[Francisco]
I wonder what Dmb thinks of the CONCRETE  theism of the likes of St. Francis
of Assisi, Maximillian Kolbe, Titus Brandsma, Dietrich Bonhoeffer, martyred
Bishop Oscar Romero, Thomas Merton, Martin Luther King, Archbishop Dom Helder
Camara, Christian activists of Africa, South America and the Philippines. Low
quality theism?

[Arlo]
If I believe in leprechauns and because of that belief help an old lady across
a busy street so that she can find the pot o' gold, my actions may have
produced good results (getting an old lady safely through traffic), but that
does not mean my beliefs are High Quality. Moreso, humans do not need to
believe in leprechauns to find reason to help old ladies across busy streets. 

But I am not advocating that we should dismiss leprechaun stories, rather
encourage people to take a Bird's Eye view of stories about leprechauns, gods,
pixie fairies, titans, bird-people, talking crows, spider women, burning
bushes, etc. and instead of arguing which story is "right", or which character
in which story is "true", ask "what is it that all these fingers are trying to
point to? What are the strengths and weaknesses of any?" And then see each in
its historical, geographical, social context, to see, e.g., the historical
progression of Myth in the Occidental tradition and the evolution or transfer
of particular metaphorical thema over time. 

In the end, its like Art. Humankind's Myths hang like paintings in the Great
Human Condition Museum. A visitor may say "This is the One True Painting, all
others are false", and perhaps there is nothing we can do to prevent this (we
can prevent this person from destroying the other paintings, or preventing
other people from seeing the other paintings), but we should continue
encouraging patrons to take a larger perspective, to walk the halls of the
museum and see that all its paintings point to that which is beyond words,
incapable of description or containment, and see the tools deployed in any one
painting (color, form, image, perspective, etc.) are simply manifestations of
that painter's historical placement and social context. 



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