Here’s a new way I’m thinking of for developing the faculty seminar on Christian humanism I’m doing for my friend the Think Tank Director. I like this one better than the more chronological one shared earlier. I’ll share this in a couple of chunks because I went a little crazy with editorializing on it.
This reworking suggests that we use the seminar to explore the hypothesis that Christian humanism has found ways to keep together key dyads: divine-human, faith-reason, virtue-grace, heavenly-earthly, reason-imagination (or truth-beauty). And that the REASON the tradition has been able to do that is its strong grounding in the Incarnation.* We could look at each of those dyads through readings across the different periods, in a way that could attend to historic development without bogging down in the chronology/history.
* Arguably it’s not just the Incarnation but the almost shocking organic unity of the God-human relationship in early soteriology that grounds this whole thing: that is, the theosis understanding of salvation. But interestingly, both Luther and Calvin were similarly quite mystical and organic about the human-God relationship – there are great readings from both that show this.
NOTE: Stupid WordPress has no idea how to deal with the automatic numbering in MS Word, and I don’t have time to go in and change it. So please ignore the plethora of “1s” in the following!
This morning I’m going to try to knock out some C. S. Lewis material for the “creation chapter” in Getting Medieval with C S Lewis. Since Joe Ricke’s invitation to submit an abstract for the 2014 International Medieval Congress in Kalamazoo, Michigan came as I was working on this chapter, here’s what I shot back to him. In some form, it will work its way into this chapter:
When he contemplated the material world, Lewis appreciated both its quiddity (‘thatness’) and its sacramentality (its quality of pointing beyond itself to another world). He loved a good storm – and the stormier the better – just because of it being so marvelously what it was. He appreciated the beauty of a waterfall as something inherent and objective – and was concerned for the souls of those who did not (in his Abolition of Man).But he also appreciated that when he saw the waterfall, he was seeing both water and something infinitely greater. Toward the end of his life he wrote to a friend about his aging and increasingly malfunctioning body: “I have a kindly feeling for the old rattle-trap. Through it God showed me that whole side of His beauty which is embodied in colour, sound, smell and size.”
Lewis really did believe he could see God’s own beauty through his sense perceptions of the material. Continue reading →
English: Madonna and child, thought to have been damaged during the English Civil War, at St Mary’s Roman Catholic church, Brewood, Staffordshire, England. (Photo credit: Wikipedia)
In the “creation chapter” of my forthcoming Getting Medieval with C. S. Lewis, after a brief reflection on the opposite-but-the-same Western tendencies that have crept into our Protestant churches – Gnosticism and materialism – I turn to the arts to see how these tendencies have manifested themselves there.
Evangelicalism and the arts
Let’s put a finer point on the issue by looking briefly at the evangelical Protestant churches and the arts. Where are the arts in modern orthodox Protestantism? One author looks at the century from 1860 to 1960 and finds only C. S. Lewis and T. S. Eliot practicing the creative art of literature to a high degree from an orthodox Protestant stance. During the same period, the Catholics produced an embarrassment of literary riches, from Tolkien and Flannery O’Connor to Gerard Manley Hopkins and Evelyn Waugh. All these, and many other Catholics, were “world-class writers,” and all orthodox Christians. The same seems to be true – perhaps even more so – in other fine arts. Similarly, few evangelicals have excelled in the worlds of television and movies. Indeed, “evangelical Protestants, especially, have not only not shone in the fine arts, they have often opposed such arts or valued them only as vehicles for evangelism, objecting to much of their subject matter.” The author concludes that the problem for Protestants (and the superiority of Roman Catholics) in the arts stems from a difference in approach to Creation. Whereas Protestants often emphasize how fallen Creation and human society are, the theology of the Roman Catholic Church has proved more Creation-positive, and thus more likely to affirm and create images of the world, whether literary or in the visual arts. Continue reading →
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