Professional Documents
Culture Documents
1992
Recommended Citation
Byars, Terry Grant, "The Theatre of Religion: Jimmy Swaggart Within American Myth Discourse." (1992). LSU Historical Dissertations
and Theses. 5374.
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THE THEATRE OF RELIGION:
JIMMY SWAGGART WITHIN AMERICAN MYTH DISCOURSE
A Dissertation
in
by
Terry Grant Byars
B.S., Louisiana State University, 1971
M.F.A., Temple University, 1974
August 1992
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TABLE OF CONTENTS
Page
ABSTRACT ............................................ iii
INTRODUCTION ........................................ 1
ii
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ABSTRACT
iii
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project concludes that the on-going carnival of Swaggart's
iv
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INTRODUCTION
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Swaggart a product of his culture and that whatever
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rights activists, feminists, etc. Leading the vanguard of
benefits.
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4
existence.
it: the myth of the self-made American and his rise from
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prospect of every American. The following pages will show
mythic self-made-ness.
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Joseph Campbell, Vladimir Propp, and Northrop Frye ). At
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basis for this discussion. Investigation will explore how
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compared to Foucault's madman. Interpreted by secular
Judge.
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9
platform.
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10
hero.
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11
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12
NOTES: INTRODUCTION
5 Bennett xvi.
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CHAPTER I
13
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14
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15
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16
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17
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18
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19
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presently.
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21
done on the hero and his journey, the most prominent (and
Northrop Frye.
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22
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23
plot: a poor but industrious lad rises not only from rags
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24
Revolutionary war.
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Each of the three sub-prototypes emphasizes a
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In contrast to the backwoodsman, who was a loner and
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27
intense labor.
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Bellah. Bellah and his colleagues, in their landmark work
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29
citizen."27
themselves," "Keep thy shop and thy shop will keep thee,"
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30
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31
of Franklin's maxims.
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32
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33
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34
declares, "I can't speak them lignum vitae words" (60) and
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wordplay, he quips, "What the dogs need of all this
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36
successful end.
being poor but honest: "Well, when I get rich, I'll turn
very honest all at once, and pay off all my debts. Eh!
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Phelim, will that be right? No, by my soul, it would be a
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38
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Adam Trueman, like Jonathan and O'Flinn, is cut from
for example, Trueman asks: "Why the deuce can't you speak
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40
character.
that Trueman himself has come from the country (as a kind
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country [rural/natural environs] to the city represents the
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fact, Daniel Gerould calls Uncle Tom's Cabin in American
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43
that owns a boy [negro] like that, and can't find any
and company beneath the same trap door out of which George
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44
determination.
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45
Octoroon was given its New York premiere "at the packed
guilt, Scudder rejoins, "Say what you know— not what you
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46
heaven, that looking down, struck upon this plate the image
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47
nigger this day— I feel like one, inside" (130). This sort
theatre.
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48
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49
4 Robertson xv.
7 Barthes 151.
® Barthes 152.
^ Barthes 127.
Barthes 127.
11 Barthes 153.
12 Barthes 154.
13 Barthes 151.
14 Robertson 147-157.
1® Levi-Strauss 120-121.
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50
24 Marsden 71.
2® Woodward 8.
2^ Woodward 8.
29 Marsden 71.
30 Woodward 1.
3* Woodward 2.
32 Barthes 153.
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51
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CHAPTER II
52
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53
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54
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55
Lee was now big time . . . making more than twenty thousand
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56
Leon falls in love with his future wife Minnie Bell Herron,
head" (25).
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57
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58
states, "I was a high school dropout and the idea had
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59
much it's killing me. You've got the life [emphasis mine]
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60
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Franklin's admonition: God helps them that help themselves
that, when they might have had a taste for study, they had
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62
wiping sweat from her face' " (14). The passage is encoded
(implicating Trope 4 as w e l l ) .
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63
money, opting for the higher call of God, but runs "into
a symbol of goodness/virtue.
