Column

Atheism

Creed

4 August 2023

6 min read

Confessions of an atheist philosopher. Part 2: The making of rage against religion

In the second of a series, philosopher Stefani Ruper explores the roots of science and religion, and a manufactured rage.

Stefani Ruper

Stefani Ruper is a philosopher specialising in the ethics of belief and Associate Member of Christ Church College, Oxford. She received her PhD from the Theology & Religion faculty at the University of Oxford in 2020.

Column

Atheism

Creed

Confessions of an atheist philosopher. Part 1: born to be atheist, born to be anxious

Stefani Ruper

In the first of a series, Stefani Ruper tells of the first steps on her journey from secular philosopher to a person of faith.

14 July 2023

7 min read

My name is Stefani. I was a committed atheist for almost my entire life. I studied religion to try to figure out how to have spiritual fulfillment without God. I tried writing books on spirituality for agnostics and atheists, but I gave up because the answers were terrible. Two years after completing my PhD, I finally realised that that’s because the answer is God.

Today, I explain how and why I decided to walk into Christian faith.

Here at Seen and Unseen I am publishing a six-article series highlighting key turning points or realisations I made on my walk into faith. It tells my story, and it tells our story too. Read part 1 here.

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“Idiots,” I mumbled under my breath.

I was fourteen. I was in the local library, spending the day with a stack of books about evolution. I walked past a conference room where a small group church meeting was taking place.

“Idiots,” I grumbled again, a little louder this time.

Rage began to simmer in my blood. Religious people swore allegiance to an invisible entity for which there was absolutely zero evidence—actually, that demanded their fealty against evidence! It made me so mad. I was studying science because we needed to stick to the facts! If society was to move forward, we needed to leave our religious superstitions where they belong… in the past.

Twenty years and a PhD in Religion & Science later, I cringe at what I used to think and feel. I’m not upset with my former self—it wasn’t my fault. But today, instead of fighting in the war between religion and science, I am fighting to end it.

Here’s what I learned that changed my life.

Science came from Christian Theology

Many assume science and religion have always been at odds. But science grew out of the soil of Christian thought.

To medieval Christian thinkers, nature was God’s Creation. They studied nature to glorify God and to nurture their own spiritual health. As William of Auvergne put it in the 13th century, studying the “book of Nature” led both to “the exaltation of the creator and the perfection of our souls.”

They also saw God as an all-knowing, all-powerful source of Order. This predisposed them to look for overarching, universal patterns that would later become known as natural laws.

Contrary to the common assumption that medieval thinkers were dogmatic, they were extremely humble about their truth claims, because they compared their ability to know to God’s and found themselves wanting. So when Aristotle’s systematic methods of observing nature were re-introduced to Europe in the 12th century, they seized the opportunity to enhance the rigour of their studies. As they began implementing Aristotle’s techniques, they realised they could combine them with the Platonic mathematics they had already been using for centuries. This was a powerful combination that resulted in uniquely accurate theories and predictions. It illuminated just how much Order there was to Nature—in fact, more than ever previously demonstrated. It also provided a way to formalise the study of Nature into the methods we today recognise as science.

It is often said that over the next few hundred years scientists (then called “natural philosophers”) fought against the Church for the sake of science (“natural philosophy”), but this is an anachronism. Philosophers did begin to debate the best sources of knowledge. There were some major conflicts. But the vast majority of these people continued to study nature as a way to know and glorify God as its Creator.

Huxley and others also re-wrote the history of science to make it seem like it had always existed and been conducted by freethinking naturalists challenging the religious status quo.

Shots fired!

The supposed conflict between “Religion” and “Science” only really emerged about 150 years ago. In Victorian England it was becoming increasingly acceptable to criticise the church. Most wanted to reform it, but a few began to want to defeat it entirely.

At the same time, various areas of natural philosophy were proliferating into specific disciplines becoming known as “sciences.” Some people, including influential scientist and public intellectual Thomas Huxley (who hosted an exclusive dinner club for advocates of naturalism called the X Club), saw this as an opportunity to discredit religion.

