Thursday, December 14, 2006
Flushed Away: Water Conservation and Buddhist Philosophy
Does He or Doesn’t He?
Tuesday, November 7, 2006
Elucidating Electra
Thursday, November 2, 2006
Exploring Death in Epictetus
Tuesday, October 31, 2006
Redemption: The Ultimate Prize - Freedom
Redemption: The Ultimate Prize - Freedom!
Thursday, September 28, 2006
Greek Creation Myths: What’s Love Got To Do With It?
The Epicurean Foundations of Atheism
Wednesday, May 10, 2006
The Means to the Ends of the Means
Monday, April 24, 2006
"Saved" and "Satire": A Critical Introduction to a Critical Reintroduction
Monday, April 17, 2006
Critical Response: "Saved"
The movie, Saved, a farcical satire of Evangelical Christians and Christian high schools, addresses multiple cultural and religious issues. The biggest issue, however, is not necessarily religious or cultural, but humanistic: Whatever you believe, it is not enough to just believe, you must also live it daily.
The message is abundantly apparent throughout the plot, sub-plots, characters, dialogue, and setting. While there are many examples, the despicable character of Hillary Faye is the most obvious example. Hillary professes her Faith the loudest, most stridently, and most often, yet also lives her faith the least. While she may still be a virgin (and willing to shoot-to-kill to protect that virginity), she lacks compassion for others, especially her own handicapped brother, gossips with the intention to cause hurt/embarrassment, defaces school property and blames others, swears she is innocent to God, throws a Bible as a weapon, and looks down upon all others who do not believe as she does. All of these actions are decidedly unchristian, and very much against the basic teachings of the very faith she professes.
Regardless of what you believe, even if that belief system is “no” belief, Saved proposes that your belief system is meaningless if you do not apply it to your daily life and actually walk your own talk, practice what you preach. Without living your own belief system, you risk becoming a hateful spiteful person worthy of little except ridicule.
Written for Professor Campbell’s Religion & Pop Culture class at University of Colorado – Colorado Springs, 17th April 2006.
Sunday, March 19, 2006
A Trinity of Trinities in Plato’s "Republic"
Monday, March 13, 2006
Critical Response: "The Watchmen"
In Alan Moore and Dave Gibbon’s “The Watchmen,” there are multiple themes and narrative arcs touching on a large number of societal ills, ethical and moral issues, and political issues. The most compelling of the many themes, the ethics of scientific and technological advances, is simply expressed through the use of graffiti: “Who Watches the Watchmen?” This tag line is on multiple pages, but does not refer to just “watchmen” – the “protectors” – but also to those in power and especially, those who create. Moore uses scientific and technological advances – some real, some fictional – to question not only the need for these advances, but the ethics of them. The ethical issues revolving around some scientific advances are obvious, such as the atomic bomb, but other seemingly innocuous advances also have negative repercussions. Through the use of his characters, especially the God-like Jon (aka Dr. Manhattan), Moore brings to bear the idea that there must be some sort of ethical oversight brought into play on scientific and technological creators. Someone – ultimately meaning everyone – needs to question not only the need for our continuing fast-paced scientific advance, but oversee the use of such advances. It is not good enough to just create for the sake of creating; there must be questions asked before creating as to the good and bad of such creation.
Scientific advances in “The Watchmen” created Jon, a being with God-like powers and vision. Jon did not ask to become God-like, nor was he necessarily comfortable with his powers, yet once he had them, he would use them or not as only he saw fit. There was no control or power over Jon, no one to oversee him, no panel or government that could manage the use or misuse of this created being, Jon. No one “watched” the scientists when they created the device that ultimately created Jon, and no one “watched” the creation from this device. In the end, Jon decides that he may create life – human life – himself in another galaxy. No one questions even this decision.
When Moore asks “Who Watches the Watchmen,” he refers not just to police-like authorities, political or scientific powers, he also refers to God him/herself. Ultimately, Moore is asking, “Who Watches God.”