My first encounter with Sallie McFague’s article was jarring: her eco-feminist metaphorical approach to theology is somewhat unexpected to those unfamiliar with Religious Studies. Yet I suppose I have misjudged much of this field of study by unfairly coming to expect either wholly traditional or wholly radical claims. McFague’s approach, however, seems relatively moderate and reasonable in all its assertions, and its neo-Derridian deconstruction had my inner cultural analyst bursting with excitement. Aching to break away from the patriarchical tyranny of classical Christian theology, she is committed to a drastic reconstruction of traditional Christian dogma.
At first I wondered as to her motives: was this deconstruction fueled by a second-wave feminist desire to overthrow patriarchy, or the wishes of a tree-hugging ecologist on a mission to save the natural world (as suggested by her book’s title, Theology for an Ecological, Nuclear Age)? Apparently neither. It is after the first few paragraphs that McFague brings clear relevancy to her writing. She argues that the common interpretation of Jesus’ resurrection serves to negate God’s omnipresence. Traditionally it is understood that the resurrection represents a “personal, bodily translation into another world” (259) though which one can join the Savior. Thus while awaiting a later holistic reunion with God, one’s earthly, bodily present is in “between-time”, in limbo, lacking God in space and time. Thus McFague fears such an interpretation for its indirect implications: God, then, is not ‘omnipresent’ – He is only partially, selectively present. (260) She proposes, then, that the resurrection tale no longer be held as a mythology of transcendence, but rather as a “promise of G...
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...e need for metaphorical theology. The particular appeal of McFague’s style is, then, not necessarily her argument nor her logic: rather it is her open-minded approach to such controversial matters. For as McFague herself would openly admit, “there are, of course, different understandings on what is ‘better’” (265).
Notes:
[1] I particular enjoyed McFague’s observation that “a model is a metaphor with ‘staying power’” (278) as I have often wondered at what point a religious metaphor, such as ‘God as Father’, becomes accepted enough that it becomes used in the vernacular.
[2] McFague’s ‘metaphorical theology’ very much reminds me of George Carlin’s attempts to rejuvenate an outdated Jesus in Dogma. McFague, like Carlin’s Cardinal Glick, is trying to ‘re-package’ and ‘sell’ faith (or rather, The “Buddy Jesus”) by preventing a need, and relevancy, for religion.
Her choices of metaphors are simplistic explanations providing the backdrop for the emotional and spiritual connection we seek in following Christ. The symbolic comparisons of Mary Magdalene, her relationship to Jesus, mirrors some of Julian of Norwich’s personal spiritual journey of prayerful contemplation while seeking intimacy in her relationship to God.
“Metaphor.” Dictionary of World Literature: Criticism - Forms - Technique. Ed. Joseph T. Shipley. New York: Philosophical Library, 1943. 377-8.
In this short reflection paper I will be comparing the movie, “The Brook Ellison Story” and the book, “The Book of Job.” Both of these magnificent stories are highly respected by the public and they both give wonderful example of M.R. DeHann book, The Broken thing: Why we suffer. Some of the things that will be disgusting in this paper is a summary of both of these wonderful stories, how four out of the seven main questions for my search for meaning class best relates to both of these stories, which three out of ten “Key Principles of Catholic Social Teachings” closely relate to the two stories, and how both of these stories answer the question, “Does God Exist?” which is a popular fundamental question that was asked frequently in Agbonkhianmeghe Orobator book, Theology: Brewed in an African Pot.
While McMurphy's actions and attitudes seem Christ like, soon, the book introduces McMurphy’s habits of gambling. Some of his Messianic qualities are clear even before the reader gets through half of the book. It is hinte...
Guetti, James. "Absalom, Absalom!: The Extended Simile."The Limits of Metaphor: A Study of Melville, Conrad, and Faulkner. Ithaca: Cornell, 1967. 69-108.
Friedrich Nietzsche certainly serves as a model for the single best critic of religion. At the other end of this spectrum, Jonathan Edwards emerges as his archrival in terms of religious discourse. Nietzsche argues that Christianity’s stance toward all that is sensual is that grounded in hostility, out to tame all that rests on nature, or is natural, akin to Nietzsche’s position in the world and his views. Taking this into account, Edwards’s views on Christianity should be observed in context targeted at those who agree with his idea, that G-d is great and beyond the capacity of human reason.
