Comparative Devotionalism: Hinduism and Christianity

I suspect that many people would feel very uncomfortable watching a religious person express devotional love to that person’s chosen deity in a very emotional and effusive manner. The sheer emotional intensity amid the dancing and chanting in a Hare Krishna temple can be daunting to a visitor. The phenomenon of what in Hinduism is called bhukti is hardly rare, and this begs the question of whether there is a human instinctual urge to feel and express even lifelong loving devotion to an entity that is not based in the created realm and thus cannot be realized and instantiated as another human being can be and is. Whether there is a phenomenon that is human, thus beyond the manifestations in various religions can go a long way in answering the question of whether an innate instinctual urge exists, even if it is more pressing in some people than in others. Some people, for instance, work their whole life in business, while other business practitioners reach a certain point in years when they “check out,” and head to a divinity school or seminary. Still other people assume religious vocations as young adults and spend the rest of their life ministering to people and officiating at religious rituals. Some people spend their entire life without feeling devotional love directed to a deity, while other people, such as the Hindu mystic, Ramakrishna, are utterly consumed by the inward fire of religious devotion. Was Ramakrishna’s devotion different in kind from a Christian’s intense love of Jesus, or is there what can be termed a human bhakti phenomenon, and if so, is it capable of breaking down religious barriers that can excite animosity and even hatred?

The full essay is at "Comparative Devotionalism."

I Wasn't Supposed to be a Writer

Ideally, a person is able to earn money doing something that matches one's authentic self. In other words, working in a field that is also passion and involves an innate talent or ability can add a lot to the happiness of a life. Many people get sidetracked, whether by greed or limited opportunities. Still other people do not know what their passions are, or have not realized what natural talents, or "gifts," could be tapped. Some people get trapped in dysfunctional organizations in which the organizational culture discourages self-discovery or is otherwise negative and even vindictive. 

The full essay is at "I Wasn't Supposed To Be A Writer."

Modern Society Reflected in Screenwriting: Actions Speak Louder Than Words

In what could be taken as a rendering of modern society, David Howard (p. 82) characterizes the “heart of dramatic writing” as thinking of “the actions of the characters and how they should be seen by the audience.” Howard is referring specifically to storytelling by screenwriters. Whereas the novel genre is particularly well-suited to exploring the interior lives of characters (e.g., their thoughts and feelings) via the expository word and the stage privileges dialogue due to the limits on action (and place), film is a visual medium, and thus uniquely able, or free, to capture actions and vistas. Hence, Charles Deemer (p. 64) advises aspiring screenwriters: “Always look for ways to tell your story visually without words.” It is as though he were stuck in the “silent” era, before the “talkies.” That films having soundtracks were referred to as talkies, at least initially, suggests that dialogue was (and is) no small matter in the film genre of storytelling. In fact, some stars who were quite notable during the “silent” era found the transition to “talkies” rather daunting, if not impossible, given the importance of voice, which pertains specifically to dialogue.

The full essay is at "Modern Society in Screenwriting."

Sources:

David Howard and Edward Mabley, The Tools of Screenwriting: A Writer’s Guide to the Craft and Elements of a Screenplay. (New York: St. Martin’s Press, 1993).

Charles Deemer, Screenwright: The Craft of Screenwriting (Xlibris, 1998).

A U.S. Visa Fast-Track For Rich Investors

The New York Times reported in December 2011 that affluent foreigners had been rushing to take advantage of a U.S. immigration program. The foreign applicants must invest at least $500,000 in construction projects within the United States. The number of applicants had nearly doubled since the end of 2008 to more than 3,800 in the 2011 fiscal year. The intent of the program is to spur economic development at a time of high unemployment. Yet the program has also been characterized as a cash-for-visas scheme. Besides the question of whether the program’s rules have been stretched in New York City to qualify projects in prosperous areas for special concessions, an ethical question can be raised concerning who should get a visa.

The full essay is at "Visa Fast-Track for the Rich."

Capitalism & Caste: Melting Untouchability in India

In what has become known as India, the caste system of Hinduism has for millennia served as the template for the socio-economic ordering of people into family-based groups. By the end of the first decade of the twenty-first century, the economic liberalization policy put in place in 1991 to replace the stagnant “import-substitution” domestic-favoring model of economic development had enabled some people in the lower castes to vault into social acceptability by virtue of what The New York Times calls “the newest god in the Indian pantheon: money.” Given the advent of the prosperity gospel in Christianity and the associated eclipse of the “camel getting through the eye of a needle” much-earlier-hegemonic association of wealth with greed, a similar statement could be made with regard to the Trinity (see “Godliness and Greed” and "God's Gold," both available at Amazon).

The full essay is at "Capitalism and Caste." . 

Hugo

Martin Scorsese’s Hugo (2011) is an intriguing story based on vocational functionalism, which in turn is based on deism. In other words, the film essentially applies an early modern theological "argument from design" to a pillar of modern society: one’s profession. In this regard, the film is not just a kids’ movie. The visual "3D" feature is not where the real depth of the film is located. The story achieves its fullness beyond the visuals in having several levels around a core philosophy, which serves as the story's core meaning. For this reason, Hugo has the potential to become a classic. In this essay, I explore the philosophy that lies at the basis of the film's story. I begin with deism and tie it to functionalism. 

The full essay is at "Hugo."

On the Entitlement to Exceptionalism

John Blake of CNN asks, “Have you ‘walked the aisle’ to ‘pray the prayer?’ Did you ever ‘name and claim’ something and, after getting it, announce, ‘I’m highly blessed and favored?’ . . . If this is you, some Christian pastors and scholars have some bad news: You may not know what you’re talking about. They say that many contemporary Christians have become pious parrots onstantly repeating Christian phrases that they don’t understand or distort.”[1] Unfortunately, the epistemological brain-freeze extends beyond religion onto business, thanks to marketers. 

The full essay is at "Entitlement to Exceptionalism."

1. John Blake, “Do You Speak Christian?” CNN, July 31, 2011. 

Going to Work: Is Money the Exclusive Motive?

In the month before the Oscars, Turner Classic Movies runs films under the promo, "Thirty One Days of Oscar."  Interestingly, in promoting this series, the network reminds viewers to watch the Oscars on another network.  Although the strategy could be that if people watch the Oscars, they will be more likely to watch TCM, it could also be that the people who operate TCM really do love movies and they are not bothered at all by viewers going to another network to view the gold standard of cinema: the Oscars. In other words, it could be that a passion for film trumps the incessant drive for more profit (i.e., greed) that typically occupies the attention of business managers. I submit that this is rare in business. 

The full essay is at "Going to Work."