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64
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65
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the earth. Manual labor is therefore "good" labor,
American "hometown."
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67
the tanned, lined face, and the gas pump all conspire to
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68
culturally sanctioned.
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69
double empathy.
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70
heroism.
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71
version of success.
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72
revolution.
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73
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74
" 'I will, I'll do what you said,' I responded to the voice
poor-Jimmy/rich-Jerry-Lee dichotomy).
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75
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76
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77
receives word that Jerry Lee has just signed a contract for
of these scenarios.
was a stern warning that the deeper we went with God, the
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78
forms of oppression.
stood towering over me. He had the body of a bear and face
to say, 'I have you now. This is the end for you.' He
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79
life struggle.
Swaggart: " 'Look at you,' the voices said, 'if your God is
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80
of self-made heroism.
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his impoverished youth, Swaggart sets the stage of his
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82
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83
unschooled reader.
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"natural" and therefore "good"). Other subtle "light" cues
code: "But the Spirit has led unerring/To the land I hold
and "live for the Lord" (88) provide evidence that Swaggart
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85
"correct."
Swaggart's heroism.
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bloodless icons of idealized womanhood. He describes a
loved her for the soft, tender way . . . Mama used that
with her amen, encouraging him with all her heart" (129).
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87
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88
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a flashy azure blue suit" with "a hefty diamond on his
coupled with the azure suit and pinky ring, replays the
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90
that the same musical style that makes Jerry Lee a rock-
glorifying the musical art (of which he and his cousin are
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91
(51). The two young cousins sit for hours studying Old
reminiscence:
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92
piano was white and tastefully blended with the snow white
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cultural mind. This matrix (constituted of the seven
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94
2 Postelwait 176.
3 Postlewait 177.
7 Woodward 8.
9 Cawelti 307.
10 Cawelti 310-312.
12 postlewait 175.
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CHAPTER III
SWAGGART AS 'TEXT1:
immediate hold upon it; they invest it, mark it, train it,
95
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96
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97
ideologies.
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98
I. Evangelical Readership
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99
30,000.8
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100
model).
consciousness.
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101
Christ's heir-apparent.
Paradise.
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102
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103
follows:
Dear Jimmy: Your voice pleading firmly but
gently— tears in your eyes, compassion in your
words— told me that Jesus through you was crying
bitter tears of sorrow for me . . . . I have now
been totally delivered from the homosexual life
style, the unclean spirit, alchohol, drugs, and
all the depression that accompanied this type
life-style.12
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104
other.
the idea that Swaggart not only "stands up for the Lord,"
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105
martyrdom.
that the body (as political) is forced "to carry out tasks,
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Swaggart's writings show how Swaggart extenuates the idea
see Frances and those with us do the same" (6). But the
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107
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108
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109
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110
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Ill
walls have windows, one wall facing the central tower and
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112
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113
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114
Grutman to reveal any dirty linen the lawyer might have 'to
subjects.
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115
secular culture.
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116
moment:
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117
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118
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119
manifestation.
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120
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121
Rex and Huey Long. The iconic presence of these two images
which New Orleans is defined, and King Rex (as Mardi Gras'
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122
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123
madness/theatre.
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124
Long and Swaggart are arresting. Both are common men from
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ultra-madness of the "elder brother," for he attempts to
personae.
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126
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127
societal consent.
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128
thought.
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129
burlesque.
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130
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131
2 Foucault 26.
8 Big Time Re l i g i o n .
11 Garland 7B.
13 "Letters" 31.
15 Foucault, 25.
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132
23 Foucault 200.
28 woodward 65.
29 ostling 60.
30 Ostling 64.
31 Foucault 204.
33 woodward 89.
34 woodward 89.
35 woodward 89.
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133
38 Schultze 27.
41 Woodward 89.
46 Foucault, Madness 7.
47 Foucault, Madness 7, 8.
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CHAPTER IV
made-ness.
