Violence in Contact Sports: Absolutely Essential or Essentially Obsolete

This week’s discussion on the link between violence in sports, and the many ways it manifests itself, hit particularly close to home (which is why this post is excessively long!). As a former member of U of T’s Varsity Blues rugby team and various rep hockey teams, contact sports have played a formative role in shaping the person I am today. Aside from the health benefits, the sense of fraternity that arises through participation in team sports has resulted in many of my teammates becoming close friends, while also giving me an opportunity to hone important social skills. Furthermore, these activities demonstrated the importance of teamwork, loyalty and dedication. However, in light of this week’s discussion and both Tracy Trothen’s article “Holy Acceptable Violence? Violence in Hockey and Christian Atonement Theories” and This American Life’s podcast on the child abuse scandal that erupted at Penn State, I have been forced to critically assess the benefit of these virtues in relation to the risk posed to both players and society.

Team motto for the world famous All Blacks rugby team

Looking back at my own actions, it becomes clear to me that many of these highly valued traits were fostered, in part, by the exaggerated siege mentality that frequently arises in highly physical sports. After reading Trothen’s article, it was evident that the foundation for the strong relationships between my teammates and myself was likely attributed to a dualistic, us versus them mentality, whereby working together was a means to achieve the desired end, winning (Trothen, 2009). Trothen attributes the normativity of this dualistic mentality to the popular Christus Victor theory of atonement that portrays Jesus as a “fighter” who overcomes his evil enemies (Trothen, 2009). Never having given much thought to the reasons for the inherent physical violence while playing hockey or rugby, the link draw to this well know theological theory provided some insight into how I was able to justify violence against those who I perceive were against me. However, thinking back to the moments when I tackled or checked somebody aggressively, these actions seemed much more primal than this theory would have you believe. Furthermore, the manifestation of this violence is not only evident on the field, but also on the sidelines and in the stands, with coaches, teammates and fans frequently participating in violent banter that encourages harming members of the opposing team. This scene has likely been repeated since the beginning of humanity, whether during a fight between gladiators at the coliseum or during a hunt in the plains of Africa. Thus, the parallel drawn with the Christus Victor theory may, perhaps, be better understood as the result of early Christians projecting a typically human trait on to Christ, in order to humanize Jesus in their effort to make sense of the crucifixion. However, whether or not human behaviour informed this theory or the theory shapes our actions (or both – which may actually be the best explanation), it effectively highlights how we are able to justify acts of violence in specific contexts, such as sports, in a society were physical abuse is generally frowned upon (Trothen, 2009). Thus, if sports provide a venue where physical violence is acceptable, does this mentality have to change in order for it to serve as a more effective teaching tool? Perhaps. However, if this acceptance is a product of widely accepted social perceptions, such as the Christus Victor theory, does the presence of physical violence negate its potential benefits? Probably not.

Montage of "Best Hits" from the 2008 Rugby World Cup in Australia

Despite the moral ambiguity surrounding the physical violence in contact sports, which fuels my own conflicting feelings, a form of violence that I believe is not subject to this ambiguity is sexual abuse. Although not being subject to it myself or knowing anybody who has, stories of incidents always made their rounds in the locker room. Furthermore, the power imbalance, discussed by Trothen, that ultimately facilitates this behaviour was exceedingly obvious (Trothen, 2009). How one is perceived by superior teammates and coaches is of central importance. The “fraternity” has a clearly defined hierarchy, and those at the bottom are extremely vulnerable. Incidents of overtly sexual hazing incidents for rookies in McGill University’s football team and the many cases of sexual abuse by coaching staff, such as the charges of child molestation against former Penn State University football assistant coach Jerry Sandusky and the widely publicized cases against coach Graham James, concerning his molestation of high profile NHLers, highlights how prevalent this form of violence is. Trothen draws the link between the penal-substitutionary theory and how it is frequently misinterpreted as justification for the abuse of the vulnerable (Trothen, 2009). Although the weak have likely always been targeted, I feel that the connection between the notion of “divine child abuse” and sexual abuse by coaching staff is accurate as both present a unique situation whereby individuals in positions of moral authority abuse their status in order to conduct morally unjust behaviour. The irony and potential danger of this form of violence is highlighted by the disbelief surrounding head coach Joe Patterno’s actions after being informed about Sandusky’s molestation of a child in the Penn State locker room. In the podcast by This American Life, it becomes clear that Patterno had a reputation for being a respected and morally principled leader, explaining the disbelief, and in some cases, denial concerning his behaviour. However, this reaction highlights how dangerous organized sports can be in creating the optimal environment for sexual abuse. After all, should anyone’s judgement concerning Patterno be clouded because he is a football coach? Ultimately, although some forms of violence in sport are morally ambiguous, others are not. Assessment of the role of violence in sports cannot be done with a blanket approach and each form must be handled in a case-specific manner in order to deal with the problem in an effective and timely manner in order to minimize risks for both players and other members of society.

