Contents:
Introduction In Genesis, Leah the Matriarchs' voice is being heard only twice.
The first time is when she names her sons and daughter, explaining each name while naming the child Gen. Besides this two occasions Leah's voice is never heard: Nevertheless, many modern poems, which were written on Leah, give this almost voiceless character a voice. David Curzon in his introduction to his anthology Modern Poems on the Bible, claims that what modern poets do when dealing with biblical themes is similar to the Midrash: Their reaction to biblical texts are both strikingly modern and within an ancient genre.
The modern writers are aware of the gaps within the biblical narrative, and try to fill them according to M. This is what the midrash does in asking questions that arise from gaps in the biblical text and trying to answer them and that is what the modern poets do as well. She also maintains that the modern poems form a modern Midrash. Thus, Zierler opens her article stating: While students of rabbinic midrash have taught us to view it in term of literary critical notions of intertextuality and interpretive subjectivity, students of Hebrew poetry have trained us to be alive to the similarity between midrashic and poetic invention.
Those poets are trying to give Leah voice in some crucial points in her life, thus feeling the gaps of Leah's silence in Genesis. Since there are many poems on Leah, I have decided to concentrate only on poems, which may be considered dramatic monologues and whose speaker is Leah herself. The Israeli Biblical Dramatic Monologue The dramatic monologue is a genre that was not given enough attention in Hebrew poetry criticism. Nevertheless, there are many dramatic monologues in Modern Hebrew poetry, particularly in poems reworking biblical characters. The dramatic monologue as a genre came into its own during the Victorian period.
Warwick-Slinn asserts that the emphasis in poetic forms was changed: Sessions gave seven definite characteristics to the genre: In fact, at the end of the 19th century Oscar Wilde wrote about the dramatic monologue in his essay "The Critic as Artist"7 claiming that what the author in a dramatic monologue does "is simply a method by which we can multiply our personalities. The movement away from the specificity characteristic of the form and the fragmentation of voice involved in this process are generally considered to lead to the disintegration of the monologue as genre.
Eliot is a transformation in the dramatic monologue. The modernists' appropriation of the genre tends to break some of its main characteristic, such as the naturalistic setting, the voice of the speaker and the place of the auditor.
Alternatively, as Alan Sinfield wrote it is put only to "occasional use". The dramatic monologue is flourishing. Glennis Byron suggests taking notice of non-canonical writers in order to reconsider the position of the dramatic monologue from the beginning of the 20th century until today.
Much the same conclusion might be reached if the grouping of dramatic monologues is expanded to include the work of non-canonical poets from the following decades…10 Byron indicates that the fact that the dramatic monologue is concerned with issues as "presentation and communication" is part of what makes it suitable for marginal writers.
Chana Kronfeld in her book On the Margins of Modernism is claiming that the Modern Hebrew literature can be considered as marginalized modern literature. Kronfeld is using Chaim Nachman Bialik's term "language pangs" in order to explain the process of creating a poetic dynamism in a revived language. However, the dramatic monologue can be found in contemporary Hebrew poetry just as it can be found in contemporary western poetry.
There are several reasons for this trend. Consequently, by speaking through a different marginalized character in a performative act, the poet can transform his or her social criticism in a direct way. This can explain the increasing number of dramatic monologues in contemporary poetry. As the editors of The New Poetry13 claimed considering Carol Ann Duffy extensive use of the dramatic monologue, it permits her "to popularize complex ideas about language and its political role and meanings.
However, since the renewal of Hebrew as a spoken language at the end of the 19th century, biblical language and themes have gained a renewed importance within Hebrew literature. Yet, in modern Israeli poetry, a new perspective towards the Bible is noticeable. In the beginning of the New Hebrew literature, interest in the Bible stemmed from a Zionistic point of view, as Gershon Shaked writes: It became the Book of Books for the Haskalah movement, and later served as the cultural foundation of the Zionist movement, providing the ultimate proof of the historic independence of the Jewish people and the compelling rationale for its return to the land of Israel.
The Importance of Small Things" notes: The keys to the future may be found in both these occurrences, poetic and technological. That is why, when relating to the Bible, the poems frequently consider characters that were previously neglected. Thus, characters as Leah, Hagar or Abishag are being given an individual voice to be heard.
That is perhaps the reason for the amount of dramatic monologues among the poems concerning those characters. That is what Ismail B.
Garba is writing in his article on Carol Ann Duffy's "Psychopath" considering the dramatic monologue: A monologue further provides a form of disguise; for a poet can take on the mask of different faces, different bodies and nonetheless different voices. In Meltzer's case, the reason for this is probably the fact he is being influenced by the Yiddish poets of the time as opposed to most of the Hebrew poets influenced by the Russians In Anda Amir Pinkerfeld case, the reason for this is most likely her feminist- modern approach.
