Empire, Order, and the “Truth of History”

If this isn’t amazing, I don’t know what is:

“All of the early empires, Near Eastern as well as Far Eastern, understood themselves as representatives of a transcendent order, of the order of the cosmos; and some of them even understood this order as a ‘truth.’  Whether one turns to the earliest Chinese sources in the Shu King or to the inscriptions of Egypt, Babylonia, Assyria, or Persia, one uniformly finds the order of the empire interpreted as a representation of cosmic order in the medium of human society.  The empire is a cosmic analogue, a little world reflecting the order of the great, comprehensive world.  Rulership becomes the task of securing the order of society in harmony with cosmic order; the territory of the empire is an analogical representation of the world with its four quarters; the great ceremonies of the empire represent the rhythm of the cosmos; festivals and sacrifices are a cosmic liturgy, a symbolic participation of the cosmion in the cosmos; and the ruler himself represents the society, because on earth he represents the transcendent power which maintains cosmic order. . . .

In so far as the order of society does not exist automatically but must be founded, preserved, and defended, those who are on the side of order represent the truth, while their enemies represent disorder and falsehood. . . . Read More

Imagining a People (Theopolitical Reflections on Nolan’s Dark Knight Trilogy, Pt. 4)

Warning: Major spoilers from The Dark Knight Rises

Part 1
Part 2
Part 3

What then of The Dark Knight Rises, to which I have already alluded so many times?  Although it is not my main interest here, I should not, given our consideration of the “Atonement” at the end of The Dark Knight, omit to mention the Christological resonances which echo throughout the film.  As mentioned above, although The Dark Knight appears to end on the decision to buy peace at the cost of a lie, there remains the possibility that the deception is only temporary, that Batman will rise from his self-imposed “death” to receive public vindication and become the true savior of Gotham.  The very title, The Dark Knight Rises, suggests just such a resurrection motif, and as the film unfolds, this motif is reinforced by so many gestures that it could not be mere coincidence.  Before such resurrection, though, the symbolic death of exile accepted at the end of The Dark Knight must be consummated with a true defeat.  This comes at the hands of a mysterious and inhuman denizen of the underworld who lives in eternal torment, serving only himself after being cast out of the order to which he belonged (in case we didn’t get it, he identifies himself early on in the film as “the Devil.”).  Batman is betrayed into the hands of this enemy by a Judas of sorts.  His back is broken and he is left for dead in a deep pit that is repeatedly referred to as “Hell,” from which he will watch Bane terrorize and destroy his now-unprotected people.  After being told to “Rise,” Batman succeeds in escaping this prison on his third attempt, and returns to Gotham, where he reveals himself in secret to his followers, and then defeats Bane and his cohorts, liberating Gotham from their clutches and receiving his vindication as the city’s savior, not its enemy.  At the end, he disappears into the air, presumed dead by many, though he is not in fact, and he lives on as the city’s symbol, having returned to them hope and the possibility of justice.  Indeed, he leaves behind him a dedicated disciple, who, it is hinted in a Pentecost-like scene (when John/Robin is surrounded by the bats in the cave), will take up his mantle and carry on his legacy. The correspondences are far from perfect—for instance, the first Judas turns out to be an ally in the end, and it is an earlier ally who is revealed as the true Judas after Batman’s return to Gotham; and the “Ascension” at the end functions more like another “Atonement,” since it appears that Batman is in fact giving up his life, rather than merely disappearing to another place.  And there are any number of ways in which Batman is not very Christ-like (though it is notable that all the way to the end, he keeps his “one rule”—even Bane is killed by another, not by him).  Nolan, it seems clear to me, is playing around with the Christological symbolism* to a greater extent than we find in other superhero films, capitalizing on its mythic potential and ability to highlight other themes he wishes to emphasize, but it is not meant to serve as the fundamental locus of meaning even for The Dark Knight Rises. Read More