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41 " It is now time for us to ask the personal question put to Jesus Christ by Saul of Tarsus on the Damascus road, ‘What shall I do Lord?’ or the similar question asked by the Philippian jailer, ’What must I do to be saved?’ Clearly we must do something. Christianity is no mere passive acquiescence in a series of propositions, however true. We may believe in the deity and the salvation of Christ, and acknowledge ourselves to be sinners in need of his salvation, but this does not make us Christians. We have to make a personal response to Jesus Christ, committing ourselves unreservedly to him as our Savior and Lord … At its simplest Christ’s call was “Follow me.” He asked men and women for their personal allegiance. He invited them to learn from him, to obey his words and to identify themselves with his cause … Now there can be no following without a previous forsaking. To follow Christ is to renounce all lesser loyalties … let me be more explicit about the forsaking which cannot be separated from the following of Jesus Christ. First, there must be a renunciation of sin. This, in a word, is repentance. It is the first part of Christian conversion. It can in no circumstances be bypassed. Repentance and faith belong together. We cannot follow Christ without forsaking sin … Repentance is a definite turn from every thought, word, deed, and habit which is known to be wrong … There can be no compromise here. There may be sins in our lives which we do not think we could ever renounce, but we must be willing to let them go as we cry to God for deliverance from them. If you are in doubt regarding what is right and what is wrong, do not be too greatly influenced by the customs and conventions of Christians you may know. Go by the clear teaching of the Bible and by the prompting of your conscience, and Christ will gradually lead you further along the path of righteousness. When he puts his finger on anything, give it up. It may be some association or recreation, some literature we read, or some attitude of pride, jealousy or resentment, or an unforgiving spirit. Jesus told his followers to pluck out their eye and cut off their hand or foot if it caused them to sin. We are not to obey this with dead literalism, of course, and mutilate our bodies. It is a figure of speech for dealing ruthlessly with the avenues along which temptation comes to us. "

John R.W. Stott , Basic Christianity

50 " The very name of the genre itself - fairy tale - originated during this time, for the French writers coined the term conte de fee during the seventeenth century, and it has stuck to the genre in Europe and North America ever since. This " imprint" is important, because it reveals something crucial about the fairy tale that has remained part of its nature to the present. The early writers of fairy tales placed the power of metamorphosis in the hands of women - the redoubtable fairies. In addition, this miraculous power was not associated with a particular religion or mythology, through which the world was to be explained. It was a secular mysterious power of compassion that could not be explained, and it derived from the creative imagination of the writer. Anyone could call upon the fairies for help, and it is clear that the gifted French women writers of the seventeenth century preferred to address themselves to a fairy and to have a fairy resolve the conflicts in their tales rather than the Church, with its male-dominated hierarchy. After all, it was the Church that had eliminated hundreds of thousands of so-called female witches during the previous two centuries in an effort to curb heretical and nonconformist beliefs. However, those " pagan" notions survived in the tradition of the oral wonder tale and surfaced in published form in France when it became safer to introduce in a symbolical code supernatural powers and creatures other than those officially sanctioned by the Christian code. In short, there was something subversive about the institutionalization of the fairy tale in France during the 1690S, for it enabled writers to create a dialogue about norms, manners, and power that evaded court censorship and freed the fantasy of the writers and readers, while at the same time paying tribute to the French code of civilite and the majesty of the aristocracy. Once certain discursive paradigms and conventions were established, a writer could demonstrate his or her " genius" by rearranging, expanding, deepening, and playing with the known functions of a genre that, by 1715, had already formed a type of canon, which consisted not only of the great classical tales-" Cinderella," " Sleeping Beauty," " Rapunzel," " Rumpelstiltskin," " Puss in Boots," " Little Red Riding Hood," " Beauty and the Beast," " Blue beard, " " The Golden Dwarf," " The Blue Bird," and " The White Cat" -but also the mammoth collection The Arabian Nights. "