This book explores the textual traditions that authorize the history, legitimacy, and authenticity of today's physical posture practice. The volume focuses on why and how yoga communities have adopted various texts they consider sacred or spiritually meaningful. Among the texts discussed are Yogananda's Autobiography, Sri Aurobindo's Savitri, Patanjali's Yoga Sutra, the Bhagavad Gita, the Hatha Yoga Pradipika, the Upanishads, the Vedas, and the YoginīTantra. Famous thinkers referred to include Aurobindo, Yogananda, Osho-Rajneesh, Sogyal Rimpoche, Charles Johnston, (...) and Howard Thurman.Offering a starting point, the ten essays address the nature, selection, and function of various ancient and contemporary texts read in contemporary yoga settings. The attention centers on how and why texts are read, and for whom they are read. As yoga is practiced in ashrams, yoga studios, gyms, meeting rooms, and even private living rooms, scholarly approaches to investigate the connections between yoga and texts are necessarily diverse. The volume aims to inspire further scholarship on the many ways in which various texts are sacralized in yoga communities, and on the reading strategies that are used to interpret them. The collection demonstrates that these issues deserve to be an important part of contemporary yoga studies. The anthology will, therefore, be of great interest to scholars of Religious Studies, Yoga Studies, and Asian Studies, as well as those studying sacred texts. (shrink)

This chapter contains sections titled: Inspiration History Inside the Beauty Question.

The aim of this article is to present a personal reflection regarding the theoretical/philosophical relation between the generally accepted theological grounding of icon painting and other contemporary artistical endeavours to integrate the religious feeling – of Christian-Orthodox inspiration. This reflection is based on a mixture of ideas from different thought-frameworks which have as common ground the need for speculating on issues such as ‘tradition understanding’, ‘personal expression’, ‘art and religiousness’, exactly those key-themes that are constituting the fundamental threads of my (...) argumentation. Hence, my appeal to authors like Lucian Blaga, Leonid Uspensky, Martin Heidegger, Paul Evdochimov, and Christos Yannaras. The point of departure for my study is the powerful and unavoidable conflict between the need for personal artistic interpretations of religious themes – expressed through contemporary artistic techniques and the application of contemporary metaphysical modelings – and the need for attaching oneself to an ‘authentic’ tradition of religious experience and to a community with deep roots in history. My all-round thesis is that this conflict cannot be, at least, clarified by choosing, from the artistic point of view, between two extremes: contemporary secular art on the one hand, and sacred, canonical art on the other hand, but by finding conceptual common pathways. (shrink)

* Hatha yoga is commonly thought to be a pure, ancient Indian spiritual discipline that transcends cultural, temporal and spatial boundaries or a spiritual discipline corrupted by Indians (for export) or Westerners (for import) to accommodate Westerners. Calling these beliefs into question, Max Popov's Radiant Bodies shows how hatha yoga was transformed from sacred practice into a health and fitness regime for middle-class Indians in India in the early and mid-20th century. Popov tells the story (...) of this transformation through the lives and accomplishments of eleven key figures: six Indian yogis (Shri Yogendra, Swami Kuvalayananda, S. Sundaram, T. Krishnamacharya, Swami Sivananda and B. K. S. Iyengar), an Indian bodybuilder (K. V. Iyer), a rajah (Bhavanarao Shrinivasrao), an Indian diplomat (Apa Pant), an American-born English journalist (Louise Morgan), and a Russian-born yogi trained in India (Indra Devi).Their accomplishments are placed within the context of such Western trends as the physical culture movement, the commodification of exercise, militant nationalism, post-World War I anxiety, the mystique of science, jazz age popular entertainment, and the quest for youth and beauty. Through a series of biographical narratives placed in a rich cultural context, Popov not only brings to life the formation of modern hatha yoga as an exercise system in the early 20th century but also its transformation over the course of the 20th century into an embodied spiritual practice. Popov draws on extensive research from rare primary sources to present a cutting edge interpretation of the history of modern hatha yoga. Radiant Bodies is a thoughtful book for the educated general reader that would also be of special interest for religion scholars and yoga professionals and practitioners. (shrink)

Explores the evolution of life and consciousness according to the cosmology and psychology of fire, viewing fire not only as a material but also as a spiritual principle.

