Bernard Schweizer – författare

Viewpoint diversity is suddenly on everyone’s lips — yet few agree on what it really means. Is it about political balance? Free speech? Academic inclusion? Or something far more vital — the courage to engage across difference?In Viewpoint Diversity: What It Is, Why We Need It, and How to Get It, leading heterodox thinkers tackle one of the most urgent questions of our time: how to keep open inquiry and constructive disagreement alive amid rising conformity on both left and right. Spanning essays on higher education, politics, culture, and the arts, this bold collection offers both sharp diagnosis and practical solutions for cultivating genuine pluralism.Timely, provocative, and refreshingly constructive, Viewpoint Diversity makes the case for a richer, freer, and more resilient public culture — one that thrives not in spite of disagreement, but because of it.

While atheists have now become public figures, there is another and perhaps darker strain of religious rebellion that has remained out of sight--people who hate God. In this revealing book, Bernard Schweizer looks at men and women who do not question God's existence, but deny that He is merciful, competent, or good. Sifting through a wide range of literary and historical works, Schweizer finds that people hate God for a variety of reasons. Some are motivated by social injustice, human suffering, or natural catastrophes that God does not prevent. Some blame God for their personal tragedies. Schweizer concludes that, despite their blasphemous thoughts, these people tend to be creative and moral individuals, and include such literary lights as Friedrich Nietzsche, Mark Twain, Zora Neale Hurston, and Philip Pullman. Schweizer shows that literature is a fertile ground for God haters. Many authors, who dare not voice their negative attitude to God openly, turn to fiction to give vent to it. Indeed, Schweizer provides many new and startling readings of literary masterpieces, highlighting the undercurrent of hatred for God.

Rebecca West’s never-before-published Survivors in Mexico brings to readers a daring and provocative work by a major twentieth-century author. An exhilarating exploration of Mexican history, religion, art, and culture, it explores the inner lives of figures ranging from Cortés and Montezuma to Diego Rivera, Frida Kahlo, and Leon Trotsky.“Witty and entertaining, substantive and reflective, insightful and well documented, in splendid and uncommon prose, Rebecca West’s travelogue . . . is a model of British sophistication and knack for seeing the other.”—Jorge G. Castañeda, New York Times Book Review “An enthrallingly readable book . . . full of sharp impressions and stimulating insights.”—Merle Rubin, Los Angeles Times Book Review“Luscious reading. . . . The book succeeds beautifully as a travelogue thanks to West’s intellect and experience, with Mexico serving as the vehicle for it all.”—Sam Quinones, Washington Post Book World

Rebecca West (1892-1983) was a prominent English critic, journalist, and novelist. She contributed to feminist and socialist magazines, had a lengthy relationship with H. G. Wells, and was named Dame of the British Empire in 1959. Her literary reputation declined after 1970 and was revived in the mid-1980s, with the posthumous publication of three novels and a memoir, as wells as the reissue of several earlier works. With the violent disintegration of Yugoslavia in the 1990s, West's Black Lamb and Grey Falcon catapulted her into the limelight and brought her wide critical attention. This book offers a much-needed assessment of her literary career.Schweizer's volume analyzes West's spiritual and philosophical ideas, asserting that her novels and travel writings betray an epic impulse and therefore reinvent epic heroism in feminist terms. The first part of this study examines her fiction, including, The Judge and the trilogy of novels about the Aubrey family. Philosophical and conceptual elements in her fictional and nonfictional prose are explored, relating her ideas to other thinkers. The volume closes with a look at West's reworking of epic conventions in her travel writings, including her unfinished Survivors in Mexico.

This book traces the development of religious comedy and leverages that history to justify today’s uses of religious humor in all of its manifestations, including irreverent jokes. It argues that regulating humor is futile and counterproductive, illustrating this point with a host of comedic examples. Humor is a powerful rhetorical tool for those who advocate and for those who satirize religious ideals.The book presents a compelling argument about the centrality of humor to the story of Western Christianity’s cultural and artistic development since the Middle Ages, taking a multi-disciplinary approach that combines literary criticism, religious studies, philosophy, theology, and social science. After laying out the conceptual framework in Part 1, Part 2 analyzes key works of religious comedy across the ages from Dante to the present, and it samples the breadth of contemporary religious humor from Brad Stine to Robin Williams, and from Monty Python to South Park. Using critical, historical, and conceptual lenses, the book exposes and overturns past attempts by church authorities, scholars, and commentators to limit and control laughter based on religious, ideological, or moral criteria. This is a unique look into the role of humor and comedy around religion. It will, therefore, appeal to readers interested in multiple fields of inquiry, including religious studies, humor studies, the history of ideas, and comparative literature.

This book traces the development of religious comedy and leverages that history to justify today’s uses of religious humor in all of its manifestations, including irreverent jokes. It argues that regulating humor is futile and counterproductive, illustrating this point with a host of comedic examples. Humor is a powerful rhetorical tool for those who advocate and for those who satirize religious ideals.The book presents a compelling argument about the centrality of humor to the story of Western Christianity’s cultural and artistic development since the Middle Ages, taking a multi-disciplinary approach that combines literary criticism, religious studies, philosophy, theology, and social science. After laying out the conceptual framework in Part 1, Part 2 analyzes key works of religious comedy across the ages from Dante to the present, and it samples the breadth of contemporary religious humor from Brad Stine to Robin Williams, and from Monty Python to South Park. Using critical, historical, and conceptual lenses, the book exposes and overturns past attempts by church authorities, scholars, and commentators to limit and control laughter based on religious, ideological, or moral criteria. This is a unique look into the role of humor and comedy around religion. It will, therefore, appeal to readers interested in multiple fields of inquiry, including religious studies, humor studies, the history of ideas, and comparative literature.

