The Core wishes a happy Fourth of July to all students – especially those lucky enough to be there at the Esplanade for the celebration!
Esplanade Celebration on June 30th, 1945
Esplanade Celebration on July 4th, 2010
Kara Baskin of The Boston Globe writes:
July Fourth commemorates the Declaration of Independence. It is hard to feel independent when cheek-to-jowl with someone in a foam Statue of Liberty hat. But we fought to be here then — and as anyone knows who has rushed to the Esplanade at dawn, blanket and stocked cooler in hand, for the best view — we haven’t stopped fighting.
Relating to the Core's study of the Old and New Testaments, is a fascinating series of lithographs from later in Salvador Dali's career, titled Aliyah: The Rebirth of Israel, depicting the history of the Jewish people’s return to Israel. Here is an extract from BU Today's article on the topic:
While 250 copies of the Aliyahlithographs were created from Dalí’s original mixed-media paintings, this set is unique, says Rubin-Frankel Gallery director Holland Dieringer (CFA’05), because it’s one of the few complete sets still in existence. Most others have been broken up and sold over the years.
Dieringer says that while most art historians and critics focus on the artist’s work between 1929 and 1939, during the Paris Surrealist movement, his graphic commissions from the ’60s and ’70s merit serious consideration. She notes that Dalí, who was born in 1904 in the Catalonian region of Spain, “wasn’t part of the founding of Israel cause. In fact, he was very apolitical.” But, as the project stands, “he did a fantastic job.”
Aliyah: The Rebirth of Israel is on display in the Rubin-Frankel Gallery, Florence & Chafetz Hillel House, 213 Bay State Rd., through July 31. The gallery is open Monday through Saturday, from 9 a.m. to 9 p.m., and Sunday, from 3 to 9 p.m. The exhibition is free and open to the public.
For more information and the full BU Today article, visit bit.ly/ZEw7my.
In the final days before the Core Journal's release, organized chaos took over the Core Curriculum's office. Here are photos capturing our intellectual panic:
Our happy Editors Madeline Aruffo (left) and Rania Ezzo (right)
Our very focused Editors Kesia Alexandra (left) and Corey Bither (right)
Relating to CC202's study of Friedrich Nietzsche is an excellent and amusing attempt to explain his existentialism to a group of 5-year-olds. Here is the video:
We are thrilled to hear from Core alumna Megan Ilnitzki, who writes to Professor Eckel with news from London. It sounds like she is having a great time over on the British Isles. See for yourself:
Dear Professor Eckel,
Just dropping you a quick hello from London! I am loving it here! I've been to Stratford-upon-Avon and Brighton so far, and I'm going to Bath tomorrow. I'm heading to Wales next weekend then Berlin and Prague in the next few weeks! London itself is so awesome because of all of the museums and things to do! I just got back from the British Museum where I saw the Elgin Marbles and the Rosetta Stone! Hope you are doing well and enjoying the start of the semester.
Best,
Megan Ilnitzki
* Corelovespostcards. Whether youre at home or abroad now, wed love to get one from you. Our address is easy: Core Curriculum, Boston University, Boston MA 02215.
In his review of Christian Wiman's spiritual autobiography, My Bright Abyss: Meditation of a Modern Believer, Jay Parini discusses Wiman's emphasis on the importance of faith to a critic. Here is an extract:
It strikes me that criticism—systemic reflection on texts, even on life itself—has lost its urgency during the past 30 years or more, having complicated (and deadened) reading in ways nobody could have foreseen. It's not simply that teachers of literature don't often read for pleasure nowadays, or don't believe in the transforming powers of art, or no longer value any statement that hasn't bounced off many walls of irony and landed, like a squash ball, in some distant corner of the court. It's the loss of pressure that stands out, a sense that literature matters because it informs, quite literally, our consciousness as well as our actions.
For example, Rich's essay on Emily Dickinson, "Vesuvius at Home," represents an astonishing effort to get at the heart of the writer's project. I've never read Dickinson the same way after encountering the essay, almost 40 years ago. With withering aptness, Rich notes that much scholarly ink has been spilled in trying to identify the male lover whom Dickinson may have renounced in poem "#315" ("He fumbles at your Soul"). Rich goes on to suggest that "the real question, given that the art of poetry is an art of transformation, is how this woman's mind and imagination may have used the masculine element in the world at large, or those elements personified as masculine—including the men she knew; how her relationship to this reveals itself in her images and language."
One looks around, half in desperation, for those critics today who direct us not beyond the text before us, but through it, to the life beyond its linguistic boundaries. These are the critics who understand the incarnational aspects of poetry, its way of refreshing the currency of feeling by how it makes life itself visible, palpable, creating what Roman Catholics refer to as "real presence," the embodiment of spirit in matter, as in the Eucharist—the ultimate transformation.
A new book breaks this deadening mold, and it's noteworthy that it does so within the tradition of spiritual autobiography that reaches back to St. Augustine.
In My Bright Abyss: Meditation of a Modern Believer, to be released in April by Farrar, Straus and Giroux, Christian Wiman—himself a fine poet and translator of the Russian poet and essayist Osip Mandelstam—contemplates the meaning of poetic incarnation in specifically Christian terms, drawing on a wide range of authors. He blends poetry (his own and others'), criticism, theological speculation, and memoir in ways that defy easy categorization, although this work might well be considered a distant offspring of Pascal's Pensées (1669), which offered a skeptical audience at the beginning of the Enlightenment a defense of the Christian religion in the form of "thoughts" that resembled journal entries.
What I love in Wiman is the way he reads poems as urgent messages in a bottle, weaving their texts into his evolving consciousness, his sad personal story, linking his language with theirs, showing us clearly and definitively what Dr. Johnson, the great English critic, meant when he said: "The only end of writing is to enable the readers better to enjoy life, or better to endure it."
The Core Blog is a hub for information and media related to the CAS Core Curriculum at Boston University. It will be updated regularly, with photo galleries, interviews, links to related reading online, news of events or activities, and other kinds of content that help connect our Core people—prospective, current, and former students—with each other.
You can stop by here once a week to scroll through the posts, or make this your homepage in order to keep your finger on the pulse of the Core. Either way, we hope you find this to be a pleasant way to strengthen your connection with the great people, the great books, and the great questions we encounter in the Core.