Impact statement by former NHL player, Theo Fleury, regarding charges laid against his former coach 

Graham James, who sexually assaulted him

Works Cited: 

Trothen, Tracy. “Holy Acceptable Violence? Violence in Hockey and Christian Atonement Theories.” Journal of Religion and Popular Culture 21 (2009), 42 pp

My Response To Anakin Skywalker – Jesus of Star Wars by Adrian (Tebowmania 3.16)

As a self-proclaimed Star Wars nerd myself, I was pleased to see that someone was willing to discuss these films in light of this week’s discussion on Christ-figures in film. Like Adrian, I agree that George Lucas’ style, through awe-inspiring special effects and dramatic musical scores, definitely pays homage to the Christian epics of the past, such as Ben Hur and The Ten Commandments. Furthermore, the Christian references in Lucas’ storytelling and character development are undeniable. It is definitely true that when Kozlovic’s criteria for the cinematic Christ-figure are employed for the character Anakin Skywalker, elements such as being “divinely sourced and tasked” and having “special normal” characteristics seem to point to some sort of religious influence.

Anakin Skywalker - The only human pod-racer in the galaxy!

However, I disagree with Adrian 's argument that adherence to these and Kozlovic’s other generic characteristics make Anakin a Christ-figure. In fact, I actually feel that it exemplifies the dangers of employing Kozlovic’s stereotypical list when taking part in the theological interpretation of film. Sure, Anakin fulfills many of these criteria, but so do a large number of the other characters in the movie. All of the Jedi, as well as their “evil” sith counterparts, take part in “miracle-like” acts through controlling the force. Furthermore, although Anakin demonstrates his desire to provide “service to lesser” as a child and experiences a “decisive death and resurrection”, he spends much of his adult life as Darth Vader, the cold-blooded and unforgiving enforcer of the Galactic Empire’s rule throughout the galaxy (he becomes a sith himself!). Through this example, the superficial nature of Kozlovic’s criteria becomes evident. Although a character, such as Anakin Skywalker, may possess many of these so-called Christ-like traits, that does not make them a Christ-figure. Ironically, in providing these guidelines, Kozlovic may ultimately be leading viewers to a conclusion that he is trying to help them avoid, the false identification of Christ-like characters.

Scene from Star Wars Episode III: Revenge of the Sith

Anakin turns to the Dark Side:

Scene from Star Wars Episode V: The Empire Strikes Back 

Darth Vader - not being very forgiving:

You know that movie about Jesus Christ?...You should see it!

Although I have never actually said that before, according to Anton Kozlovic, I probably should have. In his article, The Structural Characteristics of the Cinematic Christ-Figure, Kozlovic argues that Christ-figures in modern film help promote a holy subtext while subsequently defining 25 characteristics of the cinematic Christ-figure (Kozlovic 2004). Kozlovic’s argument, on the whole, is not flawed. He cites numerous films that, despite having a “secular wrapper”, present obvious Christian subthemes. Some of his examples are particularly strong, such as Superman: The Movie, where director Richard Donner has admitted to the allusion to Christ, and The Matrix, which has frequently been both praised and criticized for its overt Christian subtext (Kozlovic 2004).  However, although the parallels between Jesus Christ and the Christ-figures in Kozlovic’s thoroughly analyzed examples are clear, his analysis and 25 stereotypical characteristics ultimately fail to highlight what these similarities actually mean!

Action hero? Christ-figure?...Does it matter?

In Christopher Deacy’s critical response to Kozlovic’s article he addresses the superficial nature of these parallels, asserting the dishonesty “in using film for no other purpose than to illustrate a particular religious theme” (Deacy 2006).  Although I feel that this accusation in unnecessarily strong, it does highlight the challenges of applying Kozlovic’s list in the manner which he proposes it to be used. Even though elements such as a Judas-like associate and resurrection can help convey the association with Christ, as is done with Neo in The Matrix, without the appropriate message, the mere inclusion of these stereotypical characteristics doesn’t guarantee that a film-maker will be able “engineer powerful Christ-figures into their production” (Kozlovic 2004).  Furthermore, Kozlovic’s emphasis on superficial characteristics can lead to misinterpretation by those employing his list to analyze a film from a theological perspective. As an example, looking at characters from two movies examined last class, Ricky Bobby, from Talladega Nights, has a betrayer associate, his long-time friend and racing partner Cal Naughton Jr., while Stranger than Fiction’s Harold Crick willingly sacrifices his life. However can either of these characters, played by Will Ferell (who has blue eyes!), be deemed Christ-figures? Not in my opinion. More importantly, does it even matter? While being potentially misleading, Kozlovic’s list also seems to imply that in order to teach the importance of Christ’s message, viewers require a stereotypical Christ-figure to convey it, something that both Deacy and I feel is unnecessary. Ultimately, Kozlovic’s checklist appears to help viewers avoid seeing what they want to by forcing them to see things the way he does...

Blue Eyes! 