In her dramatic monologue, "Leah", Amir-Pinkerfeld is focusing on Leah just before the swap between her and Rachel her sister in the wedding night is taking place. Leah is the speaker but as in many modern dramatic monologues, the auditor is unknown. Although Leah is speaking to Jacob calling to him: The whole story of Jacob arrival and the schism between the sisters because of his preference of Rachel, is being told from Leah's point of view. Amir-Pinkerfeld is using a free form for Leah's speech.
She almost does not use rhymes and there are many enjambements in order to transform Leah's agitation. The motto at the head of the poem "And in the morning, behold, it was Leah Leah will open the tent canvas and the substitution is going to happen. The poem is divided into eight parts: Jacob arrival and its affect on the sisters.
At the end of part three, Leah understands: At the end of this part Leah's mother, as opposed to the biblical text when it was her fathers' doing, is telling her to prepare for her wedding: In Amir-Pinkerfeld's poem, it seems as if Leah could choose not to substitute for her sister. The fact that Leah in this poem is more independent than the biblical Leah is derived from Amir-Pinkerfeld's point of view as a modern woman. Malka Shaked in her article "The Figure of Moses in Modern Hebrew Poetry" writes on the unbreakable bonds between the writer and his interpretation to the biblical text: Shimshon Meltzer's "Leah" is a cross-gendered monologue, since the speaker again is Leah.
Meltzer way of dealing with the gap between him as a male-author and Leah as a female-speaker is by using biblical language.
Thus, on one hand, he is making the monologue more authentic, and on the other hand, he creates a deliberate distance between his modern readers and the text concealing by this already existing gap caused by the gender difference. The situation in this poem is different than the one portrayed in Amir-Pinkerfeld's. In Meltzer dramatic monologue, we meet Leah after she gave Rachel the mandrakes and she is about to spend the night with Jacob. Leah's auditor is unknown, although in two points in the poem it seems to be Jacob: But the influence of the Reaper Sovereign is too powerful and Benezia becomes enslaved to Saren's will, along with her retinue of guards and commandos.
Benezia's position becomes something between Saren's advisor and his second-in-command. Saren knows Benezia's value; even when she enrages him by bringing the news that Shepard has accidentally used the Prothean Beacon , he restrains himself from attacking her and orders her to ensure the Commander is eliminated. Through Binary Helix , Benezia funds a secret project on Noveria to breed rachni from a newly discovered egg.
They are intended to form part of Saren's army, but when Binary Helix removes the brood from the Rachni Queen 's presence, the rachni go rogue. Benezia travels to the lab at Peak 15 to investigate the situation and to access information stored in the queen's genetic memory about the location of the Mu Relay. She is accompanied by an escort of asari commandos.
She causes a stir at Port Hanshan when she arrives, telling the authorities she is there as Saren's representative. Lorik Qui'in tells Shepard that "Lady Benezia was dressed for her role. An asari matriarch in a pin-striped suit set tongues wagging amongst the younger male employees Finally, Benezia, who has used her incredible mental strength to keep a part of her mind free of from indoctrination , manages to break from Saren's control very briefly.
She describes the horrors of indoctrination and how it feels to be trapped in your own mind: Keep track of everything you watch; tell your friends.
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You must be a registered user to use the IMDb rating plugin. User Polls Game Franchise you would like to see come to an end Which video game deserves a movie adaptation? Learn more More Like This. Mass Effect 2 Video Game Mass Effect 3 Video Game Origins Video Game Andromeda Video Game The Elder Scrolls V: Skyrim Video Game Inquisition Video Game Fallout 3 Video Game BioShock Video Game New Vegas Video Game Knights of the Old Republic Video Game Edit Cast Cast overview, first billed only: Captain David Anderson voice Seth Green Admiral Steven Hackett voice Ali Hillis Liara T'Soni voice Brandon Keener Matriarch Benezia voice Ash Sroka Edit Storyline In a technologically advanced future, an elite human soldier takes command of a prototype star ship and works to defend the galaxy from danger.
Edit Details Official Sites: Edit Did You Know? And tomorrow I'll be sober. Goofs The timeline in the Codex lists the th anniversary of the first moon landing as July 24, The actual date of the first moon landing was July 20th, , not the 24th. Kill a bunch of geth and end things with a huge crash.
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Through Binary Helix , Benezia funds a secret project on Noveria to breed rachni from a newly discovered egg. Poems on Genesis that was published in Eliot is a transformation in the dramatic monologue. It felt like watching auditions for a high school play. The sexual act itself is not only Jacobs drowning in Leah's dark swamp, but is his melting in her. In every conversation tree, there is a ruthless thing to say, a good thing to say, and an in-between thing to say. There are so many species of aliens in Mass Effect that you will have trouble naming them all even by the fourth or fifth play-through.