2. The Last Supper & Developing Moral Imagination Insights from Heremenutics, Art and Art History Prepared by James T. Bretzke, S.J. Boston College bretzke@bc.edu

3. Competing Moral Paradigms Only God Can Know the Whole of Reality Only God Can Know the Whole of Reality Thus for the rest of us this knowledge is necessarily incomplete and partial, and we tend to understand complex realities according to models and paradigms Thus for the rest of us this knowledge is necessarily incomplete and partial, and we tend to understand complex realities according to models and paradigms Can we speak of authentic cultural paradigms for morality and ethics? Can we speak of authentic cultural paradigms for morality and ethics? Necessary Openness to Revision of All Paradigms—especially in light of new insights Necessary Openness to Revision of All Paradigms—especially in light of new insights

4. Hermeneutical Theory 101 “Classic” text (vs. a “period piece”) “Classic” text (vs. a “period piece”) Which has an “excess of meaning” (Sensus plenior in reference to Scripture) Which has an “excess of meaning” (Sensus plenior in reference to Scripture) Which must be “understood” Which must be “understood” Understanding is always an act of interpretation, involving reading, encountering, and applying a text by the “reader” in his/her own context Understanding is always an act of interpretation, involving reading, encountering, and applying a text by the “reader” in his/her own context Leading to a “fusion of horizons” Leading to a “fusion of horizons”

5. Analogical Imagination A “classic” text invites the reader into an alternative world of “imagination” (as distinguished from “fantasy”) A “classic” text invites the reader into an alternative world of “imagination” (as distinguished from “fantasy”) The audience of a true classic is expanded from the “original” audience The audience of a true classic is expanded from the “original” audience And thus new “imaginations” come into play in interpreting the text And thus new “imaginations” come into play in interpreting the text

6. Effective History & Fusion of Horizons Historical consciousness, the uniquely human way of being, of understanding in our world, and re- interpreting events of the past. Historical consciousness, the uniquely human way of being, of understanding in our world, and re- interpreting events of the past. The “past” can only be known in the present, and thus can “shift” its meaning The “past” can only be known in the present, and thus can “shift” its meaning Schneiders’ example of divorced woman Schneiders’ example of divorced woman Thus, no possibility of “one” “correct” view of history or one “right” reading of a text! Thus, no possibility of “one” “correct” view of history or one “right” reading of a text! Rather, speak of “transformative understanding” Rather, speak of “transformative understanding”

7. Developing Moral Imagination Our knowledge of the moral order will be partial, and at times, imperfect Our knowledge of the moral order will be partial, and at times, imperfect And also diverse, since our imaginative powers and potential are not identical And also diverse, since our imaginative powers and potential are not identical Imagination vs. Fantasy Distinction Imagination vs. Fantasy Distinction Imagination can be helpful in moral formation, vision, and support for developing virtues which foster growth Imagination can be helpful in moral formation, vision, and support for developing virtues which foster growth

8. The Art of Moral Imagination What are some of the ways we can come to an understanding of both the moral order and genuine possibilities for change? What are some of the ways we can come to an understanding of both the moral order and genuine possibilities for change? How can we both discern and act on these “change elements” in our own times? How can we both discern and act on these “change elements” in our own times? How can we learn better to use our moral imagination in an “artistic” manner? How can we learn better to use our moral imagination in an “artistic” manner?

9. An Exercise in Analogical Moral Imagination Notion of the Analogical Imagination ala David Tracy & Jesus as the “Concrete Universal” of William Spohn Notion of the Analogical Imagination ala David Tracy & Jesus as the “Concrete Universal” of William Spohn The purpose of this exercise is to consider how the “essence” of something might be interpreted in a variety of different, yet “legitimate” ways The purpose of this exercise is to consider how the “essence” of something might be interpreted in a variety of different, yet “legitimate” ways In order to begin, stop and visualize for a moment in your mind the picture of the Last Supper….. In order to begin, stop and visualize for a moment in your mind the picture of the Last Supper…..

10. Perhaps your mental image looks like this picture that hung in our house (an engraving after Leonardo da Vinci)

11. The “Classic” Image

12. The “Classical” Image “Reality”

13. The “Historical” Image

14. A “Contemporary” Last Supper

15. The Medium is the Message Sometimes the medium employed carries additional messages within it Sometimes the medium employed carries additional messages within it Look at the following slides and see what messages might be portrayed, intentionally and unintentionally….. Look at the following slides and see what messages might be portrayed, intentionally and unintentionally….. Also track your own personal reactions to each of these images, and try to reflect on the reasons for your reactions Also track your own personal reactions to each of these images, and try to reflect on the reasons for your reactions

16. Diverse Theological Messages What might be the artist’s theology in each of these artistic renditions of the Last Supper? What might be the artist’s theology in each of these artistic renditions of the Last Supper? AND can this use of moral “imagination” spark other images which might open up further insights…. AND can this use of moral “imagination” spark other images which might open up further insights….

17. The Betrayal Issue

18. The “Seder” Last Supper

19. A “Mystical” Image

20. A “First Communion” Image

22. Another “Contemporary” Last Supper

23. Last Supper as Cultural Icon

24. Last Supper as Social Critique

25. Last Supper as Caricature

26. Repeating the Questions Do these slides have any special claim, coming out of its cultural context, that should shape any legitimate Christian imagination of the Last Supper? Do these slides have any special claim, coming out of its cultural context, that should shape any legitimate Christian imagination of the Last Supper? Has our moral imagination been expanded in any way? Has our moral imagination been expanded in any way? Are there renditions which are “unacceptable” to us? Are there renditions which are “unacceptable” to us?

27. Which Images Could Be Normative, Imaginative, or Illegitimate?

28. And so… What is the essence of the Last Supper for us? What is the essence of the Last Supper for us? How “legitimate” are diverse expressions of that essence? How “legitimate” are diverse expressions of that essence? What would count as an illegitimate expression? What would count as an illegitimate expression? And why?… or Why not? And why?… or Why not?

29. The Rest Is Up To Us… We must use our imaginations, but always morally….