IMAGES OF FAITH IN LITERATURE & FILM
RS
218 F8 EDGEWOOD
COLLEGE
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Images
of Faith in Literature, Film & Contemporary Music
RS
218
John K. Leonard, Ph.D.
Predolin
324, (o) 663-2823
4
Credits by appointment (h) 256-1609
An
exploration of the place of faith in human development, the symbolic elements which
landscape the religious imagination, and the ways these find expression in
scripture, poetry, essay, drama, film and contemporary music. The course intends to provide opportunities
- To appreciate the wide range of
revelation/faith experiences and the variety of expressions to which these give
rise;
- To become familiar with the symbols,
images and values which landscape the religious imagination and appear in a
variety of media;
- To examine the ways that ultimate
questions and core values are passed on or challenged through these media;
- To assist participants in reflecting
critically and theologically on what they read, view and listen to in
contemporary culture;
- To explore religious visions of Peace
and Justice and ways in which it is expressed or negated in contemporary
culture;
- To experience the heart of the Edgewood
tradition expressed in our Mission Statement: Catholic heritage and respect for
other religious traditions; development of intellect, spirit, imagination and
heart; open caring, thoughtful engagement with one another; commitment to
service; the seeking of truth, compassion, justice and partnership.
All students begin with 100 points = All
are “A” Students from the beginning; if you think of yourself and act as an “A”
student, you will quite naturally fulfill the following:
Attendance The success of the course depends on the
full, conscious and active participation of all. Please inform the instructor of any necessary
absences ahead of time and in writing.
In last-minute cases, please acknowledge your absence in writing
ASAP and turn in any missed papers at the next meeting.
Readings/Viewings/Listenings.
Fruitful discussion depends on an early, thoughtful
and critical reading of the assigned texts, viewing of assigned films,
listening to assigned music. Readings and some viewings/listenings are to be
completed before you come to class on the day where these
are listed. All are encouraged to take
notes and/or jot down any questions or objections that arise from what you read
and discuss these in class or with the professor. NOTE WELL:
If the instructor feels that students are not doing the readings ahead
of time or preparing for discussions, he reserves the right to give pop-quizzes
and will announce this change in course requirements.
Discussions.
(5 points each; 60% of the grade ) 12 Classes consist entirely of small-
and/or large-group discussion. Students
are to prepare for these discussions through assigned readings, viewings, or listenings
and personal and/or small group reflection.
All should bring notes for the discussion to class. Those who are absent or do not participate
fully in the discussion on these days are required to answer discussion
questions in writing and submit them to the professor at the beginning of the
next class. Otherwise these five points
are forfeited.
Reflect/Write/Discuss (or Similar).
(5 points each; 40 % of the grade).
Eight papers ranging from 2 to 4 pages (as indicated in for each topic).
These are to be prepared ahead of time and shared as part of the class
discussion that day. Academic Honesty Note: Parenthetical references or footnotes must be
used to indicate the source(s) for everything (even paraphrasing) in these
papers that is not common knowledge or originally your own.
Alternatives.
Students with any disability or genuine difficulty with these
requirements are encouraged to meet with the instructor as soon as possible so
that appropriate accommodations can be made.
If you have a documented
disability that requires accommodations
in this course, please contact Joannah O'Hatnick in Learning Support Services,
located in the Student Resource Center in DeRicci 206, 663-2281. She will work with you to provide appropriate
accommodations, and all information will be kept confidential. All students are
encouraged to suggest alternative readings from their own traditions or other
perspectives to supplement those listed here.
Bible [any modern translation].
Chief Joseph, That All People May Be
One People; Send Rain to Wash the Face of the Earth.
Nolan, Albert. Jesus Before Christianity. Maryknoll:
Orbis, 1992.
John Shea. Stories
of Faith Chicago: Thomas More, 1980.
Other Readings indicated below which will
be provided in class or on the Course Web Page.
Unit I Religious
Experience: The Self and The Other
Introduction: Images, Symbols, Religious Imagination
-
Mystery, Transcendence
- Landscaping the
Imagination
-
Symbols, Metonymns, Archetypes, Myths, Stereotypes
What
Do You Believe, What Do You Know?
-
Faith and Knowledge
- “Certainty” of Faith
or Factual Knowledge
Reflect/Write/Discuss #1. Look
up and bring to class a definition of (a) Faith, (b) Belief or Believe, (c)
Trust and (d) Confidence. On a separate sheet of paper write one paragraph for
each of these words that describes how the word pertains to your life. (2-3 pages)
The Experience of Mystery:
Revelation - Faith
-
What’s It All About?