As bearers of the divine image, all of us are storytellers and artists. However, few people today believe in truth that is not empirically knowable or verifiable, the sort of truth often trafficked through direct forms of communication. Drawing on the works of Soren Kierkegaard, Benson P. Fraser challenges this penchant for direct forms of knowledge by introducing the indirect approach, which he argues conveys more than mere knowledge, but the capability to live out what one takes to be true. (...) Dr. Fraser suggests that stories aimed at the heart are powerful instruments for personal and social change because they are not focused directly on the individual listener; rather, they give the individual room or distance to reconsider old meanings or ways of understanding. Indirect communication fosters human transformation by awaking an individual to attend to images or words that carry deep symbolic force and that modify or replace one's present ways of knowing, and ultimately make one capable of embodying what he or she believes. Through an examination of the indirect approach in Kierkegaard, Jesus, C. S. Lewis, and Flannery O'Connor, Fraser makes a strong case for the recovery of indirect strategies for communicating truth in our time"--Back cover. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Modernity as Apocalypse: Sacred Nihilism and the Counterfeits of Logos by Thaddeus J. KozinskiMehmet CiftciModernity as Apocalypse: Sacred Nihilism and the Counterfeits of Logos by Thaddeus J. Kozinski (Brooklyn, NY: Angelico, 2019), 231 pp.Whether the names Adrian Vermeule, Fr. Edmund Waldstein, and Sohrab Ahmari provoke anxiety or glee in readers' minds will depend on where they stand on integralism, the brand of Catholic traditionalism that all (...) three have sought to promote through various websites and publications. Presenting themselves as the authentic interpreters of magisterial teachings on church–state relations, the integralists have challenged the long-standing attempt (especially in North America) to combine the Catholic faith with a commitment to political liberalism, natural rights, religious liberty, and state neutrality toward religion. For the integralists, attempting such a combination succeeds only in distorting the Catholic faith and causes us to forget what the Church taught before the Second Vatican Council, which still obliges the assent of Catholics, they claim, and is desperately needed to stand against the onward march of secularism. [End Page 966]Although Thaddeus Kozinski, former professor at Wyoming Catholic College, may not be one of the more well-known integralists, his latest book presents an interesting iteration of Catholic traditionalism that displays both what is valuable and what is most worrying about contemporary traditionalism. Kozinski's previous book was a closely argued critique of John Rawls and Jacques Maritain using the thought of Alasdair MacIntyre. It built up a cumulative case for the impossibility of resolving the political problem of religious pluralism without moving beyond philosophy by making a decision to reject or accept the political importance of the Catholic Church and its teachings.1 Although the author's preference for some sort of confessional state was already clear in that book, he preferred not to defend it, but rather to argue that it is impossible to be agnostic or neutral toward the ideal of church–state union. Now he goes on the offensive, presenting in the twenty brief chapters of Modernity as Apocalypse his "sundry attempts over the past decade to grapple with the question of modernity" (14). More precisely, he is grappling with the questions of what defines modernity, how we arrived at where we are, and what Christians should do while living in it, particularly in the fields of education and politics.The two chapters that form the first part (entitled "Modernity") use Charles Taylor's A Secular Age to argue that modernity's increasingly pluralistic and secular culture creates "an entirely new incapacity to experience the reality of a particular worldview in a naïve way, that is, without the consciousness of there being other viable options" (37). Yet the problem also reveals a blessing. "Encountering reality through the lens of other perennial traditions can serve to expose that false dichotomy in our minds that leads us to interpret other views as nothing more than full-fledged errors and our own personal lenses as nothing less than the whole truth" (21). Anyone who has read what passes for commentary on websites such as Church Militant or Rorate Caeli will find that statement surprising and refreshing.The second part ("Logos") contains four chapters that lucidly discuss contemporary disagreements in ethics between Kantians and virtue-ethicists, between new natural lawyers and MacIntyreans. Chapter 4 makes an effective and moving argument to read Plato "as a precursor to Faith, and a guide along the way home" (50). There are some brief but suggestive remarks drawing on Benedict XVI's Caritas in Veritate in [End Page 967] chapter 6 to argue that an ethics of gift can enable us to express the moral teachings of the New Testament in terms that are potentially convincing to a broader audience. "Metanoia" is the title of the third part, dedicated to education. Chapters 7–8 and 10 give not very original and yet timely arguments for the importance of the liberal arts, the need for Catholic universities to be institutions that can foster, rather than deform, the practice of philosophy, and the need for pedagogy to be rooted in the transmission of a community's tradition.2However, one cannot help but be startled when... (shrink)

