Thursday, May 27, 2010

Photos from Nosferatu, eine Symphonie des Grauens

Nostferatu and Injured Germany
I once went to a conference where one of the guys presented a paper on how "Frankenstein" represented cultural fears of polio. Though I'm not quite sure how much I buy the association with Nostferatu, his absurdly twisted features can't help but remind me of something similar. Perhaps interwar Germany has a thing with the dispossessed, the lost, the twisted and the malformed. After all, veterans of the great war were frequently maimed, either physically or psychologically. I'm not saying that Nostferatu represents a WW1 victim, but he seems to come awfully close.

In any case, the parrallels between the Influenza epidemic and the "plague" are overwhelming. But why, but how?

Here are my notes:
Brilliant movie. Should be seen in light of Murnau's other films, particularly, der Letze Mann, and Faust. I can see the trend toward twisted horror, absurdity, and--most interestingly--plague. Throughout.

Physical acting and gestures was enormously interesting. Max Schreck (great name) gives a fantastic performance.

Should also see the original Frankenstein. I wonder if the kind of horrific acting plays over there.

See also Tony Kaes's book on Weimar for reference to how this film reflects post WWI problems. Nostferatu as some kind of "broken ornament himself"?

Posted via web from Mixed-Up Files of James Perkins

The Old Man and the Sea

I couldn't help but be quiete moved by this book, especially since the narrator had a sonorous, wonderful voice throughout the entire performance. Hemmingway's spartan prose was never more fulfilling, blah...blah...blah

Yet I can't help but be quite disatisfied by the many pifituflly sparks-notish readings of this book. Granted--it isn't terribly difficult, but to shrug it off as an "allegory of the human condition" is cowardly and rougish. In response to the full weight of cliche interpretations, then, I offer the following questions up to the assembled online masses:

-Cuba/America's relationship, through the narrative

--"Baseball": dreams and such?

----A dream? What about the "great DiMaggio" as some sort of God, or Dream figure?

Simple prose, simple story--simple message? In essence, yes. That's why its such a good book to teach to elementary school kids. Yet...

Who knows what else there is.

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Tuesday, May 25, 2010

Catch 22: Bad Logic and Circular Rhetoric

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You see, a little of Heller’s style still exists in my head.  I can’t help it.  His periodic sentences are loose cannons, but they have this sarcastic pace and rhythm that’s beyond reproach.  Heller loves threes, he loves long sentences punctuated by whimsical paradoxes, and—most of all—he loves banal repetition over and over again.

 

It’s hilarious.  It also illustrates the points well.

 

Questions:

-Grand Inquisitor references and Kafka stuff.  The chapter “the eternal city” is filled with references to both.  As is Chaplain’s “trial” sequence.



[1] See the famous tracts on humour, from Shakespeare to Marquis de Sade

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Wednesday, May 19, 2010

Do Atheisim and Tolerence go together?

I'm not sure.  As much as I admire the fervancy of secular humanism, I'm getting a growing suspician that Atheism, as opposed to Agnosticism, rules out respect for hundreds millions of people's beliefs throughout the world.   Of course...

Posted via web from Mixed-Up Files of James Perkins

The George Orwell Poem Nobody Knows

I scoured this from page 314 of a marvelous collection of essays by George Orwell:

"[...]I am the worm who never turned,

The eunuch without a harm;

Between the priest and the commissar

I walk like Eugene Aram;

 

And the commissar is telling my fortune

While the radio plays,

But the priest has promised an Austin Seven

For Duggie always pays.

 

I dreamed I dwelt in marble halls,

And woke to find it true;

I wasn't born for an age like this;

Was Smith? Was Jones? Were you?"

 

I really like it.  Though I don't get most of the political allusions, it reminds me of  mixture of Yeat's Second Coming and W. H. Auden's To the Unknown Soldier. The "Were you" question at the end is simply wonderful.

 

Cited: George Orwell, A collection of essays (San Diego: Harcourt Brace Jovanovich, 1953).; 314

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Christ as Canon: The Bible and its Messages

I have become increasingly fascinated with the Bible—both in its old and new testament forms. I'm trying to figure out why, and I think it's because I've been to unravel the many layers that conceal it to my initial gaze. I cannot think of a more poignant and more powerful document—one more quick and ready to really bring to past the immortality and eternal life of my subconscious. When I consider the bible and all that it means and has meant to me over the years and the centuries, I am astounded by permanence and even by its immortality. I wouldn't go so far to say, as many would blindly do, that the bible is simply the greatest story on earth because god wrote it—but, ever if we take something of a sociological position on what the Bible is—that's a it's a historical document, handed down throughout time, ravaged by the woes of human subjectivity—it still seems that the Bible is an inevitably great work. And this, possibly, is because "Bible" itself has become synonymous with literature—it is the book of Western Culture, like it or not.