- Elements of the
Revelation-Faith Process
Read
Shea, Stories of Faith ch. 1 (13-35)
The
Graciousness of Mystery & Journey of Faith
-
Is Mystery “Out to get us”? Indifferent? or Graciously “for” us?
-
What difference does it make?
Read
Shea, Stories of Faith, ch. 2
(36-75) w/ Handout
Discussion 1. “Tell me the truth,”
said the atheist, “does God really exist?” The Mater replied: “If you want me
to answer accurately, your question cannot be answered.” The disciples later asked the Master, “Why
did you not answer his question, you are not an atheist, are you?” The Master replied: “The atheist makes the
mistake of denying that about which nothing can be said.” Then, after letting that sink in he
continued, “And the theist makes the mistake of affirming it.”
Where does this story leave you?
What does the Master believe?
Shea, too argues that atheism and theism
are equals (42). What does he mean and
what is his understanding of faith?
[Note, those who are absent or who are present but do not engage in the
discussion will need to write out their reflection on these questions and hand
them in before the next class]
Unit II Icons
of Faith in the Biblical Tradition: Images of a Shared Faith
What
Do Christians Believe About the Bible?
-
Bible Basics: What is it? How do you read it?
-
How were God and Humans involved in its composition?
Read
Contents and Introductory Notes to your Bible; “Inspiration of Scripture” (Handout)
Abraham & Sarah
Read Genesis
12:1to 18:15 and 20:1 to 22:19. Be
careful to note what God’s promises to Abraham and Sarah are and when these
promises are (to be) fulfilled. Then…
Reflect/Write/Discuss
#2. Without knowing how it
would come about, Abraham and Sarah believed that “mystery is ultimately
gracious” and that God’s promise of land and descendants truly would be
fulfilled. Note how many times they take matters into their own hands to
guarantee the promises would be fulfilled.
In two pages, briefly describe what happens when they stop this behavior
and what this part of the Abraham & Sarah story has to say about the nature
of faith. (2 pages)
Job: Faithful in Suffering
Read
Job 1:1 to 9:35
and 38:1 to 42:17 (Note, Job 10 to 37 is a continuation of Job’s conversation with
his “friends” – it is worth reading at some point but the assigned chapters
provide sufficient familiarity with the story of Job.
Discussion 2.
Before Job is restored to health he says to God, “I knew you then only
by hearsay, but now I have seen you with my own eyes…” (Job 42:5). Is Job’s return to health simply a pat on the
back from God for having been a good servant, or is Job’s return to health a
metaphor (or consequence) of a revelation/enlightenment experience? What do both of these possibilities say about
faith and suffering? [Note, those who are absent or who are present but do not
engage in the discussion will need to write out their answers to these
questions and hand them in before the next class]
The Faith of Jesus: In His Own Words
Read Matthew 5-7;
Luke 10: 25-37; 13:6-9; 18-21;
14: 15-24; 15:1-32; 16: 1-8; 18: 1-14.
Nolan,
Jesus Before Christianity, chapters 3-5.
The Faith of Jesus: In His Own Life
-
Unconditional Love, Compassion, Forgiveness, Wholeness
-
Sharing, Cooperation vs. Greed, Competition
-
Equal Value of Persons vs. Status, Prestige
-
Radically Inclusive Solidarity vs. Familial, Tribal, Ethnic, Racial Exclusivity
-
Empowering Service vs. Domination, Control
Read Nolan, Jesus
Before Christianity, chapters 6-12;
Shea, Stories of Faith, ch. 5,
(168-218)
Gospels: Faith About Jesus Produces a New
Literary Form
Read Matthew 1-4, Mark 1 – 16; Luke 1-2; John 1-3:21.
View Selections from Zeffirelli’s Jesus of Nazareth
Contemporary
Impressions/Expressions of Jesus’ Faith
Reflect/Write # 3. Using illustrations from the Gospels, Nolan,
Shea and Zeffarelli, summarize your understanding of (a) Jesus’ own faith (what
Jesus believed and believed in) and (b) what others came to believe about
Jesus. (c) What do you think about the
things Jesus believed and believed in?
(3-4 pages).