In the 1930s, the discourse of travel furthered widely divergent and conflicting ideologies - socialist, conservative, male chauvinist and feminist - and the major travel writers of the time revealed as much in their texts. Evelyn Waugh was a declared conservative and a fascist sympathizer; George Orwell was a dedicated socialist; Graham Greene wavered between his bouregois instincts and his liberal left-wing sympathies; and Rebecca West maintained strong feminist and liberationist convictions. Bernard Schweizer explores both the intentional political rhetoric and the more oblique, almost unconscious subtexts of Waugh, Orwell, Greene and West in his study of travel writing's political dimension. ""Radicals on the Road"" demonstrates how historically and culturally conditioned forms of anxiety were compounded by the psychological dynamics of the uncanny and how, in order to dispel such anxieties and to demarcate their ideological terrains, 1930s travellers resorted to dualistic discourses. Yet any seemingly fixed dualism, particularly the opposition between the political left and the right, the dichotomy between home and abroad, or the rift between utopia and dystopia, was undermined by the rise of totalitarianism and by an increasing sense of global crisis - which was soon followed by political disillusionment. Therefore, argues Schweizer, travelling during the 1930s was more than just a means to engage the burning political questions of the day: travelling, and in turn travel writing, also registered the travellers' growing sense of futility and powerlessness in an especially turbulent world.

In the 1930s, the discourse of travel furthered widely divergent and conflicting ideologies - socialist, conservative, male chauvinist and feminist - and the major travel writers of the time revealed as much in their texts. Evelyn Waugh was a declared conservative and a fascist sympathizer; George Orwell was a dedicated socialist; Graham Greene wavered between his bouregois instincts and his liberal left-wing sympathies; and Rebecca West maintained strong feminist and liberationist convictions. Bernard Schweizer explores both the intentional political rhetoric and the more oblique, almost unconscious subtexts of Waugh, Orwell, Greene and West in his study of travel writing's political dimension. ""Radicals on the Road"" demonstrates how historically and culturally conditioned forms of anxiety were compounded by the psychological dynamics of the uncanny and how, in order to dispel such anxieties and to demarcate their ideological terrains, 1930s travellers resorted to dualistic discourses. Yet any seemingly fixed dualism, particularly the opposition between the political left and the right, the dichotomy between home and abroad, or the rift between utopia and dystopia, was undermined by the rise of totalitarianism and by an increasing sense of global crisis - which was soon followed by political disillusionment. Therefore, argues Schweizer, travelling during the 1930s was more than just a means to engage the burning political questions of the day: travelling, and in turn travel writing, also registered the travellers' growing sense of futility and powerlessness in an especially turbulent world.

Epic has long been regarded as the exclusive domain of the male literary genius and as an incarnation of patriarchal values. This provocative collection of essays challenges such a hegemonic stereotype by demonstrating the ways in which women writers have successfully adapted the masculine epic tradition to suit their own aesthetic needs and to express their own heroic literary, social, and historical visions. Bringing the female epic out of the shadows, the contributors rethink generic boundaries to illuminate this heretofore hidden literary practice. The essays range from Mary Tighe to Rebecca West from Elizabeth Barrett Browning to Gwendolyn Brooks, and from Frances Burney to Virginia Woolf. Bernard Schweizer's introduction, titled 'Muses with Pens,' connects the trajectory of ideas and influences in the individual essays to demonstrate how each participates in reclaiming for women writers a place in the development of a female epic tradition. The volume will be an invaluable resource for scholars working on issues related to genre, canon formation, and the evolution of female literary authority.

Epic has long been regarded as the exclusive domain of the male literary genius and as an incarnation of patriarchal values. This provocative collection of essays challenges such a hegemonic stereotype by demonstrating the ways in which women writers have successfully adapted the masculine epic tradition to suit their own aesthetic needs and to express their own heroic literary, social, and historical visions. Bringing the female epic out of the shadows, the contributors rethink generic boundaries to illuminate this heretofore hidden literary practice. The essays range from Mary Tighe to Rebecca West from Elizabeth Barrett Browning to Gwendolyn Brooks, and from Frances Burney to Virginia Woolf. Bernard Schweizer's introduction, titled 'Muses with Pens,' connects the trajectory of ideas and influences in the individual essays to demonstrate how each participates in reclaiming for women writers a place in the development of a female epic tradition. The volume will be an invaluable resource for scholars working on issues related to genre, canon formation, and the evolution of female literary authority.

This thought-provoking collection offers a multi-disciplinary approach on the subject of humour, Muslims, and Islam.Beginning with theoretical perspectives and scriptural guidance on permissible and restricted humour, the volume presents a variety of case studies about Muslim comedic practices in various cultural, political, and religious contexts.This unprecedented scholarship sheds new light on common misconceptions about humour and laughter in Islam and deftly tackles sensitive themes from blasphemy to freedom of speech.Chapter 9 is available Open Access via OAPEN under CC-BY-NC-ND licence.