One strategy was to unite the growing pool of various scientific disciplines under the umbrella of a singular “science” that could be defined as oppositional to religion. Science was rational, so religion became irrational. Science embraced facts, so religion entertained superstitions. Science honoured truth, so religion enabled wishful thinking. The success of theories such as evolution helped lend credence to such claims. These naturalists began to argue that science doesn’t just disprove specific notions (such as that the Earth is 6,000 years old) but all beliefs in the life beyond entirely.

Huxley and others also re-wrote the history of science to make it seem like it had always existed and been conducted by freethinking naturalists challenging the religious status quo. In Evolution and Ethics Huxley declared, for example, that “’scientific naturalism took its rise among the Aryans of Ionia.” And he described naturalism as appearing wherever in history “traces of the scientific spirit” were visible.

Finally, Huxley used his considerable influence both in the UK and the USA to push religion and religious people out of the sciences. As a member of the Devonshire Commission and having several other prestigious roles and memberships throughout his career, he strategically placed his naturalistic protégés in influential university positions, and he re-wrote science textbooks and exams to exclude religious ideas, motivations, and people. In a very short amount of time, Huxley and others succeeded at pushing religion to the margins of the sciences (not entirely of course, but enough to make a difference) and making it seem anti-science.

Overcoming rage and hate with humility

I used to think that religion was silly and weak. I thought this view was rational, and I was intellectually superior because of it. I now know I only had these perceptions because I was born into a specific worldview in part manufactured by Huxley and others. By the same token, many fundamentalist religious people—while influenced by many sociopolitical factors—are anti-science in part because their forebears were derided as irrational and intentionally alienated from the sciences.

Both “sides” of this supposed war have inherited simplified views of one another and are taught to fear and to hate. Without learning this history, most never realise what has biased their enemies--or themselves. And virtually everyone in our society carries misperceptions about there being some kind of intrinsic conflict. When I tell people I have a PhD in the relationship between Religion and Science, most laugh and say: “but is there one?!”

There is, and it was once beautiful and harmonious.

The truth is that science is a way of investigating the order of nature, which can be done with or without belief in God. Today, many scientists eschew faith, but many others continue in the medieval tradition of studying Nature as God’s Creation with great integrity, rigour, and depth.

We don’t all have to return to such beliefs. But one medieval practice we may all do well to reclaim is to approach the world, ourselves, and one another with deep humility concerning the limits of our knowing.

Review

Culture

Film & TV

7 August 2024

9 min read

Deadpool and Wolverine admit there’s only one story worth telling

Here's why a knowing take on post-modernity's void strikes a chord.

James Lawrence

James is Canon Missioner at Blackburn Cathedral. He researches technology and theology at Oxford University.

Two superheroes, deadpool and Wolverine, stand and crouch respectively, in a desert like place.

'A desert of criticism and a wasteland of cynicism.'

Disney.

Can Marvel Jesus save a dying cinematic universe? That's the key question for the latest film from Marvel Studios and, it would seem at least from the box office, that the answer is: yes!

Deadpool & Wolverine, the snarky buddy comedy odd-ball team-up between Ryan Reynolds and Hugh Jackman, made over $590 million in its first week. That’s the sixth biggest opening of all time.

What follows is not a traditional review, you can find plenty of those online already. Instead, I want us to consider Deadpool & Wolverine as a cultural artefact that displays some of the key themes of our society. The stories that we tell, including the films that Hollywood produces, can act as a mirror to our culture, giving us an opportunity to see trends that we might have otherwise missed. 

As a mirror to this cultural moment, I want to suggest that Deadpool & Wolverine presents us with a cynical and nihilistic take on the end of an era in which all the protagonists can do is barrage the audience with an endless stream of jokes and quips.

The third instalment of the Deadpool trilogy is the first to be set in the Marvel Cinematic Universe (MCU) since Disney acquired the rights to 20th Century Fox for $71.3 billion. Until now all the X-men movies, the Wolverine movies, the prequels and the Deadpool movies have been produced by 20th Century Fox. But it’s the start of a new chapter for the X-men franchise.