View Denys Arcand’s Jesus of Montreal (1989),
Listen Joan Osborne’s
“ What If God Was One of Us”
Jesus Christ Movie Star
Read William Telford, “Jesus Christ Movie Star: The
Depiction of Jesus in the Cinema,” in Marsh & Ortiz, Explorations in
Theology and Film, (Oxford: Blackwell, 1997), 115-139.
View Selections
from Nicholas Ray’s King of Kings (1961), Pasolini’s Gospel of Matthew
(1964), David Greene’s Godspell (1973), and Scorsese’s Last
Temptation of Christ (1988).
Discussion 3.
What approaches to Jesus’ faith are depicted in each clip? How do the films depict Jesus’ humanity?
Jesus’ divinity? [Note, those who are absent or who are present but do not
engage in the discussion will need to write out their answers to these
questions and hand them in before the next class]
Unit III Religious
Faith Outside the Biblical Tradition
The Hero With a Thousand Faces
Read D.T. Suzuki,
“What Is Zen,” “Satori,” and “The Chess
Game,” from The Gospel According to Zen, pp. 13-15 and 33 – 44.
View Joseph Campbell,
“The Hero with a Thousand Faces.”
Buddha-Knowledge and Faith
View Kundun by Martin Scorsese in class.
Read (before class!)
Selections of your choice from His Holiness the Dalai Lama, Lama Thubten Yeshe
and Geshe Lhundrub Sopa that can be found at http://www.fpmt.org/Teachings/ (with
glossary).
Spring
Break
Wisdom Keepers: Voices of Native American Elders
Read Words of Matthew
King, Charles Fast Horse, Pauline Whitesinger, Thomas Banyacya, and Roberta
Blackgoat at Wisdomkeepers, http://www.wisdomkeepers.com/elders.html
View Broken Rainbow
A Look Back
Reflect/Write/Discuss
#4. What similarities do you find
in the faiths of Abraham/Sarah, Job, Jesus, the Dalai Lama and his teachers
(Lama Yeshe & Geshe Sopa), and the Native American Elders. Where do their stories describe what Suzuki
termed sartori moments or events? What
type of hero would Campbell consider each of these? What does faith in the biblical tradition
look like when looked at from Zen or Native American faith? (3 pages)
Unit IV Faith
Outside Religion
What Faith is Atheism?
View Robert Zemeckis’ Contact. (150 min; mostly in class)
Believing the Unprovable: Who experiences Mystery?
Discussion 4.
In Contact, Ellie cannot believe in God because God’s existence
cannot be proven—is this a faith experience?
How does Ellie deal with not being able to prove that her experience
actually happened? Does she learn what
faith is all about? What does this movie
say about the experience of mystery? Revelation/faith? [Note, those who are absent or who are
present but do not engage in the discussion will need to write out their
answers to these questions and hand them in before the next class]
Faith in the Ways
Read Handout of
Selections from…
v
D.T.
Niane, “The Words of the Griot Mamadou Kouyaté” from Sundiata: An Epic of
Old Mali.
v
Edward
Abbey, “The Serpents of Paradise” from Desert Solitaire: A Season in the
Wilderness.
v
Tim
O’Brien, “Church” from The Things They Carried.
Reflect/Write/Discuss
#5. Describe and discuss, compare
and contrast the nature of the faith or faithfulness portrayed in each of these
three articles. Compare and contrast
them with the “faith” of Ellie or others in Contact. In your conclusion you may include
observations on how these different kinds of faith are present or absent in
your own life. (2-3 pages)
Unit V
Images of Faith in Poetry
Words Profound But Few
Locate/Bring/Share: A favorite quote that might catch you off guard
or turn the world upside down. A few
examples:
v
Heaven
is under our feet as well as over our heads—H.D. Thoreau
v
We
stand for what we stand on--Bonnie Abzug
v
The
only way to pass any test is to take the test.
It is inevitable—Regal Black Swan
v
Born
empty handed, die empty handed. I witnessed life at its fullest empty
handed—Marlo Morgan
v
For
all that has been, Thanks. To all that
shall be, Yes—Dag Hammarskjöld
v
The
secret of serenity? Wholehearted cooperation with the inevitable—A. DeMello
Discussion 5.
How do these phrases work? Where
do they come from? How useful are they?
[Note, those who are absent or who are present but do not engage in the
discussion will need to write out their answers to these questions and hand
them in before the next class]
Assign Groups for
next class.