134
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135
theatre to be "sinful."
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136
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137
idea that Christ can appear at any moment and rescue true
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138
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to its district. A discourse of marginality thus arises in
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Carlson, these pre-performance zones provide time/space in
en t ry .
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141
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front side with dark blue cloth, but the stage floor itself
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143
his rostrum.
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144
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that for which it stands— a stage chair for a real c hai r),
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146
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147
impeccable.
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148
Christian Hero.
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149
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Christian faith.
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arrested by a symbolism that has apparently been in place
all along. Scanning from Far Left to Far Right, the viewer
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152
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153
a role.
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154
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155
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their Minister-in-Chief.
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Frances' costume incites an altogether different
hair has been highly coiffed for media exposure. She is,
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158
Hero.
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old life into the new. Thus, the evangelical service sets
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160
that journey.
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161
He is Lord, He is Lord
He has risen from the dead and He is Lord
Every knee shall bow, every tongue confess
That Jesus Christ is Lord.
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world in which all kingdoms of the earth will be forced to
Swaggart has his audience doing while this song (as a sign
evening.
tempo tune:
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163
thus confuses the matter of who exactly _is the Savior. The
then, you just wait until He splits the skies asunder, and
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164
we'll be able to, and there won't be any time limit, and we
can just sit down and be refreshed in the glory of the Lord
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165
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class colloquial) comments on the commentary, telling the
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167
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to draw these kinds of analogies simply by recounting his
the Death Angel has passed him by. He vaults over several
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169
it," says Swaggart, who has now become John the Baptist,
River Jordan.
"Our heavenly High Priest two thousand years ago laid aside
emotional: "I know He came out [of the tomb] and put
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170
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In Chapter Five, we will continue an exploration of
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172
persona.
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2 Carlson 8, 10.
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CHAPTER V
the same pornographic poses she had used in her liason with
174
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175
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176
exposed.
1991
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177
televangelism."7
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attempts.
his life bare before the nation and "walks through" the
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179
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180
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his evangelical audience. He suddenly makes them his
take a long look at his sin— but also to witness his pain.
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182
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183
siege.
have to realize that the fault and the blame are yours, no
warrior:
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184
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185
sector).
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than the Biblical Job, whom Satan also picked for special
and on the other, wages war with Satan. The reader soon
hero.
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187
the true Warrior. It also implies that very few have ever
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188
military expert.
the space appear smaller than it is— and thus more crowded
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189
discourse.
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of martyrdom.
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(theatron) was not a place where one "acts," but "a place
to the spectator.
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192
actor/audience pl acement).
listened was not simply the forgiving master, the judge who
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as truth-engendering space.
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195
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to February, 1988).. 21
punishment.
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198
tell them that come January of 1992, that the Bible college
and seminary will open on time. And you don't quit.' "22
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recounts his 1953 dream where Satan appears to him with the
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200
duplicities.
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201
2 Ostling 46.
7 Schultze 85.
9 Foucault 61-62.
13 Carlson 128.
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202
18 Garland 2B.
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CONCLUSION
203
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iconic charisma.
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Religion).
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he must face along the way; these obstacles take the form
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207
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this pow erful myth has be e n both a ble ssi ng and a curse.
Swaggart's labor has paid off, maki ng him the par adigmatic
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209
that his own life has all along involved deception. Thus
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210
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Swaggart's denial that he is in any way theatrical. We
and bells, Swa gg ar t shows "normal" society its nor malcy (by
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212
culture at large.
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performers.
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WORKS CITED
BOOKS:
214
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215
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216
PERIODICALS:
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217
PLAYS:
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218
VIDEO DOCUMENTS:
AUDIOTAPES:
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VIT A
Acting in 1974.
scripts.
Claire.
219
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D O CTORAL E X A M IN A T IO N AND D IS S E R T A T IO N R EPO R T
Approved:
EXAMINING COMMITTEE:
Date of Examination:
May 6, 1992
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