Renunciation vs. Dutiful Action in Hinduism

Hegel looked at human history as developing through dialectics resolved at a more advanced point in a trajectory of expanding human freedom. It may be in the history of religion that less superstition evinces an evolution of a different sort. The monotheism of the Abrahamic religions came out of a polytheistic context, but it is a more difficult matter to claim that monotheism represents a development of human religion historically because polytheism has continued. Even though some contemporary interpreters of Hinduism’s main text, the Bhagavad-Gita, claim erroneously that the god Krishna being the supreme deity in that text means that it is monotheist even though in that text, Krishna himself acknowledges that people pray to other gods and goddesses that exist. Rather than maintain that monotheism is an advancement on polytheism, I submit that conceptual contradictions between contending religious claims in any religion can be surmounted, as transcended, though with the caveat that in polytheism, contradictions have a firmer grounding even though they too are to be transcended if religion itself is permitted to evolve.

The full essay is at "Renunciation vs. Dutiful Action in Hinduism."

La Dolce Vita

Levi Strauss theorized that the function of a myth lies in reconciling basic contradictions, whether they are felt within a person or at the societal level. Such contradictions, and even dichotomies, can be used to energize a story’s dramatic tension and for comic effect, such as through misunderstandings. Typically, contradictions are reconciled in the denouement of a narrative; if so, the audience gets a psychic payoff. Otherwise, the audience is left with the uneasy feeling that the world is somehow not in order. I don’t believe that Fellini reconciles the contradictions in his film, La Dolce Vita (1960). The last scene, in which the film’s protagonist, Marcello, a young and handsome single man who is a tabloid columnist, turns back to follow his high-society drinking friends, who are leaving the beach. He makes the choice to return to his life of late night parties with empty socialites rather than to walk over to the only sane, available woman in the film.  Marcello does not find or establish an equilibrium, but goes on as a lost soul. Although religion is not much discussed by the characters in the dialogue, the film’s structure can be described in terms of going back and forth between two contradictory basic principles—one represented by the Roman Catholic Church and the other by the Devil. In spite of the back-and-forth, which even includes the visually high (overlooking Vatican Square) and low (in the basement-apartment of a prostitute), the main characters remain as if in a state of suspended animation between the dichotomous and contradictory relation between God and the devil. If commentators on the film haven’t highlighted this axis, the verdict could be that film as a medium could go further in highlighting religious tensions and contradictions than it does—not that going beyond religious superficialities to engage the minds of viewers more abstractly necessarily means that the contradictions must always be resolved or sublimated in a higher Hegelian synthesis and the dichotomies transcended. 

The full essay is at "La Dolce Vita."

Religious Transcendence

I contend that the core of religion is its quality of transcendence beyond the limits of human thought, perception, and emotion. This is not to say that nothing may be said of the divine, but that the stuff of our realm does not exhaust the mystery. We can’t have God utterly figured out, for it would be impious of creatures of finite knowledge to presume such knowledge that would fill up the dark hole of absolute mystery. I turn to the Christian theologian, Karl Rahner, and to the Hindu Rigveda to support this point, which is valid, I submit, for anything that is (or can be counted as) a religion.

The full essay is at "Religious Transcendence." 

Marx and Chinese Dynasties: A Postmortem on Occupy Wall Street

My essay that suggests that the Occupy Wall Street protests should have focused on the large corporation itself (i.e., that the large corporate form be expunged from modern society) rather than on a myriad of redistribution agendas resonates with Marx’s theory of revolution. In that theory, the proletariat finally throws off the chains and subdues the hitherto hegemonic capitalists in a materialist reading of Hegel's idea that history progresses toward greater freedom of the human spirit. The redistributive push of the Occupy movement fellf short because even increased redistribution advocated would have been within extant the political-economic system that the corporations dominate and run (i.e., including Congress). If the protesters were in fact serious about confronting corporate capitalism, their movement should have been radical rather than reformist because reforms are within the system that works for and by corporations.

The full essay is at "Marx and Chinese Dynasties: A Post-Mortem on Occupy Wall Street." 

Democratic Protests in the Middle East: A Conflagration of Historic Proportions amid a Constancy in Human Nature?

Perhaps by looking back on one's own time as though it were already historical, it is possible to assess whether what one is witnessing on the global stage is truly significant from the standpoint of human history or merely of that which history is replete. In the context of the popular protests in the Middle East in early 2011, the question is perhaps whether the world was witnessing a Hegelian burst of freedom or merely more of the same in terms of political revolutions.

The full essay is at "Democratic Protests in the Middle East."