Faith in Poetry
Read
(1) (All) “Welcome Morning” and “Not So,
Not So”—Anne Sexton
(2) (Group
A) “Earth’s Crammed with Heaven”—Elizabeth Barrett Browning &
“The World is Too Much With Us: Late and Soon”—William Wadsworth.
(Group
B) “Love Bade Me Welcome”—George Herbert &
“The Second Coming”—William Butler Yeats.
(Group C) “Last Thoughts on Woodie Guthrie”—Bob Dylan &
“If”—Rudyard Kipling.
(Group D) “Ballad of the Brave Cowboy”—Edward Abbey &
“Ceremony”—Leslie Marmon Silko
Discussion 6.
Why do Anne Sexton’s poems work as a pair? (Does one poem answer the other?) What does Anne Sexton say about faith,
finding God/experiencing Mystery, and everyday life? What are the similarities and differences of
her two poems? Beyond religious symbols
and images, how is faith discussed, portrayed and even brought to life through
these two poems?
Reflect/Write/Discuss #6.
After reading all the poems in the packet, each individual begins
a written analysis of her/his group’s assigned poems. Questions for analysis include…
1. Why do these poems work as a pair
(illustrate with phrases from each)?
2. What are the similarities and
differences between the two poems?
3. What does each poem say about faith,
God/Mystery, everyday life?
4. Beyond religious symbols and images,
how is faith discussed, portrayed or brought to life in these poems?
NOTE WELL: Insights from earlier
readings and viewings should be included wherever possible. (1-2 pages of
notes)
Group work.
A. Each individual shares his/her
analysis of the pair of poems and complements her/his own insights with those
of the others in the group carefully noting who provides what insight. B. Students
decide how their group analysis will be best shared with the rest of the class
(summary presentation, skit, panel, song, new poem, etc.) and divide
preparations among all members.
[Note: Those who do not
participate fully in this group process will need to prepare their own, 2- to
3- page analysis of the poems using the questions for analysis and insights
from earlier readings and viewings from the semester]
Group Presentations
Note: Students who present their group analysis in
other than written form should hand in their outline or script and the original
notes brought by each participant to the group’s work on April 9. Those who present their analysis in a single
written document should indicate who contributed each insight.
Unit VI Images
of Faith in Contemporary Music
The Sound of Music
Discussion 7. What does music say? Contemporary musicians use music as a medium
to comment on topics such as faith, belief, society, justice, peace, etc. Why is this so? How does music speak to the mind, heart, soul
in ways that no other medium can? How do
Locate/Analyze/Write/Bring #7
A CD or Casette of a contemporary song that expresses one of the types
of faith or belief we have discussed this semester. All styles [ Rock, Alternative, Reggae,
R& B, Heavy Metal, Punk, Gothic, Folk, etc. ] are acceptable. (All are encouraged to investigate beyond
contemporary Christian music where biblical texts, images and faith allusions
are obvious.) Each student should bring
with the recording a copy of the lyrics and an initial analysis of the
text and music of the song which answers…
1. What does this song say about faith, finding God/experiencing Mystery,
everyday life?
2. Beyond religious symbols and images, how is faith discussed, portrayed
and/or brought to life through this song?
(e.g. how is nature imagery used? What is the worldview conveyed?)
3. What role do melody, instrumentation, rhythm, and tempo play in conveying
the artist’s insight or experience? (Final written analysis should be 2- to 3
pages)
Note Well: Students
who do not present their song on April 18 hopefully will do so at the beginning
of one of the classes throughout the rest of the semester. The full written analysis of the song is to
be handed in on the day of presentation.
[Those students who share their songs on -------- may complete their
written analysis after class and hand it in on ------]
Unit VII
Faith and Liberation: The Struggle for Justice
Gandhi:
The Gentle Revolutionary
- Song Presentations (continued)
- View 30 minutes of Gandhi in class.
Read T. Merton,
“Gandhi: The Gentle Revolutionary,” Ramparts , Dec 1964; reprinted in Passion
for Peace: The Social Essays, ed William Shannon (NY:Crossraod, 1995)
202-209.
Discussion 8.
Revisit Kundun as a film that discusses liberation. Compare and contrast the Dalai Lama’s
approach to liberation with Gandhi’s experience in South Africa. [Note.
Those who are absent or do not participate fully in the discussion of
these two films must provide a written discussion of them at the beginning of
the next class. Include references to the assigned essay by Thomas Merton].