 

Of course, I only make these incredibly bald claims to reveal the immense christocentricism in my head. "Bible", for all of my weird mormon biases, still connotes nothing less and nothing more than the word of God. Yet how that word descended among men, and was codified and canonized, is beyond my individual understanding.


 

But I digress, again. I am interested in only one thing: what is the word "Bible." We know, from enormously fecund array of sources, that "Bible" actually means "the books." The Bible, in an of itself, denotes a canon—an accepted stock of doctrines and literatures. Yet, taken all together, the Christian bible from Genesis ot Revelation could hardly account for a single story. Rather, the bible's comes, paradoxically, from its overarching diversity. If not for the violence of the book of Judges, the eroticism of the Song of Solomon, and the rantings of Jeremiah, how could we understand the annunciation of Christ. Skipping over the dirty parts of the bible to get to the good news seems nothing less than heresy to me, because the crowning glory of the Christian message is based on a fulfillment of the Law (Torah), rather than its rejection. Is not Christ the descendent of Rahab, the prostitute, as much as he is the descendent of King David?


 

I'm certain my musings make little sense (I'm hardly in a coherent mood). Let me conclude this tirade with a question: "How does bringing together so many disparate stories (and even materials) impart and overall message? Does the fact that the "Christian message" is a strong misreading of the Jewish bible matter, or is it justified?

Sunday, May 16, 2010

Nice Atheists? Mean Atheists?

I don't necessarily agree with everything on this blog, but I find tihs post intriguing.  I really like Dawkins (he's one of the most passionate evangelicals I've ever seen), but I think he's giving Atheism a very, very bad name.  I'm wondering what you all think of him, and others.  What makes a "nice atheist?" Read on for more...

taken from: http://blog.beliefnet.com/godspolitics/2007/11/nice-athiests-and-mean-athiest...

Nice Atheists and Mean Atheists (by Becky Garrison)

Faithful Progressive offers this insightful comparison of religious extremists and their secular counterparts.

The historical trends which led to the rise of the simplistic and hateful religious right seem to be operating with full force among atheists as well. Simple fear has a lot to do with it, and fear is rarely the source of the best of moral thinking and behavior. And the same reluctance to speak out that at first characterized the mainline Christian response to the religious right seems to paralyze decent, ethical atheists and their leaders from calling an intolerant atheist what he really is: a dangerous bigot.

Dawkins, Dennett, Harris, and Hitchens (aka the four horsemen of the atheist apocalypse) grabbed the media spotlight by bellowing out bestsellers. But when researching my book The New Atheist Crusaders and Their Unholy Grail: The Misguided Quest to Destroy Your Faith, I found other atheists who choose to sing a more tolerant tune.

For example, in my email interview with Hemant Mehta, aka the Friendly Atheist, I asked him why he wasn't one of Dawkins' disciples. He replied, "In message, I am. In tone and style, I'm not. I'd much rather engage in a dialogue with religious people. I know I have the facts behind me and, as an atheist, I shouldn't fear holding my own in a debate or conversation. The New Atheists appear as if they'd like nothing to do with anyone who proclaims a religion. I think there is room to work with the religious while at the same time showing them the merits of an atheist perspective."

While Mehta differs in both his approach and some of his views with Greg Epstein, the humanist chaplain at Harvard, they both share a desire to dial down the rhetoric. During my phone conversation with Epstein, he noted how "Christians have a responsibility to reach out to moderate humanists, because by shunning those who want to work with them, they're playing into the hands of the angry atheists."

Where I've found considerable common ground with Epstein and Mehta is that we've both witnessed ample evidence where both New Atheists and certain Christians have invested too much energy into converting the other instead of seeking out areas of cooperation around issues such as the environment, human rights campaigns, and separation of church and state issues. Also, we've both caught heat from our respective camps for our decision to engage in dialogue with our perceived "enemies." Simply put, we'd like to see more attention paid to cooperative acts of charity instead of engaging in Jerry Springer-style free-for-alls that all too often define 21st century intellectual discourse.

