Sylabus
* Syllabus: Theological Dimensions of Czech Cultural Expressions
* Each Friday from 11 to 12:30 in Room S-2 at the Protestant Theological Faculty
Office Hours: 10:30-12:00 on Thursdays or by appointment in Trojan/Keřkovský’s Office
Dr. Joyce (Mauler).Michael, jmauler@volny.cz
The course will seek to explore ways in which central existential concerns and theological themes of the Judeo-Christian tradition manifest themselves in the works of select Czech authors, composers, and artists whose creations are not explicitly ‘religious’ or intentionally ‘theological.’ Exploratory lectures and extensive class discussions of works by Milan Kundera, Jaroslav Seifert, Bohuslav Martinů, Jan Hísek, and artists featured at the Veletržní Palace of the National Gallery will examine the extent to which biblical and theological underpinnings remain an integral, if frequently hidden, part of the Czech cultural milieu. Thus, ‘theological’ dimensions of ‘a-theistic’ societies and our secular age may be revealed, and the role that theological themes play in the lives of contemporary people may begin to be identified.
Ideally, each meeting of the seminar will consist of four components: 1) an exploratory lecture by the instructor, followed by consideration of 2) a musical composition by Bohuslav Martinů 3) a piece of art by Jan Hísek or of the students’ choosing, 4) poems by Jaroslav Seifert or passages from Milan Kundera’s novel The
* Unbearable Lightness of Being
There will also be optional opportunities for students to participate in the following outings: 1) a visit to the National Gallery’s Veletržní Palace in October (strongly encouraged) 2) a dramatic event or film in November 3) a concert featuring works by Bohuslav Martinů in December
Assignments will include the following:
* 1) Careful reading of The Unbearable Lightness of Being and the preparation of 1-2 pages of complete citations of passages in the novel that strike you as being especially significant. These will be the basis for group discussions. Completion date: November 2.
* 2) Careful reading of select poems by Seifert and preparation of a 1-2 page paper reflecting on one of the poems. These will be the basis of class discussion. Paper due on Dec. 21.
* 3) A brief presentation on one work of visual art of your choosing. Dates to be selected. 4) A final “reflective activity” may be decided upon by seminar participants.
The following descriptions of individual classes include citations that will be the starting point of the session in question. These are not exhaustive, and the proposed themes are subject to change.
October 5:
The course’s theological context will be outlined in terms of poet Petr Hruška’s observation that “real grace and gracefulness appear only where all of the gloominess, depression, and weariness of life, all of the ‘loneliness of relationship’ are somehow present as well Only in the midst of that can a thin thread of light shine….”
Course procedures and approaches will be discussed, and ways of reading that involve intentional immersion, attention to iconoclastic shifts in themes/style, and an awareness of apparent contradictions will be mentioned.
An initial experience of ‘reading’ secular ‘texts’ will concentrate on the Lento-Allegro movement of Martinů’s Fifth Symphony; Hísek’s “Little Tear Flower;” and Seifert’s “Once Only…” (Poetry, 78)
* October 12
The inherent ‘otherness’ and autonomy of music vis-à-vis interpretation will be considered in terms of Eduard Hanslick’s assertion that “the beautiful [in music] strictly speaking, aims at nothing, since it is nothing but a form which, though available for many purposes according to its nature, has as such, no aim beyond itself.”
Passages from Kundera’s novel that meditate on music will provide the backdrop for considering the counterpoint of some of Martinů’s Madrigals and the pure music represented by one of his Nocturnes; the texture and colors of Hísek’s “Little Flame,” and the rich imagery of Seifert’s “The Hunt for the Kingfisher” (Poetry, 125).
* October 19 - Proposed visit to the National Gallery at Veletržní Palace
The hidden - and potentially ‘transcendent’ - aspect of many paintings will be explored in terms of Otto Urban’s observation that Jan Hísek’s work “is based on a kind of flow and turbulence..., which gradually pulls the viewer inside, opening up other dimensions for them, hidden and veiled at first sight, hidden by a curtain of mist.”
As a backdrop for the visit to the National Gallery, we will listen to, but not discuss, passages from Kundera’s novel that meditate on art; Martinů’s “Impromptu for Two Pianos;” and Seifert’s “A Visit to the Painter Vladimír Komárek” (Poetry, 148-9).