The Disney executives hope for a new lease of life for the MCU, which has been struggling to find its way ever since the epic conclusion to Avengers: End Game. Of course, ordinarily, this sort of corporate back and forth would be irrelevant when thinking about the themes of a movie, but, in this case, the business backdrop is effectively a major plot-point of the film.

A significant portion of the dialogue is spent discussing the acquisition of the X-men franchise by Disney. Deadpool talks about what Kevin Feige (president of Marvel Studios) will and won’t allow in his films. A major action set-piece takes place next to a ruin of the 20th Century Fox logo. Deadpool jokes with Wolverine that he is joined the MCU when they are in a bit of a slump, and, when Deadpool is asked to save the universe, he takes this to mean that he should save the entire MCU franchise describing himself as ‘Marvel Jesus’. The movie knows that this film is the product of a business deal, and it wants its audience to know that too.

So, this film takes place at the end of an era and to highlight this throughout the film, a series of high-profile cameos are made by actors and characters from the last 24 years (no spoilers here). They are brought into the movie so that they might be given a final send off. A heroic on camera action hero death, one last valiant fight before the curtain falls. In a sense, Deadpool & Wolverine is a eulogy to the comic film industry, an era has passed away, we live only in the ruins of a once great edifice and all we can do is joke around and reminisce about the good old days

Deadpool’s is a dark humour, laughing death in the face, traipsing around the trash heap at the end of time incessantly spouting one-liners.

The scepticism Deadpool and Wolverine exhibits about the movie industry, correlates neatly with a post-modern disposition to be suspicious about the role of power. Deadpool knows, and points out to his audience, that it is only the vested interests of corporate power that allow this film to take place, and he revels with delight when these corporations seem to be failing. He is under no illusions that the studios are benign entities who merely hope to make worthwhile art - Deadpool is a cynic, the jester, who takes great satisfaction in declaring that the emperor has no clothes.

Coupled with this is the constant breaking of the fourth wall. This is one of Deadpool’s foundational characteristics, he has been breaking the fourth wall since his earliest appearance in the comics and the previous two films. Deadpool uses this ability to deconstruct and point out some of the quirks of the superhero genre. For example, in the first film when a villain jumps into the scene from a great height, Deadpool says to the audience: “Superhero landing. She's gonna do a superhero landing… You know, that's really hard on your knees.” (This joke is repeated in Deadpool & Wolverine).

The deconstructionist tone contrasts sharply with Marvel’s previous movies, particularly the grand narrative which spanned 22 films and culminated in Avengers: Endgame- an unashamed mythic narrative about the defeat of evil and the triumph of good over bad. Yes, there were jokes and subversive elements in the MCU before Deadpool, but in the main the characters like Captain America are sincere and the movie takes them and their motivations seriously. Deadpool in contrast delights in deconstructing the narrative: Marvel’s grand narrative is over, Fox’s cinematic universe is over, and it is unclear if they will be able to successfully tell another epic mythic story.

All of this, I imagine, sounds quite dystopian and that is not just how the film feels but also serves as the set piece for the middle section of the story. The misadventure of Deadpool & Wolverine lands both characters in “the void at the end of time” a place described as a Mad Max set, a barren desert where only the strongest survive by dominating the weak. In this hellish environment, Deadpool is completely unphased, he continues to make joke after joke, despite multiple characters in the movie telling him to ‘shut up’, and he displays zero remorse when his joking around results in other characters being killed. The humour of this film is the final element which makes it feel very post-modern and nihilistic. Deadpool and Wolverine are left in a hellscape and all they can do is fight with one another and make non-stop sarcastic quips. Deadpool’s is a dark humour, laughing death in the face, traipsing around the trash heap at the end of time incessantly spouting one-liners.

Paul Ricoeur, the French Christian and philosopher describes in his work two instincts in modernity: a ‘willingness to listen’ and a ‘willingness to suspect.’ The willingness to suspect is best exemplified by the three ‘masters of suspicion’, Karl Marx, Friedrich Nietzsche and Sigmund Freud. Following these masters of suspicion, modernity has learnt to be critical and to criticise texts, narratives, motives and power. Ricoeur thinks that we need both instincts, we need to be able to listen and we should be able to suspect, but, he cautions post-modern society that it is possible to find yourself in a desert of criticism in which there is nothing symbolic, nothing sacred, nothing but power and will. I have never seen a better depiction of the ‘desert of criticism’ put to film than Deadpool’s void at the end of time.

