User:Sherrilledwards/sandbox: Difference between revisions

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{{dc|dc=W|hat is the rhetoric of modernism?}} Is the Modern novel “the epic of a world that has been abandoned by God?”{{sfn|Lukács|1971|p=88}} If so, why do religious themes still appear? Are they the Cheshire Cat’s grin, nostalgic echoes of a vanished age, cosmic footprints left in the wasteland of Modernity? Or are they rumors of grace? How does God-language function in the work of Ernest Hemingway (1899–1961) and Norman Mailer (1923–2007)?

This issue could be a problem in narrative theory, constructing modernity, contemporary religion, or all three. In any case, why does religion persist? Why is some God-language compatible with Modernity—and some not? I shall first discuss the rhetoric of Modernism, then Modernity and disenchantment,

This issue could be a problem in narrative theory, constructing modernity, contemporary religion, or all three. In any case, why does religion persist? Why is some God-language compatible with Modernity—and some not? I shall first discuss the rhetoric of Modernism, then Modernity and disenchantment, before moving on to my selection of God-language of Hemingway and Mailer. I briefly emphasize the sacred, indeterminacy, and grace.

before moving on to my selection of God-language of Hemingway and Mailer. I briefly emphasize the sacred, indeterminacy, and grace.

=== The Rhetoric of Modernism ===

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These vignettes, a quarter century apart, illustrate the Modernist rhetoric of Hemingway and Mailer. For both authors, they mark a beginning, a revelation, a new Genesis. One thing is clear: unlike the biblical Genesis, there is an absence of traditional concepts of God, a sense of Providence, a rational universe. We have ''left'' the Garden. Many have written on religious themes in Hemingway and in Mailer: certainly, the themes exist and can be discussed.{{efn|Recent articles include Buske,{{sfn|Buske|2002}} Stoneback,{{sfn|Stoneback|2003}} Lewis,{{sfn|Lewis|2004}} Stolzfus,{{sfn|Stolzfus|2005}} Adamowski,{{sfn|Adamowski|2005}} Kroupi,{{sfn|Kroupi|2008}} Bernstein,{{sfn|Bernstein|2008}} Cappell,{{sfn|Cappell|2008}}, Sipioria,{{sfn|Sipiora|2008}} and Whalen-Bridge and Oon.{{sfn|Whalen-Bridge and Oon|2009}}}} But I would like to examine the overall ''matrix'' of Modernity in which those themes are embedded, focusing on the ''disenchantment'' of the world.

=== Modernity and Disenchantment ===

Lewis says the modern novel is “doubly secular,” representing a world vacated by God.{{sfn|Lewis|2004p=673}} The representation is both thematic and formal. Much has been written about the changing status of religion in the era of Modernity— a period, shall we say, from roughly 1900 to the present day—and many{{pg|333|334}} concepts have been used, such as secularization, loss of faith, ironic cultures, cognitive minorities, the disenchantment of the world, the sacred and the profane, and modernist literature as religion substitute. As one might expect, the literature is considerable.{{efn|Owen Chadwick (1975) is a useful introduction to secularization. Modernity and Christianity are discussed in Hans Küng (1980). Spirituality and modern man are the focus of Carl Jung (1933). Ironic cultures are dealt with by Ernest Gellner (1974), while irony as a product of the Great War is in Paul Fussell (1975). Cognitive minority is used by Peter Berger (1969), while Berger

& Luckmann (1966) use terms such as deviance, heresy, and symbolic universe (98-100). Disenchantment of the world goes back to Max Weber in the 1940s. Weber, sacred and profane, and modernism as religion substitute are described in Lewis (2004).}} After all, Modernity and the disenchantment of the world is a thing of complexity.{{efn|Secularization in England, for instance, involves Darwin’s The Origin of Species (1859) and the literary responses: including Tennyson’s In Memoriam (1850), Arnold’s Dover Beach (1867), and the novels of George Eliot such Silas Marner (1861) and Middlemarch (1871–72). Eliot translated two works of German radical theology,D. F. Strauss’ Life of Jesus (1835, ET 1846) and Feuerbach’s The Essence of Christianity (1841, ET 1854).Willey (1964), Brown (1969) and Chadwick (1975) are

useful guides, as is Kucich (2001).}} But it cannot be undone.

