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Keywords = Flannery O’Connor

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9 pages, 228 KB  
Article
Going to the Morgue with Andres Serrano: Provocation as Revelation
by Alex Sosler
Religions 2022, 13(6), 562; https://doi.org/10.3390/rel13060562 - 17 Jun 2022
Cited by 1 | Viewed by 4333
Abstract
Originally displayed in Paula Cooper Gallery in New York City’s SoHo district, Andres Serrano’s The Morgue series continued the artist’s controversial and transgressive work. Set against a black backdrop in a mortuary, he photographed dead bodies in different stages of decomposition. In this [...] Read more.
Originally displayed in Paula Cooper Gallery in New York City’s SoHo district, Andres Serrano’s The Morgue series continued the artist’s controversial and transgressive work. Set against a black backdrop in a mortuary, he photographed dead bodies in different stages of decomposition. In this article, I borrow from Charles Taylor’s cultural analysis of the secular and Flannery O’Connor’s literary theory of the revelatory power of the grotesque to discuss Serrano’s artistic choices. In essence, I argue that his work is not a desecration of humanity but a stark reminder of the sacralization of humanity. As such, Serrano’s work is not provocative for provocation’s sake, but a provocation to poke holes in a disenchanted age. Underneath Serrano’s images is the question: if this is a heap of flesh, why are you provoked? In a culture that avoids death at all costs, Serrano reminds the contemporary world of their mortality with an updated form of memento mori art. Full article
(This article belongs to the Special Issue Conceptual Art and Theology)
14 pages, 245 KB  
Article
“Florentino Ariza Sat Bedazzled”: Initiating an Exploration of Literary Texts with Dante in the Undergraduate Seminar
by Sarah Faggioli
Religions 2019, 10(9), 496; https://doi.org/10.3390/rel10090496 - 22 Aug 2019
Viewed by 3358
Abstract
Dante’s Commedia provides a useful context or “frame” for a discussion of love in literature from the Middle Ages to the present day in the undergraduate seminar. Selected cantos of the Commedia can initiate an examination of love—lust, romantic love, caritas—and provide [...] Read more.
Dante’s Commedia provides a useful context or “frame” for a discussion of love in literature from the Middle Ages to the present day in the undergraduate seminar. Selected cantos of the Commedia can initiate an examination of love—lust, romantic love, caritas—and provide ways to analyze depictions of love by important authors. For example, Inferno Cantos I and III introduce the concept of the “journey”—Dante’s through the three realms of the afterlife, and our “journey” through a series of texts to be read over one semester. Dante’s education in Inferno constitutes an understanding of sin and of hell as the farthest place from God and His love. Moreover, in Canto I of Paradiso, Dante reiterates that God and His love can be found throughout creation “in some places more and in others less” (I: 3), and he concludes his poem with a vision of God and of the entire universe as moved by His love. Six great authors—Francis of Assisi, Vittoria Colonna, William Shakespeare, Jane Austen, Flannery O’Connor, and Gabriel García Márquez—articulate in their own words this very human experience of love, of loving something or loving someone. In the process, they illuminate both Dante’s experience in the afterlife and ours in the modern world. Full article
(This article belongs to the Special Issue Teaching Dante)
10 pages, 183 KB  
Essay
The Thin Blue Line of Theodicy: Flannery O’Connor, Teilhard de Chardin, and Competitions between Good/Good and Evil/Evil
by Sue Whatley
Religions 2018, 9(5), 140; https://doi.org/10.3390/rel9050140 - 24 Apr 2018
Viewed by 5156
Abstract
This essay explores the concept of theodicy in Flannery O’Connor’s works of fiction. O’Connor’s fiction complicates the subjects of good and evil, moving the reader through what seem to be competitions not only between good and evil, but also between actions of good [...] Read more.
This essay explores the concept of theodicy in Flannery O’Connor’s works of fiction. O’Connor’s fiction complicates the subjects of good and evil, moving the reader through what seem to be competitions not only between good and evil, but also between actions of good and actions of evil. Characters align themselves with one force, then another, in a constantly fluctuating system, and there is no traditional pattern of Christian warfare that we would expect orthodox Catholic writing to produce. Sometimes, evil brings about the resolution of the narratives, and sometimes actions of good fail to redeem. It is only through the theology of Pierre Teilhard de Chardin that we may have a full understanding of O’Connor’s Christian vision. For O’Connor, Teilhard’s system of a dynamic eternity, which is in the process of unification, gives a greater understanding of our human reality, as it is a world where evil is used at the service of the Divine. It serves her fictional goal as well, as it allows her to rescue violence and evil from its power for despair. Full article
(This article belongs to the Special Issue Theodicy)
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