Showing posts with label miracles. Show all posts
Showing posts with label miracles. Show all posts

Thursday, November 13, 2025

My Name is Bernadette

The film, My Name is Bernadette (2011), focuses, almost as an obsession, on the question of whether the girl “actually” saw the Virgin Mary in a series of visions at Lourdes. All too often, miracles are treated as ends in themselves, rather than as pointers to something deeper. Even the girl in the visual and auditory (albeit only to Bernadette) apparition identified itself only in terms of a supernatural miracle, the Virgin Mary’s Immaculate Conception. I contend that Bernadette’s awe-inspiring spirituality visually conveyed on screen, and Monsignor Forcade’s spiritually-insightful advice to Bernadette as to her functions in her upcoming life as a nun is more important than the miracles, even from the standpoint of religion. In other words, the story-world of the film, which is based on the true story of Bernadette at Lourdes, is a good illustration of a what happens when everyone in a large group of people reduces religion to science and even metaphysics and misses the sui generis (i.e., unique) and core elements of religion. Such is the power of group-think that conflation of different, albeit related, domains of human experience can remain hidden in a societal blind-spot. Not even the film makes this blind-spot transparent.


The full essay is at "My Name Is Bernadette."

Saturday, August 17, 2024

The Holy Grail: Artifact or Superstition?

Relics are nothing new to religion, whose legitimacy used to be synonymous with being ancient, which is one reason why the ancient Romans did not consider the nascent Jesus Movement to be a religion. The cup that Jesus uses in the Last Supper in Gospels is right up there with pieces of the wood cross of the Crucifixion as the most holy of relics in Christianity. “In Europe alone, there are said to be around 200 cups, each thought to be the Holy Grail—the cup used by Jesus Christ at the Last Supper.”[1] They can’t all be THE cup, but I bet if you visited each place, the partisans would insist that their cup is genuine. For example, the website of the cathedral at Valencia, in eastern Spain, proclaims regarding the cup there, “Tradition reveals that it is the same cup that the Lord used at the Last Supper for the Institution of the Eucharist.”[2] Never mind that medieval legend had it that Joseph of Arimathea had brought the Holy Grail near Glastonbury Tor in southern England shortly after Jesus’ death. That would be quite a distance to travel back them to deliver a cup. These two cannot both be right, yet Christians have prayed in both places as if the cup in each place were genuine. That people have gotten carried away with the super relic through history seems clear from “the fact that, over the centuries, legends have arisen of ‘grails’ producing miracles.”[3] That miracles have been said to arise from more than one of the cups ought to be a red flag that something is amiss, for only one cup could possibly be genuine and so miracles could not have come by means of proximity to the other cups. I submit that basic category mistakes regarding genres of meaning (and writing) are a big part of the problem as to why a presumed historical artifact has given rise to puerile superstition in the name of religious truth.

One scholar of religious studies, Joanne Pierce, is realistic in saying, “I honestly do not think that the actual cup from the Last Supper still exists.”[4] In fact, Pierce elaborates that because according to some Gospel accounts, the room was already prepared before Jesus and his disciples arrived, the cup used may not have even belonged to them. I submit that Pierce is conflating historical accounts and faith narratives—two very different, albeit related—genres of writing. That some of the Gospels have the room already prepared is itself an indication that we should not assume that the room actually was prepared beforehand.

Moreover, a faith narrative is not written as a historical account; the concerns of the writers would have been theological rather than to make empirical reports or accounts, especially as the Gospels were written many decades after the Crucifixion. Is it really likely that, for theological purposes, a detail such as how or whether the room was prepared would have been preserved in notes or orally? Pierce gets around this problem by stating that “the idea of the Holy Grail is more symbolic than realistic—in her words, ‘a cultural reality rather than a religious reality.’”[5] We are no longer concerned with the relationship of empirical history and faith narrative; the idea of the cup is what matters, and that isn’t even religious.

I think Pierce is wrong to jettison the religious meaning of the cup, even as an idea, because of the salvific significance at least in Roman Catholicism of the Eucharist in the gradual process of sanctification. Given the theological doctrine of transubstantiation—the real presence of Christ in bread and wine transformed into the body and blood of Christ—in Catholicism, it is interesting that, “(f)or Pierce, a Catholic, the idea of the Holy Grail is more symbolic than realistic.”[6] Zwingli, the Swiss reformer for whom the Eucharist is only symbolic, would be more likely than the Pope to agree.

Essentially, my argument is that faith narratives are neither historical accounts nor just cultural ideas; rather, the distinctive meaning in a faith narrative such as one of the Gospels is religious. It is felt proximity to religious meaning that is important—not whether a given cup was actually used by Jesus in a historical or empirical sense. To conflate the religious and empirical is to engage in superstition, as evinced by the attribution of miracles from Jesus’ historical use of a cup. Put another way, the religious significance of the Last Supper, which is Jesus being willing to follow his Father’s will in sacrificing his life for humanity, does not come down to the trite contention of which cup Jesus actually used. “It was just a cup,” Jesus might say; “You’re missing the point.” In other words, too much attention to the means can obstruct the ends being served by the means. 

