mark of Cain

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See: onus, stigma
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The mark of Cain that Jews bear is precisely their loyalty to their traditions.
But Ian had much more to cope with playing Marc 'Treacle' Tate - a squaddie sent to Iraq - in The Mark of Cain. His character is posted to Basra with best mate Shane (Matthew McNulty) and is enjoying life on the front line with his regiment - until two of their mates are killed on patrol.
Then, at long last, his unconscious will stop carving the mark of Cain in his flesh and allow him a good night's rest.
As for Sharon and his gaggle of corrupt appointees and advisors, they have stained the 'Mark of Cain' on their foreheads as criminals worthy of facing the gallows of a Nuremberg Tribunal.' Sharon's word and even his legal commitments are less than worthless.
Reid Meloy (Associate Clinical Professor of Psychiatry, University California, San Diego) The Mark Of Cain: Psychoanalytic Insight And The Psychopath brings under one cover an impressive collection of the most historically important psychoanalytic papers on the psychopathic personality.
Cain is exiled from his land, condemned to wander the world with the "mark of Cain" on his forehead for all to see, as a warning that he is under God's protection (Gen.
He also told me that "nigras" bore the mark of Cain and were destined to servitude by the will and act of God almighty.
The line in which the reference appears also conflates Christians and Negroes, making the mark of Cain a reference to any who are unredeemed.
Instead he reflects on the two poles between which the perception of German national identity moves: the position of normalisation, which considers Germany--without ignoring its historical baggage--as just one nation among others; of, on the other hand, the "abnormal" position, where Germany, as Gunter Grass has stated, "is branded by the historical mark of Cain and it can never be accepted into the `normal' community of nations" (185).
Such an anodyne reading makes it possible for Tusken to see virtually all of Hesse's later protagonists as also bearing the mark of Cain without making explicit the differences between them and Cain, as revalued through the doctrine of Der Antichrist.
Weaving their tales together, often using the same phrases in unison, Terri experiences salvation while Geordi receives the mark of Cain. In Terri and Geordi, Schenkkan has created characters who deserve a good life in the American theatre, who prepare the way for what Evenden calls a "different, unexpected holiness." Perhaps their grace and strength can carry this ambitious, ungainly, beautiful monster of a play to further productions.
Then there is a tale of a repentant sinner (Leviticus 18:9) with a subtle invocation of biblical texts like the mark of Cain and a red heifer.