This book shows the interconnections between postmodernism, religion, politics, economics, and art. It shows that the awareness of interconnectedness is at the center of the postmodern sensibility. Sacred Interconnections illustrates the rejection of the modern idea that these subjects can be discussed as separate disciplines. While the term "postmodern" has been widely used for deconstructive, cynical, even nihilistic attitude, especially in the world of art and literature, the book represents the emergence of a reconstructive, reenchanting postmodernism, even within the (...) artistic and literary circles. (shrink)

Graffiti, as a form of artistic and social expression, has long been entangled in debates concerning its legitimacy, ethics, and cultural significance. Initially serving as a medium for creative expression and social communication, graffiti has evolved from an act of defiance to a widely recognized form of urban artistry. However, this transformation raises deeper philosophical and theological questions about the nature of artistic legitimacy, the moral implications of public space utilization, and the tension between transgression and sacred expression. Is (...) graffiti an act of rebellion against authority, or does it serve as a reflection of deeper existential and spiritual inquiries? Rooted in historical traditions of visual storytelling, from prehistoric cave paintings to religious iconography, graffiti occupies a unique space between vandalism and sacred art. Its presence in urban landscapes often symbolizes dissent and marginalized voices, yet it also engages with the broader philosophical discourse on freedom, moral agency, and the sanctity of public expression. The increasing acceptance of graffiti as a legitimate art form further complicates the boundary between crime and creative expression, raising ethical concerns about ownership, space, and cultural identity. This study explores graffiti’s evolution through a lens of religious and philosophical reflection, analyzing its role in shaping public consciousness, its intersection with ethical discourse on transgression and creativity, and its potential as a medium for spiritual and social transformation. By tracing graffiti’s historical roots, examining the debates surrounding its moral and aesthetic value, and considering its future trajectory in the democratization of public space, this paper argues that graffiti should not be viewed solely through the dichotomy of legality and illegality. Instead, it should be examined as an evolving cultural and philosophical phenomenon that challenges conventional notions of art, morality, and the human search for meaning in public expression. Future research should further explore graffiti as a contemporary manifestation of sacred and profane spaces, its parallels with religious artistic traditions, and its role in redefining ethical and spiritual engagement with the urban environment. (shrink)

Numinous Fields has its roots in a phenomenological understanding of perception. It seeks to understand what, beyond the mere sensory data they provide, landscape, nature, and art, both separately and jointly, may mean when we experience them. It focuses on actual or potential experiences of the numinous, or sacred, that such encounters may give rise to. This volume is multi-disciplinary in scope. It examines perceptions of place, space, nature, and art as well as perceptions of place, space, and nature (...) in art. It includes chapters written by art curators, and historians and scholars in the fields of landscape, architecture, cultural geography, religious studies, philosophy, and art. Its chapters examine ideas, objects, and practices from the ancient time of Aboriginal Australians' Dreaming through to the present. The volume is also multi-cultural in scope and includes chapters focussed on manifestations of the sacred in indigenous culture, in cultures influenced by each of the world's major religions, and in the secular, contemporary world. Contributors: Samer Akkach, James Bennett, Veronica della Dora, Alasdair Forbes, Virginia Hooker, Philip Jones, Russell Kelty, Muchammadun,Tracey Lock, Ellen Philpott-Teo, John Powell, Rebekah Pryor, Wendy Shaw. (shrink)

How can the sacred be artistically expressed? The answer to this question depends greatly on the precise relation of the aesthetic to the religious experience. F. David Martin considers them both to be participative experiences which reveal the ontological beyond the ontic. Yet while the aesthetic experience and its artistic expression only implicitly attain Being as transcendent, religious art conveys an explicit awareness of transcendence. Religious expressiveness is achieved by a strong embodiment of the iconic element present in all (...) art. Still without the addition of conventional symbols iconic symbols can never become explicitly religious. The presence of conventional religious symbols alone, however, is not sufficient to sacralize art. A painting may remain secular even if it represents a Madonna. To function religiously it also needs what the author terms an "iconic foundation." Thus the religious dimension of art appears on three levels: 1) in the artistic expression as such which, even though it may not articulate religious feelings, is implicitly religious by letting Being shine forth; 2) in the evocation of Being-as-transcendent by means of iconic symbols, which remains still religiously ambiguous; 3) in the clear assertion of transcendent Being by iconic and conventional symbols, which is explicitly religious. The thesis is developed successively for music, painting, literature, and architecture. Each chapter is illustrated with appropriate examples testifying to the author’s unusual aesthetic sensitivity. (shrink)

