@Francis,
Quote:As I stated before, once in a while I can see some valid concepts in Spendius usually belligerent prose.
I would be interested in the other times when you don't see valid concepts in my prose Francois. I welcome being set straight at all times.
Quote:Not that I agree with the underlying idea, though..
The underlying idea is to do with how we take ideas from other places and put our own sense into them. We pick and choose and appropriate and ignore the rest. The choice is concerned with us and not the original locations. Those things don't "influence" us--we creatively absorb what suits us. We can have no knowledge of the real lives which produced the originals. Otherwise we have confused life itself with the means by which it expressed itself in a particular place.
If Plato read what we understand of his works I imagine he would be astonished.
We give a name to a system of expression forms and it conjures up for us a complex of relations. Once we allow this imagined complex of relations to represent the lives of those who used those forms to express themselves we are deluding ourselves.
Take the "influence" of black music for example. What do we know of the origin of the form? What lives did it spring from and from no other? We take it as a given and have appropriated it. Other aspects of the life that formed it we don't appropriate. We haven't explained it by naming it although we might like to think we have.
Christianity as we know it appropriated from many sources what it wanted. Thesis-antithesis-new thesis.
But I find it very difficult to explain or even understand. It requires the capacity to put ourselves in the other's place. As Flaubert tried to do in Salammbo. We can't even say he was successful. Mailer tried in Ancient Evenings. They both studied the words and arts of the cultures they sought to depict with some diligence. In doing so they experience something already there in themselves but can they relate that to the experience the creators of those forms lived themselves. Spartacus played by Kirk Douglas is mere pantomime.
A currach built in a certain place at a certain time to carry out a certain task and made with local materials worked with available tools is not the same thing as one built in a barn in Pennsylvania for entertainment. It's form might be similar but the experience is the opposite to that of its originators for whom I imagine it was a chore to make.
The idea is that Christianity borrowed old forms and theology fit certain chosen ones into a pattern which was accepted and which led to western science and our world. There can be no sensible debate about wiping it out overnight whatever the NCSE might say and however logical and reasonable its arguments.