Non-Violent Resistance
- View in class, Gandhi, a film by
Richard Attenborough.
Read Nolan, Jesus Before Christianity,
chs. 14, 15 & 16
View
on your own or in small groups:
Attenborough’s Cry Freedom, John Duigan’s Romero, or John
Avildsen’s The Power of One.
Jesus & Gandhi and Gay
Liberation
- Song Presentations (continued)
Read Mel White,
“Bringing in the Beloved Community,” The Other Side (Jan-Feb 1998),
18-21.
Discussion
9. Compare Gandhi’s and Jesus’ non-violent methods of resistance. What is their common ground? What are some of the points made by Mel White
in his comparison of the two? How does
he suggest the use of non-violent methods and tactics in liberating the GLBT
community in this
country? What kind of faith does Mel
White express? What elements of his
faith affect you and why? [Note. Those who are absent or do not participate in
the discussion must write out their answers to these questions and turn them in
before the next class]
Violent Resistance by Non-Violent People
- Song Presentations (continued)
Read Chief Joseph, That all People May Be One People, Send
Rain to Wash the Earth.
Discussion 10. Why did the Nez Percé have to resort to
violence? What pushed such a peaceful
culture to that extreme? Discuss their
faith. What were the elements of their
faith that made it possible for them to “adust” or incorporate “white man’s
spirit law”? [Note. Those who are absent
or do not participate in the discussion must write out their answers to these
questions and turn them in before the next class]
Violent Resistance when Violence
Sells: The Matrix—A
Religio-Cultural Goulash
View in
class, L & A Wachowski’s The Matrix.
As you watch the film note every
religious theme or motif, from Abraham
to Zen,
this movie has it all…
Read Erich Fromm, “A Religious Man,” and D.T. Suzuki, “What is
Zen” from The Gospel According to Zen (New York: Mentor, 1970), 18,
13-15.
Final Class
- Song Presentations (concluded)
Discussion 11.
In consideration of Fromm’s essay, “A Religious Man,” is the character,
Neo, religious before he is set free or does he become religious after this
experience or not at all?
What kind of faith does Neo come to have and what does his faith believe in and
stand for in the world? What do the
principles of this faith call to mind when you consider humankind’s existence
in this world?
Discussion 12.
Identify Christian themes/elements/images and Zen or Buddhist
themes/elements/images. Does The
Matrix attempt to say Christianity and Zen are the same thing or just kind
of cool? Would you consider The
Matrix a modern, Hollywoood “Gospel According to Zen”? [Note. Those who are absent or do not
participate in both discussions must write out their answers to these questions
and turn them in before 4pm on May 11.]
Final Written Reflection #8. (Due at the Time Scheduled for the Final
Exam).
1. How did your faith or understanding
of “faith” change or evolve during this semester?
2. What triggered your greatest insight
or reaction?
3. After studying faith for a semester,
what do you have faith in?
Useful
Resources for the Study of Faith & Film
Journals with Film Reviews: American Film, Sight & Sound, New Yorker, Commonweal [Richard
Alleva Film reviewer], America [Richard Blake writes the film
reviews], Journal of American Culture, New Republic, New York Review of Books,
Newsweek, Time, Rolling Stone, Journal of Popular Film and Television, Monthly
Film Bulletin, Film Quarterly, Film/Literature Quarterly, Screen, Film Comment,
...
Bill Moyers and Joseph
Campbell. The Power of Myth. New York: Doubleday, 1988.
Joseph Campbell. The
Hero with a Thousand Faces. New
York: World, 1956.
Blake, Richard A. After
Image: The Indelible Catholic Imagination of SixAmerican Filmmakers ??, 2000.
John J. Collins, The Apocalyptic Imagination: An Introduction
to the Jewish Matrix of Christianity.
New York: Seabury, 1985, esp 7-31.
Clive Marsh & Gaye
Ortiz, eds. Explorations in Theology and
Film Oxford: Blackwell Press, 1997.
Miles, Margaret. Seeing & Believing: Religion &
Values in the Movies. Boston: Beacon,
1996.
Scott, Bernard
Brandon. Hollywood Dreams and
Biblical Stories 1994.
Stern, Richard with
Clayton Jefford & Guerric DeBona, Savior
on the Silver Screen. Mahwah, NJ:
Paulist Press, 1999.
Wesley Kort. Narrative
Elements and Religious Meaning. Philadelphia: Fortress: 1975.