphy uses the example of Achilles to legitimize vindictiveness as bringing satisfaction to victims (Getting Even 17).
Furthermore, forgiveness is an ongoing process that renders mourning a work of creation. ’s memoir of a Moravian childhood, The Gift (1941, 1943), is a plea to inject the gift of forgiveness into the work of mourning against all reason. D. 4 Part autobiography, part bildungsroman, The Gift mourns the loss of childhood innocence while at the same time documenting a spiritual quest. ’s search for the Gift amid the horrors of war. ’s Moravian heritage and its values of universal peace, racial tolerance, and understanding.
6 Although many linguistic and culturally determined barriers obscure a modern reader’s appreciation for the nuances of this anger, we nonetheless experience it as the very life juice of the poem. Achilles—and arguably the genre of epic poetry—is born out of this visceral anger, and the hero’s existence is predicated upon avenging the affront to his honor. One key to Homeric anger is grasping the notion of time¯ , the Greek expression of self hood and identity, indeed a “sacred self ” or cherished image (not to be confused with the modern ego and the self-consciousness it elicits), produced in interactions with others and Anger without Emotion 27 by way of intricate, culturally specific rituals of honor (Cairns 40).
A Poetics of Forgiveness: Cultural Responses to Loss and Wrongdoing by Jill Scott (auth.)