François Truffaut is among the few French directors whose work can be labeled as “pure fiction.” He always professed that films should not become vehicles for social, political, religious, or philosophical messages.
Having chosen “entanglement” as the best word to describe religious and secular cultures interacting, I noted with interest the oral arguments in Carson v. Makin, heard 8 December 2021.
Consider two different characters: Alanna and Brent. Both refuse to get the COVID-19 vaccine, but their motivations are different. Alanna believes that the vaccine is unsafe and ineffective. Brent simply doesn’t care much about protecting others, and so he can’t be bothered to get vaccinated. Are these characters irrational?
“Our teachers and students and families are so excited to be back, to see everyone again,” said Brandon Tesh, director of the Third Street Music School in New York City. His school resumed in-person classes in September 2021 after 18 months of online instruction, caused by government-ordered school shutdowns aimed at slowing the spread of the COVID-19 virus.
Where does philosophy belong? In lecture halls, libraries, and campus offices? In town squares? In public life? One answer to this question, exceedingly popular from the Enlightenment onward, has been that philosophy belongs on stage—not in the sense that this is the only place we should find it, but that the relationship between philosophy and drama is particularly productive and promising.
What is democracy? Pundits have been writing recently that democracy is majority rule, but that is wrong, dangerously wrong.
Why spy? . . . For as long as rogues become leaders, we shall spy. For as long as there are bullies and liars and madmen in the world, we shall spy. For as long as nations compete, and politicians deceive, and tyrants launch conquests, and consumers need resources, and the homeless look for land, and the hungry for food, and the rich for excess, your chosen profession is perfectly secure, I can assure you. (John Le Carré, “The Secret Pilgrim”)
Charlie Chaplin was certainly the greatest mime, probably the greatest actor, and arguably the greatest artist in any medium in the twentieth century. As self-transformations go, his personal rags-to riches story is hard to match. But the theme of metamorphosis also permeates his movies.
Do Hollywood’s portrayals of policing matter as much as the industry’s material entwinement with law enforcement—as much as the working relationships pursued beyond the screen? Instead of conceding that the consumers of popular media are eminently capable of thinking for themselves (and thus of resisting flattering depictions of power), more and more commentators are calling for the complete elimination of cop shows, cinematic police chases, and other, ostensibly entertaining images of law enforcement.
Corruption has risen to the top of the British political agenda. Even if we agree with Boris Johnson that the UK is “not remotely a corrupt country”, then Britain certainly did struggle with corruption in the past. Indeed it has had a long history of corruption and anti-corruption. This has some lessons for today.
In 2021, our authors published new research, analysis, and insights into topics ranging from religious tolerance to taboo, atheist stereotypes to the appeal of religious politics, and much more. Read our top 10 blog posts of the year from the Press’ authors featured in our Religion Archive on the OUPblog: 1. Stereotypes of atheist scientists […]
This year on the OUPblog, our authors have marked major anniversaries, championed activism, confronted antisemitism, shattered stereotypes, and sought to understand our post-pandemic world through literature. Dive into the top 10 literature blog posts of the year on the OUPblog:
As we approach the end of 2021, we can look back at the previous two years of restrictions, lockdowns, COVID tests and vaccination lines, not to mention all the political strife… or we can look to the unknown, ahead to the new year. But let us pause for a moment and enjoy the now: a holiday season that should be livelier than last year’s. After all that’s gone on, we could use some old-fashioned holiday cheer.
The ghosts of Weimar are back. Woken up by the rise of populist right-wing parties across Europe and beyond, they warn of danger for democracy. The historical reference point evoked by these warnings is the collapse of the Weimar Republic followed by the Nazi dictatorship. The connection between now and then seems indisputably obvious: democracy died in 1933, and it is under attack again today.
A Charlie Brown Christmas was never supposed to be a success. It hit on all the wrong beats. The pacing was slow, the voice actors were amateurs, and the music was mostly laid back piano jazz (the opening theme, “Christmas Time is Here,” carried a strange, wintery melody built on unconventional modal chord progressions). It was almost like the program was constructed as a sort of anti-pop statement. In many ways, that’s exactly what it was. And that’s exactly why it so worried the media executives who had commissioned it.
The story of Afong Moy, the first known Chinese woman on American soil, and the first Chinese person to come face to face with American audiences across the country has been told recently by both the historian Nancy Davis as well as the playwright LLoyd Suh. Davis explores Afong Moy’s life and the different lessons that can be learned through research as well as fictionalization.