In the recent edition of my column at Nomos Journal, I consider the theologico-political dynamics of fame by looking at depictions of Jesus Christ in a couple musicals, including Jesus Christ Superstar and a musical currently in development, Spears: The Gospel According to Britney.
If faith is a matter of ultimate concern (Paul Tillich’s well-known definition), fame is a matter of repeated concern, which is to say, reputation and renown, where reputation is a matter of being subject to repeated considering (re-putare). An ultimate concern (faith) is not the same as a popularly celebrated or highly frequented concern (fame), however their difference is supplementary and not simply antagonistic. Fame without faith is empty, and faith without fame is blind, out of touch.
Looking out of my window, between the blinds, I’m left wondering about the quasi-transcendental function of blindness in faith (blind faith; faith sans voir), justice (blindfolded Lady Justice), and love (blindfolded Cupid; Theocritus, Shakespeare, and others saying that love is blind).