Pub Date : 2021-01-01DOI: 10.5840/renascence202173314
Julie Ooms
Scholars regularly read Sylvia Plath biographically, but few have focused on her religious beliefs and their manifestation in her work. This essay explores Plath’s ideas about religion, and about Christianity in particular, as they are articulated in college papers, in her journals, and in her fiction. It argues, finally, that Plath’s wrestling with Christian religious ideas is that of the kind of “cross-pressured” believer characterized by Charles Taylor; she is a humanist atheist tempted by belief.
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Pub Date : 2021-01-01DOI: 10.5840/RENASCENCE20217315
S. Kern
Kern argues that the responses of Friedrich Nietzsche, James Joyce, André Gide, D. H. Lawrence, and Martin Heidegger to Christianity made up a Weberian ideal type. Accordingly: They all were raised as Christians but lost their faith when they began university studies. They all criticized the impact that they believed the anti-sexual Christian morality, with its emphasis on sin, had had, or threatened to have, on their love life. For that reason they were militantly anti-Christian but also ambivalent about Christianity. They worked to replace the loss of Christian unity with non-Christian unifying projects in literature and philosophy. Virginia Woolf, who was raised as an atheist, conformed to many of these elements of the ideal type but added another in criticizing the fragmenting patriarchal society that supported the dominant patriarchal Church of England. She envisioned new man-womanly and woman-manly types who could cultivate their understanding and love for one another in less polarizing and more humanizing ways.
{"title":"Modernist Ambivalence about Christianity","authors":"S. Kern","doi":"10.5840/RENASCENCE20217315","DOIUrl":"https://doi.org/10.5840/RENASCENCE20217315","url":null,"abstract":"Kern argues that the responses of Friedrich Nietzsche, James Joyce, André Gide, D. H. Lawrence, and Martin Heidegger to Christianity made up a Weberian ideal type. Accordingly: They all were raised as Christians but lost their faith when they began university studies. They all criticized the impact that they believed the anti-sexual Christian morality, with its emphasis on sin, had had, or threatened to have, on their love life. For that reason they were militantly anti-Christian but also ambivalent about Christianity. They worked to replace the loss of Christian unity with non-Christian unifying projects in literature and philosophy. Virginia Woolf, who was raised as an atheist, conformed to many of these elements of the ideal type but added another in criticizing the fragmenting patriarchal society that supported the dominant patriarchal Church of England. She envisioned new man-womanly and woman-manly types who could cultivate their understanding and love for one another in less polarizing and more humanizing ways.","PeriodicalId":41054,"journal":{"name":"RENASCENCE-ESSAYS ON VALUES IN LITERATURE","volume":"15 1","pages":"57-75"},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85075985","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.5840/RENASCENCE20217314
Pericles Lewis
During the COVID-19 pandemic of 2020, readers of modernist literature have often been reminded of the flu epidemic of 1918-1920. Thomas Mann’s The Magic Mountain (1924) anatomizes pre-war bourgeois society as represented by the inmates of a tuberculosis asylum in Davos, Switzerland. The novel typifies a concern in modernist fiction with the proper rites for the burial of the dead, which I explored in an earlier study, Religious Experience and the Modernist Novel. This essay argues that that Mann sees the novel, as a genre, as having a particular ability to represent the process of mourning because of its powers of ironic distancing: it can represent both the public ritual of the funeral service and the private thoughts of the mourner, which may or may not accord with official sentiment. More generally, the modern novel shows how we project our own desires and fears onto the dead.
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Pub Date : 2021-01-01DOI: 10.5840/renascence20217327
Geoffrey Reiter
In contemporary academic circles, the fields of science, theology, and literature may be compartmentalized with relatively little interaction. However, such distinctions were less rigid in the early nineteenth century. One of the figures whose writings stretched across these disciplinary boundaries was Edward Hitchcock, a world-renowned geologist and president of Amherst College who also had extensive theological training. Now best-known among paleontologists for his discovery of fossil footprints in the Connecticut River Valley, Hitchcock made use of his considerable talents in an 1836 poem entitled “The Sandstone Bird.” This poem—often known to historians of science but little remarked among students of American literature—effectively uses formal verse to draw out theological dimensions to the prehistoric world conjured up by Hitchcock’s own paleontological discoveries.
{"title":"“New Knowledge of Lost Worlds”?","authors":"Geoffrey Reiter","doi":"10.5840/renascence20217327","DOIUrl":"https://doi.org/10.5840/renascence20217327","url":null,"abstract":"In contemporary academic circles, the fields of science, theology, and literature may be compartmentalized with relatively little interaction. However, such distinctions were less rigid in the early nineteenth century. One of the figures whose writings stretched across these disciplinary boundaries was Edward Hitchcock, a world-renowned geologist and president of Amherst College who also had extensive theological training. Now best-known among paleontologists for his discovery of fossil footprints in the Connecticut River Valley, Hitchcock made use of his considerable talents in an 1836 poem entitled “The Sandstone Bird.” This poem—often known to historians of science but little remarked among students of American literature—effectively uses formal verse to draw out theological dimensions to the prehistoric world conjured up by Hitchcock’s own paleontological discoveries.","PeriodicalId":41054,"journal":{"name":"RENASCENCE-ESSAYS ON VALUES IN LITERATURE","volume":"45 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77303333","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.5840/renascence202173312
Brian Barbour
An unremarked major theme in Gulliver's Travels is, Why does Gulliver lose his Christian faith? In Part III he is a devout Anglican who unlike Dutch Calvinists will not disrespect the crucifix, even at the cost of not being allowed to return home. In Part IV he dismisses the crucifix as a "post," a thing "indifferent." What has happened is made clear in Chap. VII where Gulliver's reveals his parodic or inverted conversion to the ruling principle of the Houyhnhnms, that "Reason alone is sufficient to govern a rational creature." For Swift that disastrous alone is a grave error, linking the earlier errors of the Reformation - sola gratia, sola fide, sola scriptura - with the coming darkness of the Enlightenment. Gulliver's loss of faith is predictive of the next phase of European intellectual life.
