THEOLOGY:
Theologians have debated what constitutes evil for centuries, and panels in the theology section would offer analysis concerning anything either in the history of theology or in modern religious thought. Possible topic ideas might include:
**the thinking of any specific theologian (or era of theology) concerning the nature of evil
**the ways that theology has (or has not) dealt with the evils of the 21st century (including Auschwitz and 9/11)
**the impact of the Death of God on theological understandings of evil?
**what new challenges does the trend of globalization have on future contemplations of evil?
**to what extent is theology allowed to develop by the presence of evil?
**how does theology provide a foundation that identifies or fights against evil?
LITERATURE:
If philosophy and theology are allowed to proceed based on myth, then literature would seem to play a unique role, not only as a laboratory of thought experiments, but also in providing an anchor or foundation from which to build. At the same time, the danger in evil stories is that they will open the door to perpetuating or encouraging new evils.
**In what ways does literature serve as a unique way to represent evil?
**How can writing or some forms of literature be viewed as evil?
**How have traditionally evil figures (such as Judas or the Satan) influenced or been incorporated into literature?
**In what way do poets or prose writers provide a foundation that suitably identifies or fights against evil?
ART and ART HISTORY:
Historically, artists have performed a valuable role in concretizing images and manifestations of the holy to provide for a more rich and multi-dimensional worship experience. The images of evil in traditional art (Satan, Judas, etc.) are often a counterpart or an anti-ideal for religion; modern art has been called “evil” due to its creative interplay with traditional religious iconography. Works of art can also be used as a way of identifying, depicting and occasionally perpetuating various social evils.
**What relationship does modern art have with evil—especially that seen as obscene or blasphemous?
**How have artistic images in the past made or reinforced attitudes about evil?
**How has evil been imaged or imagined differently in pre-modern, modern or post-modern society?
**In what way can visual arts provide a foundation that identifies or allows individuals to fight against evil?
**How do “secular” and “religious” art compare in their identifications or depictions of evil?
ETHICS:
The interest of ethics is to articulate the nature of the good life in a way that allows individuals to prevent systemic evils on an individual and a social level. The assumption of ethics is that evil is a pernicious influence that thwarts a desire for true human flourishing, but that humans have the capacity and responsibility to work to avoid evils.
**What is the ethical mandate regarding evil: ought one investigate it and describe it, or steer clear from it?
**What responsibility do individuals have to proactively seek out and mitigate evils in the world?
**What resources of ethics allow humans to avoid doing or thinking evil in their daily lives?
**What are the main causes of evil in human experience and culture?
**Is there, or should there be, a relationship between ethics and the arts?
**How can a knowledge of ethics or social justice help to enact changes that will abolish systemic evils?
RELIGION:
Religious studies scholars have long been interested in the way that theology and ritual manifest to provide consolation for evils that occur and function to keep future evils at bay. In the history of Christianity, theology and rituals have developed in a dynamic that allows for the foundation of sacred texts to extend to address new and different evils that threaten individuals and societies as a whole.
**Many religious texts have an ambivalence concerning the divine relationship with evil: how do these effect religious thinking or practice?
**What examples of evil, in particular, seem to have had the greatest influence on the historical development of religion?
**What religious resources in particular seem to have had a long-lasting effectiveness in providing solace from Evil?
PHILOSOPHY:
Although evil actions are not rational actions, philosophers have nonetheless had a history of attending to the evil nature of humans from a standpoint that does not adhere to traditional Christian mythology or theology. The absence of the theological dimension has allowed for a different set of conclusions regarding the nature and function of evil.
**Do philosophical contributions to a discussion of evil necessarily involve a destruction of religion (e.g. Nietzsche)?
**Does philosophy have a better perspective on questions of good and evil than what is offered by religion?
**What specific philosophical resources allow humans to identify and prevent evils in daily life?
POP CULTURE and CULTURAL STUDIES:
Pop Culture and Cultural Studies: By focusing on the lived dimension of human existence, cultural studies is able to shed light on the assumptions and examples of evil that proliferate in everyday life. On the one hand, the emphasis on material culture brings to light the way that evil can be captured “innocently” in the objects generated by the needs and desires of a given population at a given time. On the other hand, the focus that cultural studies has placed on identity issues (including race and gender) has helped to spotlight the influence of evil in areas that were long masked and ignored.
**What is the significance of the emphasis on evil in recent popular cultural products (cinema, literature, video games)?
**What are examples of material culture that reflect evils that would otherwise be ignored?
**In what ways are racism, sexism, or sexual discrimination the prime examples of evil in the 21st century?
**How does a cultural studies approach reveal past evils in artifacts that have survived until today?
CREATIVITY AND EVIL:
Participants are asked to share short stories, poetry, fiction or creative non-fiction that wrestles with natural, moral or social evils. |