This paper approaches the spectrum of theater studies in Indonesia in an interdisciplinary manner, encompassing both descriptive and normative perspectives. From a descriptive standpoint, the spectrum is shaped by various ways of attributing meaning to theater as an entity. In a normative approach, various disciplines offer perspectives that contribute to creating a spectrum of meaning for theater in relation to the life of Indonesian society. Through a literature review, the research identifies at least three approaches to constructing theater studies in (...) Indonesia: synchronic, diachronic and, combined. These three approaches are drawn from disciplines outside of theater, such as historical, anthropological, and sociological studies. Based on this perspectives, theater studies in Indonesia has moved from viewing theater in its meaning as a form of sacred ritual in the past to theater as symbolic capital today. These interdisciplinary perspective has an influence on the meaning of theater in theater studies itself as a discipline. Theater in Indonesia as a subject of study, therefore, is not only understood as an art that originates from dramatic works, but is more broadly understood as all forms of art that are centered on human action displayed in live performances, including sacred rituals, cultural performances, and theatrical protests. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:738 BOOK REVIEWS tical ruin, for what is required is a proper legal response to their illegal acts and a properly political response to their political acts. Burtchaell is usually close to the truth in his ethical judgments, hut one is often uneasy with these judgments either because of some glaring inconsistencies or because they do not seem grounded on a solid theoretical basis. He is possessed of some (...) remarkably clear insights and a powerful rhetorical style, hut these suffer from his inability to string these insights into a consistent outlook on these critical biomedical issues. University of Illinois Champaign-Urbana, Illinois ROBERT BARRY, O.P. Image and Spirit in Sacred and Secular Art. By JANE DILLENBERGER. New York: Crossroad, 1990. Pp. 217. $29.95. In the quarter century since the close of Vatican II, it is surprising how few Catholic seminaries in this country have followed the Council mandate that called for the study of sacred art by candidates preparing for ordination. On the contrary, the preconciliar ambivalence toward the arts in general, and the visual arts in particular, has been superseded by an incipient iconoclasm that has flourished hand in hand with the liturgical renewal. In the exuberance of throwing out the vestiges of preconciliar culture, hasty reformers have unwittingly embraced new art forms that are all too often lacking in aesthetic or spiritual value. Their untrained eyes predictably gravitate toward the insipid, the garish, and the gaudy. Much of what has been lauded as Catholic art in the past two decades finds itself as hopelessly outdated as the burlap banner. Catholic culture has devolved into Catholic kitsch. It is ironic that the most eloquent voice for the study of art in American seminaries today belongs not to any priest or prelate, hut to a Protestant woman, Jane Dillenherger, who has established a long and distinguished career teaching in theological seminaries. These include: Drew Theological Seminary, San Francisco Theological Seminary, the Pacific School of Religion, and the Jesuit School of Theology in Berkeley. The Harvard-educated Dillenherger is the author of numerous hooks and articles dealing with art and religion. That she foresaw a career dedicated to rebuilding bridges between these two long-estranged fields of study was evidenced early on when she sought an inter-disciplinary doctoral degree with a dissertation committee that would include the theologian Paul Tillich alongside the eminent art historian Erwin Panofsky. The innovative proposal was denied. Undaunted, Dillen· BOOK REVIEWS 739 berger later went on to establish at the Graduate Theological Union in Berkeley a doctoral program of studies in the Arts and Religion, the only one of its kind in the United States, where theologians, artists, and art historians collaborate in the education of future church leaders. Jane Dillenberger's latest book, Image and Spirit in Sacred and Secular Art, is fitting testimony to a career that has stretched over five decades. The hook is a compendium of essays and lectures addressed to "the inquiring, intelligent adult who has little or no formal background in the visual arts." The offerings include such diverse subjects as "The Image of Evil in Nineteenth- and Twentieth-Century Art" (what would have been her dissertation topic under Tillich and Panof· sky), "Picasso's Transformations of Sacred Art," "The Appearance and Disappearance of God in Western Art,"" Lucas Cranach, Reformation Picture-Maker," and "Images of Women in American Art." Al· together, ten essays have been included in this Crossroad publication which is generously filled with 133 reproductions of works discussed in the text. The overarching theme of this hook is to look at visual images and analyze how they have changed through successive cultural eras. In doing so the author makes every attempt to connect art and religion with everyday life. In her introductory essay, "Looking for Style and Content in Christian Art," Dillenberger calls on all viewers to discard their private prejudices as they gaze upon artworks: "Nothing less than a kind of self-abdication is demanded of us by a great work of art. It asks us to see it, if only for a few moments, in terms of the vision that it represents and expresses." Only by placing biases in check can the... (shrink)