It is the new decade after the end of world war two and modernism is a well-established practice. Its pioneers and spearheads are prevalent figures looming over the new architects and designers who are trying to make their mark in the shadows of such historically influential people. With new technologies and materials emerging from the world wars the next era of modernism had started to evolved, bringing with it philosophies and ideas which seemed far removed from those of the pioneers of modernism “What emerged in the late 1940s and 1950s was an expanding synthesis of questions utterly removed from the confident statements of the pioneers.”(Spade 1971,10) Two significant buildings were designed in the 50's, both of them for educational institutes and to house students of architecture, there were both designed in completely different styles and methods. The first is Ludwig Mies van der Rohes' Crown Hall, finished in 1956 and designed as a part of a campus master plan for the Illinois Institute of technology in Chicago. Mies' design for Crown Hall is one of his most realised expressio...
Schüssler-Fiorenza, Elizabeth. In Memory of Her: A Feminist Theological Reconstruction of Christian Origins. New York: Crossroad, 1983.
“Form follows function.” Every great Modern architect thought, designed by and breathed these very words. Or at least, their design principles evolved from them. Modern architects Le Corbusier, Mies van der Rohe, Frank Lloyd Wright, Pierre Chareau, and Rudolf Schindler to name a few believed that the function determined the space whether the space was solely for a particular purpose or they overlapped to allow for multiple uses. Form didn’t just follow function, function defined the space. By focusing on the relationship between the architecture and the interior elements, Chareau’s Maison de Verre expanded the idea of functionalism to include not only the architecture but also the space it creates and how people function within that space.
Being a devout Catholic, O’Connor’s “faith consciously informed her fiction. The difficulty of her work, she explained…is that many of her readers do not understand the redemptive quality of ‘grace,’ and, she added, ‘don’t recognize it when they see it. All my stories are...
In 1741 a Puritan preacher, Jonathan Edwards, delivered a sermon to a congregation in Enfield, Connecticut. He moved many people and helped them to become saved and trust in Jesus Christ. In “Sinners in the Hands of an Angry God”, - which is the name of the sermon by Jonathan Edwards- the author uses each rhetorical appeal to connect with his congregation. The whole purpose of Edwards’ sermon was to try and get all the unsaved men in his congregation to trust in Jesus Christ as their savior and be converted. He was a very persuasive man who successfully reached out to his congregation by digging down deep and coming in contact with many people’s personal lives and making them think long and hard about why they are lucky enough to wake up every morning. In his sermon, Jonathan Edwards uses the three rhetorical appeals- ethical, emotional, and logical- to reach out to his congregation and try and help them to see why they should trust in Jesus Christ.
Otto, Rudolf. The Idea of the Holy. Trans. John W. Harvey. New York: Oxford UP, 1958. Print.
...stressing is Meynell's apparently blithe ignorance of the best recent constructive work by Christian philosophers on topics of central concern to him. In addition to those I mentioned in the first paragraph of this review, Meynell should take some account of the work of such as Robert Adams, Bill Wainwright, and Bill Alston. Engaging and using their work would have supported and improved his.
The essence of modern architecture lays in a remarkable strives to reconcile the core principles of architectural design with rapid technological advancement and the modernization of society. However, it took “the form of numerous movements, schools of design, and architectural styles, some in tension with one another, and often equally defying such classification, to establish modernism as a distinctive architectural movement” (Robinson and Foell). Although, the narrower concept of modernism in architecture is broadly characterized by simplification of form and subtraction of ornament from the structure and theme of the building, meaning that the result of design should derive directly from its purpose; the visual expression of the structure, particularly the visual importance of the horizontal and vertical lines typical for the International Style modernism, the use of industrially-produced materials and adaptation of the machine aesthetic, as well as the truth to materials concept, meaning that the true nat...
The book as a description of modern architecture, its styles and influence succeeds but falls short as a prescriptive methodology. His work is still recalled for the need by modernists to categorize everything into neat little boxes, not necessarily for the sake of uniformity, but for sake of some ambiguity. The ambiguity may be the triumph of this book as post modern architecture era is supposed to create more questions than the answers.