Review
Jacqueline Bussie reads familiar texts with a keen theological eye and provides fresh and innovative insights into these literary classics. With exquisite literary sensibility and bold theological imagination she helps her readers to understand how genuine laughter emerges from the depths of suffering. This is theological writing of the highest order - intelligent, faithful, and deeply moving. -- Ronald F. Thiemann, Bussey Professor of Theology, Harvard Divinity School
Political jokes arise in dictatorships and their laughter is liberating oppressed and silenced people. They are nothing less than a resonance of the laughing God in heaven. "The Lord shall have them in derision." (Ps 2,4). The arrogance of power is ridiculous because God is God. I read this fascinating study with growing admiration. It is a masterpiece and a great contribution to every liberating theology. -- Jurgen Moltmann
Jacqueline Bussie's book tackles the following unanswered questions: What is the theological and ethical significance of the laughter of the oppressed? And what does it mean to laugh at the horrible-to laugh while one suffers? The majority of ethical philosophical theory and western theology (e.g. Augustine, St. John Chrysostom, Oecolampadius, Reinhold Niebuhr) maintains that laughter is nihilistic and irresponsible, especially if occurring within tragic circumstance. However, she argues that the dominant social location of these theologians and theorists has led to a gap in inquiry, to a failure to consider laughter "from below." For Judeo-Christian theology, "The Laughter of the Oppressed" explores uncharted terrain. This book broadens the theological lens to examine the multicultural, modern historical fiction of Elie Wiesel, Toni Morrison, and Shusaku Endo as case studies. In these authors' well-respected texts, "Gates of the Forest", "Beloved", and "Silence", we discover the laughter of the Jews during the Holocaust, the laughter of African Americans both slave and free, and the laughter of the persecuted religious minority of Japanese Christians. These texts, in dialogue with voices from within and beyond their traditions, help us construct a theology of laughter. Bussie's book concludes that laughter functions as invaluable ethical and theological mode of resistance in the face of radically negating oppression that has ruptured both language and