The Faith Of Modernism

This book addresses an under-researched area of modernist studies, reconsidering modernist attitudes towards feeling in the light of the humanities' turn to affect.

At the dawn of the 20th Century, several writers who were to become famous under the title of "Modernists" were advancing a deep agenda for reform in the faith and praxis of the Roman Catholic Church. But their agenda met with serious and scholarly opposition from another group of writers, whose essays are here made available in English. They include the historian and university rector Pierre Battifol, the biblical exegete M.J. Lagrange, OP, the Jesuit historical theologians Eugène Portalié and Léonce de Grandmaison, and the philosophers Eugène Franon and Joannès Wehrlé. All welcomed the historico-critical methods of research, and far from thinking them fatal to orthodoxy (as the Modernists did), they thought the Church's faith would survive and be strengthened by rigorous scholarship. These thinkers, then, are the true predecessors of Pius XII (Divino afflante Spiritu) and Vatican II (Dei Verbum). At the same time, these men thought outside the boxes drawn by 19th Century Positivism (Loisy), anti-intellectualist pragmatism (LeRoy), and romantic mysticism (Tyrrell). Their concerns hold new significance in the light of John Paul II's 1990 encyclical Fides et Ratio. Reading these too-long forgotten writers, then, deepens in a new way one's understanding of the Catholic Church's decision to decline and even condemn the Modernists' agenda, whether one ultimately applauds that decision or deplores it.

What if the religious themes and allusions in modernist poetry are not just metaphors? Following the religious turn in other disciplines, literary critics have emphasized how modernists like Woolf and Joyce were haunted by Christianity’s cultural traces despite their own lack of belief. In Poetry and Theology in the Modernist Period, Anthony Domestico takes a different tack, arguing that modern poets such as T. S. Eliot, W. H. Auden, and David Jones were interested not just in the aesthetic or social implications of religious experience but also in the philosophically rigorous, dogmatic vision put forward by contemporary theology. These poets took seriously the truth claims of Christian theology: for them, religion involved intellectual and emotional assent, doctrinal articulation, and ritual practice. Domestico reveals how an important strand of modern poetry actually understood itself in and through the central theological questions of the modernist era: What is transcendence, and how can we think and write about it? What is the sacramental act, and how does its wedding of the immanent and the transcendent inform the poetic act? How can we relate kairos (holy time) to chronos (clock time)? Seeking answers to these complex questions, Domestico examines both modernist institutions (the Criterion) and specific works of modern poetry (Eliot’s Four Quartets and Jones’s The Anathemata). The book also traces the contours of what it dubs “theological modernism”: a body of poetry that is both theological and modernist. In doing so, this book offers a new literary history of the modernist period, one that attends both to the material circulation of texts and to the broader intellectual currents of the time.

Considers the development of modernism in the novel in relation to changing attitudes to religion.

Modernism After the Death of God explores the work of seven influential modernists. Friedrich Nietzsche, James Joyce, D. H. Lawrence, André Gide, and Martin Heidegger criticized the destructive impact that they believed Christian sexual morality had had or threatened to have on their love life. Although not a Christian, Freud criticized the negative effect that Christian sexual morality had on his clinical subjects and on Western civilization, while Virginia Woolf condemned how her society was sanctioned by a patriarchal Christian authority. All seven worked to replace the loss or absence of Christian unity with non-Christian unifying projects in their respective fields of philosophy, psychiatry, or literature. The basic structure of their main contributions to modernist culture was a dynamic interaction of radical fragmentation necessitating radical unification that was always in process and never complete.

Modernism's theological project was an attempt to explain two things: firstly, how faith might enable persons to experience their lives as hanging together, even in the face of disintegrating forces like injustice, tragedy, and luck; and secondly, how one could see such faith, and so a life held together by it, as self-expressive. Modern theologians such as Kant, Schleiermacher, Hegel, Ritschl, and Tillich thus offer accounts of how one's life would have to hang together such that one could identify with it; of the oppositions which stand in the way of such hanging-together; of God as the one by whom oppositions are overcome, such that one can have faith that one's life ultimately hangs together; and of what such faith would have to be like in order for one to identify with it, too. So understood, modern theology not only sheds light on faith's potential role in enabling persons to identify with their lives, but stands in unexpected continuity with contemporary "contextual" theologies. This book offers clear, careful readings of modernism's key figures in order to explain their relevance to practical concerns and to contemporary understandings of faith.