Nothing that God created is the source of our human temptation. To the contrary! The human body is the crown of God's creation–consummated by his declaration that it was good. That God's people are unable to view the body without sinning is not an indictment of the body itself, but of the immaturity of the post-modern evangelical mind. We live in a culture whose inhabitants spend billions of dollars a year to see each other naked on internet sites and in pornographic films, yet are often uncomfortable changing in front of each other in locker rooms or even being seen in a swimsuit on the beach. Could it be that we have so profoundly fused the image of the exposed body with sexual gratification that there is no context left for it to be laid bare without evoking either shame or arousal? In That Famous Fig Leaf, Chad Thompson explores the spiritual implications of the physical body and, surprisingly, uncovers a new kind of freedom from sexual addiction along the way. Chad critiques the Christian purity movement for conflating purity with prudery, and reveals that changing how we esteem our bodies has the power to heal the hypersexualized body consciousness of our culture.
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Chad W. Thompson. That Famous Fig Leaf
That Famous Fig Leaf
Table of Contents
Acknowledgments
Chapter 1—The Divine Disconnection
Chapter 2—A Red Light in the Bedroom
Chapter 3—That Famous Fig Leaf
Chapter 4—Farquahr Finds His Penis
Chapter 5—The Pale Lover
Chapter 6—Anthropological Eyes
Chapter 7—The Naked Cowboy
Chapter 8—Born Again Bodies
Endnotes
Bibliography
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Uncovering the Holiness of Our Bodies
Chad W. Thompson
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When Picasso’s estate refused to confirm the authenticity of the drawing, which became known as “The Unknown Masterpiece,” Mark Harris was charged with a difficult task: authenticating the artwork based solely on its attributes.
Harris began by pointing out hallmark features of Picasso’s work, such as the fingerprint rolled into the wet ink at the bottom of the drawing, and by comparing the drawing to authenticated works by the artist. By identifying stylistic attributes that had been associated with Picasso, and discovering similarities between “The Unknown Masterpiece” and other paintings by Picasso (such as “The Three Dancers” and “Guernica”), Harris was able to amass a large body of evidence to support the claim that Picasso, indeed, painted the picture. In other words, Harris was able to identify the designer by looking at the design.