Perhaps the film is doing this because this is, in fact, the only story worth telling.

All of this was bubbling around in the back of my head when the film came to its final climax. It is my experience of the finale that made me want to write this review of the film. After almost two hours of post-modern nihilism, in the denouement, our two protagonists are faced with the classic superhero choice to sacrifice themselves so that they can save their universe from imminent destruction. And, of course, like good superheroes, they go willingly into danger and give up their lives for the sake of their friends.

I had such a strange set of emotions as I watched this part of the story unfold.

Firstly, I thought “Oh, right, this is the moment when the hero sacrifices himself- that is obviously what comes next.” I have been conditioned by decades of superhero films to expect this sequence of events at the end of the movie. But secondly, I found myself thinking. “This is so out of place with the rest of the film, this is pure sentimental heroics, we’ve just had two hours of cynicism and fourth wall breaking and the climax of the whole thing is a traditional superhero ending?!” And then, lastly, I found myself wonderful, ‘Perhaps the film is doing this because this is, in fact, the only story worth telling- that everything up to this point has only been playing at cynicism because, at a fundamental level, the filmmakers realise that cynicism and scepticism aren’t enough to make a compelling story.”

Western society feels as if it has lost its narrative. It is as if, just like the MCU, our best story is behind us, and we are flailing to find a new story.

Deadpool & Wolverine is a strikingly resonant film, it has struck a chord with contemporary culture. The film offers us a mirror to the contemporary society in which we live and I think we must look deeply into the mirror if we are going to accurately diagnose the ills of our current cultural moment.

Many people today feel like they are living in a desert at the end of time, devoid of meaningful symbolism and sustenance for the soul. The hollowing out of meaning in post-modern Western culture has resulted in a tinderbox which is ready to combust at a moment's notice. “Over the last month we have seen riots breakout across England caused by an incident in Southport that sent sparks flying.”. Relatedly, contemporary Western society feels as if it has lost its narrative. It is as if, just like the MCU, our best story is behind us, and we are flailing to find a new story. Look at the average Netflix viewing figures to discover that many of us only enjoy watching re-runs of our favourite TV shows from 10 years ago.

The cynicism and scepticism of Deadpool & Wolverine resonates with many people in the contemporary West, and the film offers two ways of reacting to the pain of our cultural moment.

For most of the film Deadpool saunters through this nihilistic hellscape spouting a barrage of gags, sex-jokes and sarcastic quips- that is the first option, to laugh in the face of meaninglessness. But for the climax of the movie, it’s as if the writers knew that they couldn’t maintain the ruse. When the characters of Deadpool and Wolverine make the choice to sacrifice themselves for the sake of others they choose to live for something bigger than themselves. They admit in their actions that they aren’t the nihilists they were pretending to be, and the film acknowledges that in the final analysis there is nothing ultimately satisfying, nothing ultimately sustaining, in that way of being in the world.

Or, to put it another way, the only way that Deadpool could become ‘Marvel Jesus’ is by following in the footsteps of actual Jesus: by sacrificing his life for those whom he loved and by discovering that true life, resurrection life, is always and only ever found on the far side of death.

Paul Ricoeur writes that ‘beyond the desert of criticism, we wish to be called again’, called to a second, or post-critical naïveté. Naivete is a deliberately provocative term to use, no one wants to be considered naïve (even postcritically naïve!), so perhaps you might prefer to think of it as synonymous with restored or as experiencing a recollection of meaning. I think many people in the West today are waking up to the challenge of living in a desert of criticism and a wasteland of cynicism. The capacity to criticise is an important skill, but it has run rampant and left out society with a void of meaning in which nothing is sacred, nothing is enchanted.

Deadpool & Wolverine speaks of a culture desperately in need of a new story, a narrative within which meaning can be found. The film paints in vivid imagery the result of a society that has lost its narrative. And, in the end, Deadpool and Wolverine seems to admit that there is only one story worth telling: self-sacrificial death and resurrection.