It Identity Trespass

Every human being has an innate call to be truly known as significant and loved by others. God has created and set this longing within us to be known for who we are. Knowing you is to know that your identity is in Jesus Christ because you were created in God’s image. An individual’s lack of this knowledge can result in a sociopsychological identity crisis and role confusion as characterized by social psychologist Erik Erikson. To know your identity is to know whose you are and how you came to be you. Therefore, much of our emotional pain, turmoil, and dysfunctions in our personal lives are predicated on not knowing our true identity. Essentially, we make an effort to behave according to our self-concept and self-esteem, which are based on the versions of reactions we have received from others. Consequently, self-esteem points toward the distinction between one’s perceived self-concept and with one’s ideal self. Our sense of worth is initially tremendously impacted during our early years because we develop a vision of ourselves through the expressions we received by the significant people during those early years. Loving affirmations promote good self-identity, and being rejected can be the basis for a negative self-image later in life. Due to such unprocessed emotionally trauma from our early years, many of us experience deficits in core longings. Also, these unprocessed emotional wounds impact our relationships with God, self, and others. Consequently, we need the aid of a structure that promotes the truth of God esteem and to position us for emotional healing that positively impact our identity in Christ. This book presents elements of a spiritual formational approach, which incorporates the knowledge of core longings, self-fulfilling behaviors, and emotional wounds into a personal healing structure that impacts our Christian identity.

Art historian Andrea Liss examines the inherent difficulties and productive possibilities of using photographs to bear witness, initiating a critical dialogue about the ways the post-Auschwitz generation has employed these documents to represent Holocaust memory and history. 12 color photos. 28 bandw photos.

A Palestinian-Israeli poet declares a new state whose language, "Homelandic," is a combination of Arabic and Hebrew. A Jewish-Israeli author imagines a "language plague" that infects young Hebrew speakers with old world accents, and sends the narrator in search of his Arabic heritage. In Poetic Trespass, Lital Levy brings together such startling visions to offer the first in-depth study of the relationship between Hebrew and Arabic in the literature and culture of Israel/Palestine. More than that, she presents a captivating portrait of the literary imagination's power to transgress political boundaries and transform ideas about language and belonging. Blending history and literature, Poetic Trespass traces the interwoven life of Arabic and Hebrew in Israel/Palestine from the turn of the twentieth century to the present, exposing the two languages' intimate entanglements in contemporary works of prose, poetry, film, and visual art by both Palestinian and Jewish citizens of Israel. In a context where intense political and social pressures work to identify Jews with Hebrew and Palestinians with Arabic, Levy finds writers who have boldly crossed over this divide to create literature in the language of their "other," as well as writers who bring the two languages into dialogue to rewrite them from within. Exploring such acts of poetic trespass, Levy introduces new readings of canonical and lesser-known authors, including Emile Habiby, Hayyim Nahman Bialik, Anton Shammas, Saul Tchernichowsky, Samir Naqqash, Ronit Matalon, Salman Masalha, A. B. Yehoshua, and Almog Behar. By revealing uncommon visions of what it means to write in Arabic and Hebrew, Poetic Trespass will change the way we understand literature and culture in the shadow of the Israeli-Palestinian conflict.

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