As usual, Business

Last week, I posted a photo of Johnny Depp, from his role as Jack Sparrow in Pirates of the Caribbean III. As a result of my inclusion of that photo and the current interest in the movie among the masses, TLOU has received a crazy number of hits this week. So, if you're new to this blog, and even if you're just here for the photo of Johnny, welcome. Hopefully you'll stay for the content, which I'll admit is not usually along mass-media lines.
AD and I are in the midst of a unit on Theology and Art in the adult education at St. Mark's. Yesterday, AD presented Auden's Ars Poetica, The Sea and the Mirror, a continuation of sorts of the Tempest in poem form. AD had originally hoped to record it and post it here, as our first podcast. Unfortunately, that didn't work out, but I think he plans to share an outline and/or some of the more salient points of the discussion - maybe he'll even share one of his Auden songs with us, so there may yet be a podcast!

I'm up next Sunday with a discussion of Balthasar's opus proposal, which I was delighted (and somewhat chagrined after reading a heft chunk of the Herrlichkeitto find nicely summed up in Love Alone. Per Caritatem has hosted a cool series on Love Alone, so please visit her. I'm really interested in Balthasar's turn to the irrational via the concept of Love to explain the core of Christianity and delineate the task of the theologian. So, I hope to share some of that with you all over the next few days (as I come up with it).

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Why read Harry Potter?

I just finished writing up a proposal for this book on Lacan and Children's Literature in which I argue that one of the powerful things about the Harry Potter books is the way in which the Imaginary order is always cut by the Real, by Death. Harry's biggest fantasies concern the care that his parents, or Sirius, or Dumbledore might provide him, and as the books progress these supports get taken away from him, one by one. I also argue that the structure is that of a mobius strip, such that the opposition between the Imaginary and the Real is intrinsic to the structure of the fantasies of the characters. Rowling herself said the books are about death, which, in my opinion, the (pure) genre of fantasy has always completely obviated. Rowling, though, sets out like she's going to give the traditional weight to the imaginary elements (the overblown powers, the ridiculous dualisms) but then always manages to be very surprising in the way these fantasies run into their very own Real limits. The books are theologically right on, as well, for the very simple fact that Harry loves because he is not afraid to die.

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Yves Congar discusses Tradition

There's been two recent posts this week that quote at length from Yves Congar's The Meaning of Tradition. Some of Congar's ideas in the Intro relate to the recent discusson here re: Milinerd's and Reno's comments on Theological Education and Art Discourse, so I thought I would quote a small bit.

Paul Claudel compared tradition with a man walking. In order to move forward he must push off from the ground, with one foot raised and the other on the ground; if he kept both feet on the ground or lifted both in the air, he would be unable to advance. If tradition is a continuity that goes beyond conservatism, it is also a movement and a progress that goes beyond mere continuity, but only on condition that, going beyond conservation for its own sake, it includes and preserves the positive values gained, to allow a progress that is not simply a repetition of the past. Tradition is memory, and memory enriches experience. If we remembered nothing it would be impossible to advance; the same would be true if we were bound to a slavish imitation of the past. True tradition is not servility but fidelity.

This is clear enough in the field of art. Tradition conceived as the handing down of set formulas and the enforced and servile imitation of models learned in the classroom would lead to sterility; even if there were an abundant output of works of art, they would be stillborn. Tradition always implies learning from others, but the academic type of docility and imitation is not the only one possible: there is also the will to learn from the experience of those who have studied and created before us; the aim of this lesson is to receive the vitality of their inspiration and to continue their creative work in its original spirit, which thus, in a new generation, is born again with the freedom, the youthfulness and the promise that it originally possessed.

At last year's AAR, Hans Boersma gave a paper in response to Vanhoozer's Drama of Doctrine in which he suggested that Vanhoozer could benefit from appropriating Congar into his overall picture of how doctrine is developed and implemented. I confess that I don't remember much of his paper and can't find it in article form online. But I think the salient point is that inherent even to a proposal as generous as Vanhoozer's is the tension between the Protestant and Catholic relationship to scritpure, the (sometimes) radical individualism of sola scriptura and the perceived crustiness and equally rigid rules of tradition. In Congar's words:

[S]ince the Reformation there is controversy between Christians on "Scripture versus tradition", a controversy on the rule of faith.

At the dualism goes on...

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U of St. Andrews to host conference on "Beauty"

If only I had unlimited funds and unlimited time, I'd probably forgo schooling and just read journals, attend conferences, and scope out local restaurants in the world's great cities. As it seems improbable that any of you, our dear TLOU readers, are in the position to become my patron, then I must ask that whichever of you are nearest to St. Andrews must attend and record/videotape/take the best notes of your life, especially at Nick Wolterstorff's talk. I would pay good money to have that session. really.

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