By Mieke Bal
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Additional info for Loving Yusuf: Conceptual Travels from Present to Past
Sample text
This involves Potiphar as the third party in this harrowing tale. As we will see later, the question of Potiphar’s role, Mut’s relative solitude, and the function of the house recur in fascinating ways in some of the other versions. In the tissue of words of Genesis, the house is surely a motif of great importance. The plot needs the house in many more ways than as just a location. It is inside the house that the event occurs, that Mut “knows” because she “sees” Joseph’s beauty. It is in the house that, in our preposterous terms, she falls in love with him, propositions him, tries to seduce him, slanders him, and then traps him.
Whatever her domestic status and life, and whatever else the phrase implies, she is able to see. And seeing, although it is not equivalent to a (forbidden) biblical knowing, attributes to this woman a status of full subjectivity, capable of knowing. The speech act of the command—“lie with me”—fits this status. This moment of recognition of the woman’s subjectivity, then, must be the moment of naming. Indeed, in the older versions she remains nameless, Potiphar’s property. Like many others, Kugel calls her, without a trace of irony at this anachronism, Mrs.
Instead, Jan and Aleida Assmann have proposed the term communicative memory to indicate the social aspect of individual memory. Such memory “grows out of intercourse between people, and the emotions play a crucial role in its process. Love, interest, sympathy, feelings of guilt and shame—all of these help to define our memories and provide them with a horizon. Without such definition they would not imprint themselves on our minds; without a horizon they would lack relevance and meaning within a specific cultural context” (2006a, 3).