Regarding the famous cup, the distinction between artifact and superstition can be transcended, perhaps even in a Hegelian sense of solving dialectics through human history, by focusing instead on distinctly religious meaning. In other words, perhaps superstition results from mistaking historical artifact for religious truth. This is not to say that the latter cannot come through history; only that if or when the transcendent does manifest on the surface of history, a faith narrative still cannot be taken for a historical account. To focus on the historical as if it were the point would be to miss the distinctly religious point, for the validity of religious meaning does not depend on the criteria of any other domain.


1 Julia Buckley, “They All Say They’ve Got the Holy Grail. So Who’s Right?” CNN.com, August 17, 2024.
2. Ibid.
3. Ibid.
4. Ibid.
5. Ibid.
6. Ibid.

Thursday, August 24, 2023

Fatima: The Miracle of the Sun

The film, Fatima (2020), tells the story of the three Roman Catholic children in Fatima, Portugal, who in 2017 claimed to see and hear the Virgin Mary periodically over a period of 6 months. The film centers around Lucia, the oldest of the three children, and, moreover, the question of whether the children really encounter the Virgin, or are lying, hypnotic, or even psychotic. In the film, as well as in “real life,” a miracle is associated with the last visitation. In the story world of the film, the visitation really happens, and the multitudes watching the children come to believe this when the Virgin delivers on a miracle as promised. Historically, believers as well as nonbelievers who were present at the event have testified that the Sun moved around in the sky and even came closer. If this really happened as witnesses have described, then the empirical “proof” in the story world of the film is not the whole story, and the religious truth therein is not limited to the faith narrative, but holds in an empirical, supernatural sense. An implication is that Jesus not only resurrects in the Gospel stories, but also as an empirical event in history. But, then, why have such supernatural events been so rare since the “time” of Jesus?  And, yet, witnesses as far as 40 km away from the visitation of the Virgin reported seeing the miracle of the Sun.

The full essay is at: "Fatima"


Monday, August 3, 2020

Miracles as a Literary Device

The Greatest Story Ever Told (1965) is known for being the first Hollywood movie in which the face of Jesus is shown. From the standpoint of the next century, the scandal in showing Jesus could only seem antiquated, if not outright silly. Rarely can such perspective on a scandal exist as it is occurring. In its own time, a scandal seems all-important and critically in need of being addressed lest life as we know it would otherwise come to an end. Ten years earlier, Nikos Kazantzakis' novel, The Last Temptation of Christ, had also been controversial, as was the 1988 film of the same name (and based on the novel) because Jesus imagines himself in the sexual act and he may struggle with mental illness. This scandal was more serious than was that which greeted The Greatest Story Ever Told even though the Jesus of Last Temptation ends up rejecting the temptation to avoid the cross and is thus faithful to his Father in the end. The viewer is left, however, without a decisive answer as to whether the film's Jesus suffers from mental fits because the film ends with Jesus dying on the cross. The theological validation of Jesus is made in Greatest Story, though curiously not chiefly in the usual way this is done in narratives about him. I submit that this deviation makes the film highly significant in that it emphasizes religious experience as a reaction. 

The full essay is at "The Greatest Story Ever Told."

Saturday, July 25, 2020

False Christians as the Power-Elite of a Church: A Case of Human Arrogance

In what begins as a story about Bess, a mentally-ill (or cognitively challenged) woman who marries Jan, an oilman, Breaking the Waves (1996) is a film that ends on a distinctively religious note that is nothing short of miraculous. The viewer is meant to be skeptical concerning the authenticity of Bess's spirituality, especially as seems delusional in having two-way conversations with God. Even as one of her prayerful petitions seems perhaps of having been granted when Jan returns from the oil rig to Bess, albeit with Jan paralyzed from an accident, the overwhelming view of the characters in the story, including Jan, is that, as Bess's physician asks Bess, "Do you really think you have so much power?" Bess is blaming herself for Jan's serious medical condition. She could reply, "It's God's power, not mine," but she is slow. Yet she can love, unconditionally. When Jan urges Bess to sleep with other men then tell him about the experiences so he will have the will to live, Bess complies and is summarily kicked out of her church. Even Bess's mother, with whom Bess lives, locks the door. The church elders and the minister are judgmental hypocrites who presume that they can consign a person to hell. Even so, Bess's trust in God as a matter of faith continues, and she sacrifices her life by willingly submitting herself to a sadistic sailor so that God might then heal Jan. Meanwhile, the unbelievers are trying to get Bess to a mental hospital, given her "delusion." On the morning after Jan and his friends on the rig drop Bess's body into the sea, one of the friends wakes Jan to come outside and hear bells ringing even as radar shows nothing out there. The viewer now knows not only that God performed a miracle on Jan, for he is walking around and even back on the rig, but also that Bess's faith is vindicated as heaven's bells miraculously are chiming. The burial followed by bells ringing at sunrise reflects the story of Jesus' passion. The overall message seems to be that we mortals don't know as much as we think we do about God's ways, even if we do happen to have power in the governance of a church.


The full essay is at "Breaking the Waves."