Will Ferell...Christ Figure?:

Betrayal scene from Talladega Nights: The Ballad of Ricky Bobby:

Scene from Stranger than Fiction when Harold Crick convinces the author narrating his life that she can end it for the sake of the story:

Works Cited:

Kozlovic, Anton. "The Structural Characteristics of the Cinematic Christ Figure." Journal of Religion        and Popular Culture. 8. (2004): 1-34.

Deacy, Christopher. "Reflections on the Uncritical Appropriation of Cinematic Christ-Figures: Holy Other or Wholly Inadequate?." Journal of Religion and Popular Culture. 13. (2006): 1-16.

My Response to Jesus Walks by Sandra (The Holy Blogle)

In Sandra’s post on Kanye West’s Jesus Walks, from his debut album The College Dropout, I agree with her point that the song effectively presents the Christian message that the everlasting presence of Jesus Christ lies within every human being. Furthermore, I appreciate the seeming irony in the fact that Kanye made a song about Christ, despite his frequent brash, arrogant and frequently “non-Christian” behaviour.  However, I disagree with the fact this irony is due to the fact the West misrepresents what it means to be Christian. In my opinion, Kanye West didn’t make this song with the intention of giving the impression to his listeners that he accurately portrays what it means to be Christian. In one of the lines of the song he even says:

And I don't think there is nothing I can do now to right my wrongs/

(Jesus Walks with me)

I want to talk to God but I'm afraid because we ain't spoke in so long/

I think that Kanye makes it clear that he, and most of society, by definition, are in fact poor Christians, yet despite our flaws, Jesus will forgive us for them. He focuses on the internal struggle that the many modern Christians face in a society filled with racism, violence, drugs and poverty, as highlighted in the lines:

To the hustlas, killers, murderers, drug dealers even the strippers/

To the victims of Welfare for we living in hell here hell yeah/

If Jesus Walks was a song about changing ones life in order to life guided by the light of God, then I definitely would agree that Kanye West would be an inappropriate person to be singing the song and the link to Michael and the rest of the Corleone Family justified. However, this song is about the sins Christians commit and that Jesus will ultimately forgive us for, perhaps making “Kane” the best person to sing this song.

Kanye Behaving Badly: 

Exhibit A: Kanye West claiming President George W. Bush is a Racist on live television:

Exhibit B: Kanye West interrupting Taylor Swift's speech at 2011 VMAs:

Exhibit C: Kanye sipping on a bottle of Hennessy on the VMAs Red Carpet:

Homer the Heretic...sort of...

In light of this week’s in class screening of The Simpsons episode “Homer the Heretic” (season 4, episode 3), I would like to examine the series’ cynical take on American Christianity. Although this episode aired in almost 20 years ago, The Simpsons, now in its 23^rd season, continues to present religious content, substantiating claims such as that quoted by Professor Harris that the animated series is the most religious show on television. However, although many wouldn’t argue this point, the manner in which the Christian faith is presented is the focus of much debate, often leading to stern criticism from religious groups, while likely contributing to its wild popularity…after all there is a fine line between fame and infamy. In an article entitled The Gospel of Homer, published in the Ventura County Star, the Rev. Francis Chan is quoted as saying that The Simpsons “makes anyone who follows God look like a fool” (Kisken). Despite coming across as extreme, I feel that many critics adamant on protecting the Christian faith may share this belief and, in their defense, their position is not completely unfounded, as demonstrated in the following clip:

Reverend Lovejoy, Springfield’s bible quoting Protestant pastor, is frequently ridiculed in the show and, at first, this may seem like a low blow to Christians (Lewis 153-165). However, as one becomes more familiar with Lovejoy’s character, it is clear that this pastor is more a man of words than faith, which some critics claim is attempt to highlight the flaws of organized religion (Lewis 153-165). Although this was the general theme of the episode viewed in class, I don’t believe it was the intention of it’s writer, George Meyer, or writers of other episodes for that matter, to discredit those who believe in God. Rather, by having Homer refuse to go to church, Meyer tackles an important issue surrounding the practice of the Christian faith. Many practicing “Christians” in the United States go through the motions of saying grace and paying lip service at church on Sunday, something the Simpsons did as a family prior to Homer’s revelation in “Homer the Heretic” (Lewis 153-165). However, is this sufficient to be considered “religious”? In my opinion, certainly not. Furthermore, when he decides to stop going to church, does God turn away from him? No, he doesn’t.

Ultimately, it seems that the message Meyer, and The Simpsons in general, is trying to convey is not that American Christians are foolish but rather that the acts of false devotion that many partake in are meaningless. After all, is Ned a good Christian only because he goes to Church every Sunday?....

Works Cited:

Kisken, Tom. "The Gospel of Homer." Ventura County Star 04 Sep 1999, n. pag. Web. 22 Jan. 2012. <http://www.snpp.com/other/articles/gospelofhomer.html>.

Lewis, Todd. "Religious Rhetoric and the Comic Frame in The Simpsons ." Journal of Media and Religion. 1.3 (2002): 153-165. Print.