Three points are discussed: first, that limits of technological fixes are revealed by current economic, social, and environmental problems; second, that these problems cannot be solved by a technological fix but require alternative forms of activity and being; third, that realizing these limits makes possible the re‐emergence of the sacred. Two attitudes toward technology, nature, and the sacred are described: Technocrats desacralize nature and strive to shape it technologically for human ends alone; pernetarians resacralize nature and develop a (...) perennial philosophy (synthesized from elements of different spiritual disciplines) allied with an enlarged, artful science, so as to design activities compatible with nature. (shrink)

With In Focus Sacred Geometry, learn the fascinating history behind this ancient tradition as well as how to decipher the geometrical symbols, formulas, and patterns based on mathematical patterns. People have searched for the meaning behind mathematical patterns for thousands of years. At its core, sacred geometry seeks to find the universal patterns that are found and applied to the objects surrounding us, such as the designs found in temples, churches, mosques, monuments, art, architecture, and nature. Learn the (...) fundamental principles behind: Interpreting the sacred symbolism and principles behind shapes Calculating numbers used in sacred geometry Applying the golden ratio and Fibonacci’s Sequence to objects Translating symbolic and geometrical letters and alphabets This accessible and beautifully designed guide to sacred geometry includes a frameable poster of the main sacred geometrical shapes and their unique, innate arrangements. The In Focus series applies a modern approach to teaching the classic body, mind, and spirit subjects. Authored by experts in their respective fields, these beginner's guides feature smartly designed visual material that clearly illustrates key topics within each subject. As a bonus, each book includes reference cards or a poster, held in an envelope inside the back cover, that give you a quick, go-to guide containing the most important information on the subject. (shrink)

The sacred has survived where religion has not. The sacred is acknowledged by prominent atheists and agnostics. They emphatically agree that the person is sacred and less clearly that nature is as well. Closer examination of their remarks shows that today the sacred comes in two versions, the rightful sacred, best known under the heading of human rights, and the graceful sacred of concrete reality?things and practices of nature and art particularly. The division of (...) the sacred into its rightful and graceful versions (a division that is mirrored in the distinction philosophers make between the right and the good) is the crucial cultural event of the modern era. The two are distinct at least and sometimes thought to be incompatible. Yet they can and must be reconciled and seen as complementary?a general requirement of human well-being. And for a Christian like me they find their perfect union in the truly sacred person?God. (shrink)

As the international art market globalizes the indigenous image, it changes its identity, status, value, and purpose in local and larger contexts. Focusing on a school of Australian Aboriginal painting that has become popular in the contemporary art world, Robyn Ferrell traces the influence of cultural exchanges on art, the self, and attitudes toward the other. Aboriginal acrylic painting, produced by indigenous women artists of the Australian Desert, bears a superficial resemblance to abstract expressionism and is often read as such (...) by viewers. Yet to see this art only through a Western lens is to miss its unique ontology, logics of sensation, and rich politics and religion. Ferrell explores the culture that produces these paintings and connects its aesthetic to the brutal environmental and economic realities of its people. From here, she travels to urban locales, observing museums and department stores as they traffic interchangeably in art and commodities. Ferrell ties the history of these desert works to global acts of genocide and dispossession. Rethinking the value of the artistic image in the global market and different interpretations of the sacred, she considers photojournalism, ecotourism, and other sacred sites of the western subject, investigating the intersection of modern art and postmodern culture. She ultimately challenges the primacy of the "European gaze" and its fascination with sacred cultures, constructing a more balanced intercultural dialogue that deemphasizes the aesthetic of the real championed by western philosophy. (shrink)

In this paper I explore the role that the concept of the sacred can play in our moral thinking. I accept that the assertion that ‘human life is sacred’ can be one way of articulating the special value of individual human lives as in some sense inviolable. I cautiously allow that the idea of ‘sacred value’ might also apply to other things such as certain kinds of human commitments, uniquely precious art-works, and some other kinds of living (...) things. In conclusion I offer reasons for resisting the claim, made especially by Roger Scruton, that the experience of the sacred, when properly understood, draws us ineluctably into a religious view of the world. (shrink)