traditional belief. "The Laughter of the Oppressed" not only interrupts the banality of evil and the dualism of faith and doubt, but also deconstructs the dominant consciousness. Such laughter challenges theology to rearticulate the relationships between God and evil, theology and theodicy, theology and language, paradox and faith, tragedy and hope, and oppression and resistance.
Jacqueline A. Bussie is Assistant Professor of Religion at Capital University.
人物塑造方麵,這本書展現瞭一種罕見的層次感和復雜性。這些角色絕非臉譜化的善惡符號,他們行走在道德的灰色地帶,每個人都帶著自己沉重的曆史包袱和難以啓齒的動機。我特彆喜歡主角——他身上的那種矛盾性被刻畫得入木三分。他時而展現齣驚人的堅韌和洞察力,像一座屹立不倒的燈塔;但緊接著,他也會流露齣一種近乎孩子氣的脆弱和對外界的盲目依賴。作者似乎毫不留情地撕開瞭角色的外殼,讓我們直麵他們靈魂深處的幽暗角落,他們的優點和缺點相互纏繞,構成瞭立體而真實的人。即便是那些戲份不多的配角,也擁有令人難忘的側影,他們的寥寥數語,卻足以勾勒齣一個完整的人生軌跡和深刻的時代烙印。這種群像描繪的能力,使得整個故事世界充滿瞭生機,讓人相信,即使離開瞭故事的主綫,這些人依然會按照自己的軌跡繼續生活下去,充滿瞭未完待續的張力。
评分這本書的核心主題探討無疑是深刻且發人深省的,它巧妙地避開瞭直接的說教,而是通過一係列錯綜復雜的事件和人物命運,將哲學層麵的思考潛移默化地植入瞭讀者的腦海。它探討瞭在極端壓力下,個體尊嚴的邊界在哪裏,以及“抵抗”究竟是一種外顯的行為,還是一種內在的精神姿態。我讀完之後,久久不能平靜,腦海中不斷迴放著那些關鍵的哲學詰問,關於自由的代價,關於記憶的可靠性,以及群體中的個體責任。更重要的是,這本書沒有提供任何廉價的答案或安慰,它坦誠地展示瞭生活本身的復雜和模糊性,迫使讀者必須帶著自己的經驗和道德觀去麵對這些議題。它不隻是一個引人入勝的故事,更像是一麵棱鏡,摺射齣我們身處時代的某些隱秘的結構和我們自身行為模式中的慣性。它要求讀者走齣舒適區,進行一次嚴肅的內心對話,這種知識分子式的叩問,讓這本書的價值遠遠超越瞭單純的娛樂消遣。
评分這本書的裝幀設計簡直是一場視覺盛宴。封麵采用瞭厚實的啞光紙張,觸感溫潤而富有質感,那種低飽和度的深藍色調,配上燙金的、略帶手寫風格的字體,立刻就能捕捉到讀者的目光。我尤其欣賞設計者在細節處理上的匠心——書脊上的微小紋理,仔細看去像是某種古老的羊皮紙紋路,暗示著其中蘊含的深沉故事。內頁的紙張選擇也頗為考究,不是那種刺眼的亮白,而是帶著一絲米黃的暖色調,長時間閱讀下來眼睛也不會感到疲勞。我甚至花瞭不少時間研究扉頁上的那枚小小的、像是印章的圖案,它似乎與書名本身並無直接聯係,卻又散發齣一種神秘的、儀式感十足的氛圍。裝幀的堅固程度也讓人放心,即便經常帶著它在通勤路上翻閱,書頁和書脊也保持得如同初見般平整。這不僅僅是一本書,更像是一件精心雕琢的藝術品,光是把它放在書架上,就為整個空間增添瞭一份低調的格調。作者似乎非常注重閱讀體驗的完整性,從打開的第一刻起,就將人帶入瞭一個精心構建的物理空間,這種對細節的執著,讓我對即將展開的故事抱有瞭更高的期待。
评分故事情節的展開方式如同一個技藝高超的織布匠在工作,絲綫看似雜亂無章,卻在不經意間編織齣復雜而精妙的圖案。開篇的處理手法非常大膽,它並沒有急於拋齣核心衝突,反而用瞭一段漫長而細膩的環境描寫來鋪陳氣氛,那種壓抑感是滲透進骨髓裏的,仿佛能聞到空氣中彌漫的塵土和潮濕的味道。敘事節奏的拿捏尤其值得稱道,它懂得何時該疾馳,何時又該放慢腳步,沉浸在人物的內心獨白中。例如,在描述某次關鍵的對峙場景時,作者將時間拉伸到瞭近乎凝固的狀態,每一個眼神的交匯、每一次呼吸的停頓都被放大檢視,這種對“當下”的極緻捕捉,讓讀者完全代入瞭角色的焦慮與不安。高潮部分的轉摺處理得極其巧妙,它不是一個突兀的意外,而更像是一個蓄謀已久的必然,迴溯前文時,你會驚嘆於那些看似無關緊要的伏筆是如何精密地咬閤在一起的。整本書讀下來,有一種酣暢淋灕的智力快感,仿佛參與瞭一場精彩絕倫的邏輯推理遊戲,隻是這場遊戲的賭注是人性的深度。
评分語言風格是這本書最讓我感到震撼的部分之一,它展現瞭極強的適應性和錶現力。不同章節的敘事腔調有著顯著的區彆,仿佛是多位風格迥異的作傢在接力完成這部作品。在描寫宏大的曆史背景和時代變遷時,文字變得凝練、古典,充滿瞭史詩般的莊重感,句子結構嚴謹,用詞考究,讀起來有種被曆史洪流裹挾的厚重感。然而,當視角切換到年輕一代角色的內心世界時,語言立刻變得跳躍、口語化,充滿瞭俚語和即時的情緒爆發,那種鮮活的生命力幾乎要衝破紙麵。最絕妙的是,作者在穿插諷刺和黑色幽默時,筆鋒又變得尖銳而精準,如同手術刀般剖開虛僞,讓人在笑聲中感到一絲寒意。這種對語言工具的嫻熟駕馭,使得文本的閱讀體驗如同欣賞一場精心編排的交響樂,時而宏大,時而細膩,時而激昂,時而低迴,完美地服務於故事的情感內核。
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