* October 26
Consideration of ‘religious readings’ of literary texts will begin with Robert Detweiler’s observation that “the Western mind…wants a language in control of the holy, rather than as an uncontrollable part of it.” His advocacy of a “process of reading for mystery…in secular and fugitive texts” will also be entertained.
A key to a viable method of approaching literary texts may be found in Kundera’s observation that “the river flows from century to century, and human affairs play themselves out on its banks. Play themselves out...while the river flows on” (164). Seifert’s “A Bach Concerto” (Poetry, 191), the rhythm and movement of Martinů’s “Three Czech Dance for Two Pianos: Allegro,” and the layout of Hísek’s “Anagram 2” may further illustrate what it means to ‘read religiously.’
* November 2
A consideration of the life settings of Kundera, Seifert, and Martinů will focus on the following themes and on the ‘texts’ noted in parenthesis, as well as on Hísek’s “Anna.”
Ambiguity: “My Father was a Social Democrat, while my mother was a quiet lyrical Catholic..., and I would walk back and forth between them, from Red Flag Meetings to ‘Thousandfold We Greet Thee’ in a single day or evening.” (Seifert, “Lost Paradise,“ in Poetry, 139-41)
Quest/Struggle: “The artist is always searching for the meaning of life, of his own and that of humankind; [thus, he is always] searching for the truth. A system of uncertainty has entered our daily life. The pressures of mechanism and uniformity to which it is subject call for protest and the artist has only one means of expressing this-by music.” (Martinů, Trio No. 1, Adagio/Allegro)
Exile/Oppression: ““My stay in France is final, and therefore, I am not an émigré…. Nor do I feel uprooted. For a thousand years, Czechoslovakia was a part of the West. Today, it is a part of the empire to the east. I would feel a great deal more uprooted in Prague than in Paris.” (Kundera, 222-3)
* November 9: Focus on The Unbearable Lightness of Being will begin
Starting point: “Tereza reminded him of no one in his former life. She was neither mistress of wife. She was a child whom he had taken from a bulrush basket that had been daubed with pitch and sent to the riverbank of his bed” (6).
Direct references to God, biblical texts, and theological themes will be explored in terms of Kundera‘s references to the baby abandoned in the bulrushes and the act of being delivered up. References to the Kingdom of God, the Son of God, the creation story, and what it means to say that human beings have been fashioned in God’s image are included among other important biblical themes in Kundera’s work.
We will listen to the play of high and low voices in Martinů’s “Sanctus” and consider the iconography in Hísek’s “Lion in the Well” or a student’s chosen artwork.
November 16: Philosophical feature of the novel, 1:
Starting point: “If every second of our lives recurs an infinite number of times, we are nailed to eternity as Jesus Christ was nailed to the cross. It is a terrifying prospect. In the world of eternal recurrence, the weight of unbearable responsibility lies heavy on every move we make” (4).
We will consider Nietzsche’s ‘doctrine of the eternal recurrence of the same,’ and examine examples of Kundera’s references to this theme and his use of recurring images.
Recurring themes in Martinů’s Sonata No. 3, Poco Andante will be followed, and Hísek’s “Anagram 1” will be considered in terms of “Anagram 2.”
* November 23: The societal impact of communism as portrayed in the novel
Starting point: “Sabina’s initial inner revolt against communism was aesthetic rather than ethical in character. What repelled her was not nearly so much the ugliness of the communist world..., as the mask of beauty it tried to wear.” (242-3)
We will consider some ‘liturgical manifestations’ of communism, and examine, among other things, the impact of the element of duplicity that its totalitarian approach to reality introduced into individual lives.
We will listen for instances of dissonance and harmony in Martinů’s “Organ Vigil” and examine the shapes of Hísek’s “Devil” or a student’s chosen artwork.
* November 30: Philosophical Feature, 2/Existential Theme 1: ‘Es muss sein’ (Tomáš)
Starting point: “Unlike Parmenides, Beethoven apparently viewed weight as something positive.... “Es muss sein”: necessity, weight, and value are three concepts inextricably bound; only necessity is heavy, and only what is heavy has value” (31).
We will begin by looking at Kundera’s treatment of Parmenides and Beethoven, and then consider es muss sein in terms of Tomáš’ vocational and sexual passions. We will conclude by reflecting on the theological aspect of his quest for ‘the other.’
We will listen for the breaking of conventional musical syntax and moments of