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Pub Date : 2021-01-01DOI: 10.5840/RENASCENCE20217313
M. Knight
This article engages with the work of John Plotz on our experience of being caught between two worlds as we read—a world of fiction that partially absorbs us, and the actual world, to which we remain attached. Noting the lack of attention Plotz pays to religion as he writes about semi-detachment, I respond by developing a theology of semidetached reading. To think through the contribution that theology offers, I turn to two works of fiction: H. G. Wells’s “The Plattner Story” (1896) and G. K. Chesterton’s The Man who was Thursday: A Nightmare (1908). In doing so, I recognize the very different ways in which Wells and Chesterton tease out the strange mix of secular and religious experience that is so important for those who want to understand religion in the modern world. As I go on to argue, paying attention to theology allows to register particular narratives in which people traverse these worlds and seek to hold different threads of meaning together. A theology of semidetached reading can also shed light on the ways in which different worlds are configured, as well as helping us to navigate points of conflict as we move between them.
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Pub Date : 2021-01-01DOI: 10.5840/RENASCENCE20217311
C. Woelfel, Jayme Stayer
This Introduction contextualizes the volume in modernist tensions between belief and unbelief, and subsequent debates about the nature of secularization. An opening moment considers Pound and Woolf’s rejection of T. S. Eliot’s religious conversion as emblematic of a “subtraction” theory of secularization, in which secularity and religious belief are taken as mutually exclusive horizons of understanding. Such thinking, it is argued, has precluded a more nuanced approach. Criticism has largely ignored more complex and fragmentary religious dimensions of modernist production; or, on the other hand, taken up religion only in the narrow and anachronistic sense of traditional Christianity. This volume attempts to explore the religious dimensions of modernism in a more modernist sense: taking modernist art as a critical liminal space for exploring new modes of religious experience in complex and resonant ways -- often in open rejection of traditional modes of faith, and in authors beyond the usual suspects.
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Pub Date : 2021-01-01DOI: 10.5840/renascence202173419
Samuel Hazo
Pornography has been defined as sex separated from personality. In other words, life’s deepest need to express desire and affection and perpetuate the species is reduced to appetite and the satisfaction of appetite. War in many ways does the same. It depersonalizes killing by pitting stranger against stranger—uniformed or otherwise. Fatalities are reduced to numbers. Such killings are dignified by slogans (“Vietnamizing the Vietnamese” or “Operation Iraqi Freedom”),. Preparing troops for the killings in war is everything from oratory to close order drill, parades and honors. Denis de Rougemont in LOVE IIN THE WESTERN WORLD has even traced this to the legend of Tristan and Isolde in which Tristan chooses a military life to define his manhood after leaving Isolde. All of these manifestation and pretenses gloss over the brutality of war just as films, photographs and other promotions disguise pornography as mere excitement.
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Pub Date : 2021-01-01DOI: 10.5840/renascence202173417
Elizabeth Theresa Howe
The predominant imagery of progress in western mystical writing usually describes some form of ascent. The Subida del monte Carmelo by San Juan de la Cruz certainly suggests the notion in Spanish mystical writing. While San Juan proffers ascent (subida) in the title of the commentary on “En una noche oscura,” the poem proper does not present a sense of verticality at all but, rather, an essentially horizontal passage from the “casa sosegada” to (re)union with the Lover in a static apotheosis described in the final strophes. Similarly, a paradoxical presentation of movement appears in the Cántico espiritual. This article considers San Juan’s use of verbs of movement, especially within the Cántico espiritual, as metaphors for the underlying mystical message he ascribes to his poem. It also demonstrates the presence of the same extended metaphor in other poems of his, including “En una noche oscura” and the “Llama de amor viva.
在西方神秘主义作品中，进步的主要意象通常描述某种形式的上升。圣胡安·德·拉·克鲁兹的《卡梅洛之旅》无疑暗示了西班牙神秘文学中的这一概念。当圣胡安在" En una noche oscura "的评论标题中提出上升(subida)时，这首诗本身并没有呈现出一种垂直感，而是从" casa sosegada "到(重新)与爱人结合的基本水平通道，在最后的诗节中描述了一种静态的神化。类似地，运动的矛盾表现出现在Cántico精神上。本文认为圣胡安使用的动作动词，特别是在Cántico精神，隐喻潜在的神秘信息，他归因于他的诗。这也证明了在他的其他诗歌中同样的延伸隐喻的存在，包括“黑暗的夜晚”和“活泼的爱的羊驼”。
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Pub Date : 2021-01-01DOI: 10.5840/renascence202173210
David V. Urban
This essay argues that King Lear’s tragedy is largely brought about by Lear’s lack of self-knowledge, a character defect that long precedes the foolish decisions he makes in King Lear’s opening scene and which precipitates his own death and the deaths of those he loves. Lear’s lack of self-knowledge encourages Shakespeare’s audience to have sympathy for Goneril and Regan and to recognize that Lear’s beautiful progress of redemption is mitigated by his failure to ever recognize his longstanding wrongdoing against his elder daughters. By contrast, in Pride and Prejudice, Elizabeth Bennet’s humble choice to learn and be humbled by Darcy’s letter empowers Elizabeth to achieve self-knowledge at a youthful age even as it brings happiness and numerous redemptive benefits to herself and to those whom she loves.
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