Iris Parables And The Modern World

Front 1

What are the five models of engagement?

Back 1

Avoidance, Caution, Dialogue, Appropriation, and Divine Encounter.

Front 2

What is the sub-point under avoidance?

Back 2

Presupposition of antagonism

Front 3

What is the sub-point under Caution?

Back 3

Presupposition of the need for caution

Front 4

What is the sub-point under Dialogue?

Back 4

Attempted initial neutrality

Front 5

What is the sub-points under Appropriation?

Back 5

1. Expectation of Humanity—the question—“the question of the essential meaning

of human experience.”
2. The goal of relating theology and film—is not “to render moral judgments …, but

to achieve greater personal insight,” by providing indirect, analogous

narratives.

Front 6

How do we define Divine Encounter in movies?

Back 6

Divine Encounter—the sacramental mediation of an “experience of transcendence.”

Front 7

What are Lunde's three worldview questions?

Back 7

What is:
1. The Nature of Ultimate Reality

E.g., existence/non-existence of God; attributes; purposes;

etc.

2. The Nature of Humanity

E.g., challenges faced and nature of resolutions; nature of

thriving/loving; purpose; basis for hope; etc.

3. The Nature of Ethics

E.g., the nature of right and wrong; the means by which

justice/mercy are achieved; etc.

Front 8

The Typological approach lends itself two ways:

Back 8

1. Embracing/Endorsing
2. Revising/Rejecting

Front 9

What is the Rational-World paradigm (4 aspects)?

Back 9

1.People are essentially rational (you can reason with them)
2. We make decisions on the basis of arguments.
3. Rationality is determined by how much we know and how well we argue.
4. The world is a set of logical puzzles that we can solve through rational analysis.

Implications: Apologetics? Evangelism? Politics?
-Let me give you 5 reasons for Christ’s divinity….etc.
Were not ditching this, we just question how important it really is.

Front 10

What is the Narrative paradigm (4 aspects)?

Back 10

1. People are essentially storytellers.
2. We make decisions on the basis of good reasons, which vary depending on the communication situation, media, genre (philosophical, technical, rhetorical, or artistic).
3. Narrative rationality is determined by the coherence and fidelity of our stories.
4. The world is a set of stories from which we choose, and thus constantly recreate, our lives.
Implications: Apologetics?
Testifying to the power of God is a powerful kind of apologetics.

Front 11

Define Narrative:

Back 11

Symbolic actions—words, and/or deeds, that have sequence and meaning for those who live, create, or interpret them.
-In conversations with our friends you create sequences out of discrete events (PLOT); you dramatize good and bad individuals (HEROES AND VILLAINS); imputing motives to what others do and think (CHARACTER DEVELOPMENT); and moving toward a CLIMAX.

Front 12

What is Coherence?

Back 12

Has to do with how PROBABLE the story is to the hearer.

Front 13

What is Fidelity?

Back 13

The extent to which a story RESONATED with listener’s beliefs, values, and experiences

Front 14

What is Internal coherence?

Back 14

Internal: Is the outcome believable?
Did the storyteller distort the story at all?
Did the characters act consistently?
Are there holes in the story?

Front 15

What is comparative coherence?

Back 15

Comparative: We often judge the coherence of a narrative by comparing it with other stories we’ve heard that deal with the same themes.

-We judge stories by comparing them to other stories.

Front 16

What are the two chief concerns relating to fidelity?

Back 16

(1) Congruity with the listener’s values;
(2) actions they think are best.
-"If that was me..."

Front 17

What is an ideal audience (Fisher)?

Back 17

“it appears that there is a permanent public, an actual community existing over time, that believes in the values of truth, the good, beauty, health, wisdom, courage, temperance, justice, harmony, order, communion, friendship, and oneness with the Cosmos—as variously as those values may be defined or practices in ‘real’ life” Fisher

Front 18

What is moral intuition (C.S. Lewis)?

Back 18

COMMON GRACE
Lewis: Each of these divergent cultures “had an idea that they ought to behave in a certain way.”
“You don’t know what a straight line is, until you have the crooked line.
-The moral “ought” is something really hard to explain when self-interest propels you in the other direction. Lewis’ argument is God’s common grace amongst all people.

Front 19

Define Meta-Narrative:

Back 19

“meta-narrative”— “a global or totalizing cultural narrative schema which orders and

explains knowledge and experience.”

Front 20

The expression of God's kingship: Grace and Demand;

Back 20

Creator Provisions
Co-Regency with limits

Front 21

Snodgrass:

Back 21

"Discourse we can tolerate; to story we attend"

Front 22

Define parables:

Back 22

Parables—Extended Analogies between two or more things to make a point

Front 23

Define parabole:

Back 23

parabolé—“to throw alongside”—putting one thing next to another to make a comparison

Front 24

The Indirect Nature of Parables:

Back 24

allusive, distracting the reader until the point hits home

Front 25

Our natural tendency with direct communication (2 things):

Back 25

1. To conform new information to pre-understanding
2. To close off before the point hits home

Front 26

What is the interpretive goal of a parable?

Back 26

The interpretive goal—to approximate Jesus’ intent

Front 27

Irenaeus, Tertullian, and Augustine took what approach?

Back 27

Allegorical
Problem: How much to allegorize—avoiding interpreting it according to one’s own message

Front 28

One-point method of Adolf Julicher:

Back 28

1. not allegories, but similitudes

2. only one point of comparison

3. usually a general maxim (general truth)

Front 29

Blomberg (Structural awareness)

Back 29

1. Points carried by main actors
2. Identify the points after identifying the main actors.

Front 30

Bailey (cultural awareness)

Back 30

What about the details?

Culture helps inform main points

-details not independently meaningful—rather, inform the main points

Front 31

Interpretive Blomberg and Bailey:

Back 31

1. Identify main actors

2. Perceive one point per actor, deduced within various contexts

- Literary context and Jesus’ ministry—Luke 15:1-2 and Jesus’ penchant

- Cultural context—Informed by cultural elements (Bailey)

3. Biblical context—Informed by biblical metanarrative

-grace
-demand

-Kingdom

Front 32

Complex Three Point Parables:

Back 32

Some of the parables of Jesus have multiple figures who make the same basic point.

They naturally can be grouped together corporately in one “actor” and point.

Some are monarchic, while others have equally matched subordinates

Front 33

Quasi-Parable:

Back 33

Sheep and The goats:

The reason this story is termed a “quasi-parable” is because it starts with a description of the coming Son of Man sitting down to judge the world. As such, it is like other eschatological portrayals and not parable-like.

But then the reference to the Son of Man changes to the “king” who divides people as a shepherd separates the sheep from the goats. This approaches parabolic qualities, even

though the sheep and goats do not recur.

Front 34

Muehlhoff's Personal Criteria:

Back 34

1. Know the content before viewing
2. How does the film present sin?
3. Is there a potential that I would sin watching this movie?
4. Long term impact (on my soul)?
5. Self-Delusion
-Do I have artistic or moral blind spots?
-How can I tell (accountability)?

Front 35

What is Johnston's law of proportionality?

Back 35

“If there is evil presented, is there a concomitant good that shines through, or is offered and rejected, or suggested itself by its very absence, such that truth, beauty, or goodness may be considered” Robert Johnson, REEL SPIRITUALITY, p.226

Front 36

Movies might produce a lack of compassion by:

Back 36

Showing us that it is acceptable to be angry or to insult one another, or to put others down.

-Matt. 5:22

Front 37

What role does self-delusion play in creating criteria?

Back 37

We have to be aware of our faults and be able to have accountability for the limits that we do not know.