Now, I am not proposing a wishy-washy anything goes scenario where Christians park their faith at the door. However, it seems to me there's too much at stake for us not to start exploring the common areas of our humanity, so we can start to build bridges instead of bombs. How can we all move past our prejudices and our distrust of others so we can allow for a safe space to dialogue?

Becky Garrison's other books include Red and Blue God, Black and Blue Church and Rising from the Ashes: Rethinking Church.

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Jewish Slave-owners in the American South?

Apparently they existed, or at least, that's the premise of The Whipping Man, now playing at the San Diego Old Globe theater.  The show featured all the tropes of Southern Gothic you'd expect: a disillusioned (and dishonored) Confederacy Vet, a wise old black man, an angry former slave, and, of course, the old plot-device of miscegenation.  But with a Jewish twist.  The play takes place over Passover, which allows for plenty of explorations on the themes of exodus and freedom.  A jolly good show. 
Wish I could write more, but I'm feeling tired.

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The American Religion: Incomplete Thoughts on Mormons as Literary Types

I've been reading Harold Bloom's infamous text, The American Religion, and even though I find much of his associations ridiculous, I can't help but feel swept up by his rhapsodic power. I am in one hand quite flattered by his description of the Prophet, but I'm also quite appalled. Bloom's Joseph Smith is a mutation of Fawn Brodie's: an overactive (and actively sensual) genius as good at fashioning religion as Shakespeare was at fashioning Man. To Bloom, Joseph Smith's project was nothing short of a complete revision of man's ontological status [120]. Bloom waxes quite eloquent in the final section of his chapter on the book, stating that Joseph Smith eclipses Emerson and even Whitman in his mind. Heck, he's even mysterious enough to be as unaccountable a character as Abraham Lincoln!

But though I'm intrigued by all Bloom's rambling on Joseph Smith, it's his portrait of contemporary Mormons that [capture my attention]. Who are these hard-working religious-desperadoes, these right-wing wonders of the modern era, what are their goals, and why do they pursue them with an ardor that many would find frankly frightening? Bloom's paints an almost apocalyptic picture of a "peculiar people," who are marching steadily onward possible domination of the United States. He predicts with all the certainty of a prophet that "Mormonism will likely become the dominant religious force in America by the year 2020." [2020, for Bloom, is the year of Judgment—the year when Mormonism, the preeminent "American religion" will come of age.] Why 2020? Probably because that's the closest even year Bloom could imagine not being alive to see. A true prophet, forecasting judgments a matter of short years before his name would be immortalized by death! [?]

I am frightened by Bloom's Mormons. Their children do well in school, get high-placing jobs throughout America's economic and political superstructure, and then go on to make more hard-working, high-placed children. If their natural growth wasn't worse enough, their militaristic zeal for missionary work has resulted in an even more impressive conversion rate. In a bizarre twist of rhetoric, Bloom supports many Mormon's own self-myth of 'taking over the world'—one convert at a time.

The problem is that I've never met this faceless mass of Mormons. But I'm enthralled by the strength of Bloom's "religious criticism," even if, like most literary criticism, it's impossible to match with my experience. Richard Bushman referred to this gap in Believing History, where he complains that books like [], might capture the imaginations of non-believers, but they leave believers cold and in the dark.] [dialogic history] [the forceful and fallacious text The American Religion], I'm terrified by Bloom's account because of its abstraction. Mormonism for me has always been either on home-turf, in the collection of people I've grown up with and learned by, or has existed in the comforting realm of Ecclesiastical History. According to my early training, Joseph Smith was as normal as the Mormon next door. Blonde, blue-eyed, genteel, and always happy to play with kids—there was nothing to fear from this history. There was nothing alien in it, just as there was nothing alien in the faces I saw and hands I shook every Sunday at church. Bloom's analysis, brilliant as it undoubtably is, doesn't quite make sense. I'm intellectual satisfied, but the picture is missing something far more fundamental. [It's a like a beautiful painting you can only view from fifty feet aware—perfect and miniature, with every paint-stroke carefully diminished by the curse of space.]

[Faith and History—how and why..]

1. See Shakespeare and the Invention of the Human

2. Probably around…

3. Believing History; Final Essay "Believing History"

Saturday, May 15, 2010

The Imaginarium of Doctor Parnassus (2009)

The devil was absolutely fantastic, but the conclusion was just plain inconclusive.

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