=== Notes ===

@@ Line 10: / Line 10: @@
 {{dc|dc=W|hat is the rhetoric of modernism?}} Is the Modern novel “the epic of a world that has been abandoned by God?”{{sfn|Lukács|1971|p=88}} If so, why do religious themes still appear? Are they the Cheshire Cat’s grin, nostalgic echoes of a vanished age, cosmic footprints left in the wasteland of Modernity? Or are they rumors of grace? How does God-language function in the work of Ernest Hemingway (1899–1961) and Norman Mailer (1923–2007)?
-This issue could be a problem in narrative theory, constructing modernity, contemporary religion, or all three. In any case, why does religion persist? Why is some God-language compatible with Modernity—and some not? I shall first discuss the rhetoric of Modernism, then Modernity and disenchantment,
+This issue could be a problem in narrative theory, constructing modernity, contemporary religion, or all three. In any case, why does religion persist? Why is some God-language compatible with Modernity—and some not? I shall first discuss the rhetoric of Modernism, then Modernity and disenchantment, before moving on to my selection of God-language of Hemingway and Mailer. I briefly emphasize the sacred, indeterminacy, and grace.
-before moving on to my selection of God-language of Hemingway and Mailer. I briefly emphasize the sacred, indeterminacy, and grace.
 {{pg|331|332}}
 === The Rhetoric of Modernism ===
@@ Line 28: / Line 27: @@
 These vignettes, a quarter century apart, illustrate the Modernist rhetoric of Hemingway and Mailer. For both authors, they mark a beginning, a revelation, a new Genesis. One thing is clear: unlike the biblical Genesis, there is an absence of traditional concepts of God, a sense of Providence, a rational universe. We have ''left'' the Garden. Many have written on religious themes in Hemingway and in Mailer: certainly, the themes exist and can be discussed.{{efn|Recent articles include Buske,{{sfn|Buske|2002}} Stoneback,{{sfn|Stoneback|2003}} Lewis,{{sfn|Lewis|2004}} Stolzfus,{{sfn|Stolzfus|2005}} Adamowski,{{sfn|Adamowski|2005}} Kroupi,{{sfn|Kroupi|2008}} Bernstein,{{sfn|Bernstein|2008}} Cappell,{{sfn|Cappell|2008}}, Sipioria,{{sfn|Sipiora|2008}} and Whalen-Bridge and Oon.{{sfn|Whalen-Bridge and Oon|2009}}}} But I would like to examine the overall ''matrix'' of Modernity in which those themes are embedded, focusing on the ''disenchantment'' of the world.
+=== Modernity and Disenchantment ===
+Lewis says the modern novel is “doubly secular,” representing a world vacated by God.{{sfn|Lewis|2004p=673}} The representation is both thematic and formal. Much has been written about the changing status of religion in the era of Modernity— a period, shall we say, from roughly 1900 to the present day—and many{{pg|333|334}} concepts have been used, such as secularization, loss of faith, ironic cultures, cognitive minorities, the disenchantment of the world, the sacred and the profane, and modernist literature as religion substitute. As one might expect, the literature is considerable.{{efn|Owen Chadwick (1975) is a useful introduction to secularization. Modernity and Christianity are discussed in Hans Küng (1980). Spirituality and modern man are the focus of Carl Jung (1933). Ironic cultures are dealt with by Ernest Gellner (1974), while irony as a product of the Great War is in Paul Fussell (1975). Cognitive minority is used by Peter Berger (1969), while Berger
+& Luckmann (1966) use terms such as deviance, heresy, and symbolic universe (98-100). Disenchantment of the world goes back to Max Weber in the 1940s. Weber, sacred and profane, and modernism as religion substitute are described in Lewis (2004).}} After all, Modernity and the disenchantment of the world is a thing of complexity.{{efn|Secularization in England, for instance, involves Darwin’s The Origin of Species (1859) and the literary responses: including Tennyson’s In Memoriam (1850), Arnold’s Dover Beach (1867), and the novels of George Eliot such Silas Marner (1861) and Middlemarch (1871–72). Eliot translated two works of German radical theology,D. F. Strauss’ Life of Jesus (1835, ET 1846) and Feuerbach’s The Essence of Christianity (1841, ET 1854).Willey (1964), Brown (1969) and Chadwick (1975) are
+useful guides, as is Kucich (2001).}} But it cannot be undone.
 === Notes ===