No altar da Igreja de Santa Maria della Vittoria, encontramos a bela escultura de Bernini, denominada “O êxtase de Santa Teresa”. Símbolo da entrega ao gozo espiritual, a escultura do artista italiano representa Santa Teresa de Ávila recebendo do anjo a seta do amor divino, reprodução perfeita do êxtase místico e religioso. Esse trabalho tem como objetivo analisar a ocorrência de Teresas na literatura brasileira, como heroínas divididas entre o sacro e o profano. Propomos o estudo do romance Tereza Batista: (...) cansada de guerra, de Jorge Amado, a partir da intertextualidade com a tradição literária baiana, de Gregório de Matos e Castro Alves, e em contraponto ao pensamento religioso da obra lírica de Santa Teresa de Ávila, em diálogo com a escultura extática da santa, criada por Gian Lorenzo Bernini.Palavras-chaves: Santa Teresa de Ávila. Jorge Amado. Castro Alves. Gregório de Matos. Sagrado. Profano.At the altar of the Church of Santa Maria della Vittoria, is located the Bernini’s sculpture, called "The Ecstasy of St. Teresa." Symbol of surrender to spiritual joy, the sculpture by the Italian artist represents St. Teresa of Avila affected by the arrow of the Angel, perfect reproduction of the religious and mystical ecstasy. This article aims to analyze the occurrence of Teresas in Brazilian literature, as heroines divided between the sacred and the profane. We propose to study of the novel Tereza Batista: cansada de guerra, by Jorge Amado, from the intertextuality with the literary tradition of Bahia, of Gregorio de Mattos and Castro Alves, and in opposition to the religious thought of the lyrical work of St. Teresa de Ávila, in dialogue with the ecstatic sculpture of St. Tereza, by Gian Lorenzo Bernini.Keywords: St. Teresa of Ávila. Jorge Amado. Castro Alves. Gregório de Mattos. Sacred. Profane. (shrink)

The Tang Dynasty is renowned for its cultural richness and openness to external influences, which significantly impacted the aesthetics of its costume designs, as depicted in contemporary murals. This paper explores the intricate clothing patterns and shapes featured in Tang Dynasty murals, utilizing high-definition microscopic analysis to uncover the profound artistic and symbolic significance embedded within these garments. The study reveals that the clothing patterns are predominantly linear and elongated, with wide cuffs and streamers, while the shapes primarily encompass triangular, (...) rectangular, and oval forms. These elements are executed in a palette of predominantly white, red, blue, and brown, using predominantly lightweight materials like silk, indicative of both aesthetic appeal and functional design. This research delves deeper into the philosophical and religious symbolism of these designs, examining how these ancient motifs influence modern fashion clusters and contribute to contemporary clothing design. The findings suggest that Tang Dynasty apparel exhibits a sophisticated interplay of form and function, enriched with philosophical and religious connotations that resonate with modern design principles. This historical continuity not only deepens the cultural and symbolic dimensions of contemporary fashion but also enhances brand identity and competitive edge in today's global fashion markets. By tracing the lineage of these artistic characteristics from ancient murals to modern clothing collections, this paper highlights the enduring influence of Tang Dynasty aesthetics on modern fashion, suggesting that ancient art forms can provide significant insights into contemporary design practices, especially in the context of enhancing philosophical and religious expressions within the fashion industry. (shrink)

Genetic engineering of life forms could well have a profound effect upon our sense of the sacred. Integrating the experience of the sacred as George Bataille does, we can characterize it as a phenomenological encounter with prelinguistic, noncategoreal experience. This view of the sacred is similar to Friedrich Nietzsche's Dionysian experience or Rudolf Otto's mysterium tremendum and diminishes one's sense of self. It seems similar to the eighteenth‐century aesthetic categorization of “the sublime.” Despite the dominant rational approach (...) to religiosity in the United States, intimations of this experience persist in popular culture. What possible relationship does genetic engineering have to this allegedly inevitable and profound experience? If certain modifications of life occur, they are likely to create such an experience of the sacred in us. In principle, we can now resurrect the mammoth or even create beings designed to directly potentiate our experience of the numinous such as satyrs or centaurs. The creation of such beings could become an art form associated with awaking the sacred, in turn appropriated by religion, as art has always been. Such experimentation, though morally questionable, is probably inevitable. (shrink)

This is what Daniel Simpson has to say of it: An entertaining polemic that takes heartfelt swipes at Western scholars, accusing them of misreading Tantra. "Hinduism is Tantric in essence," the essay says, without proving that Tantra predates other influences, or that "Yoga in its various forms, arises out of Tantra". The latter seems at odds with the earliest descriptions of austerities, or the ascetic objective of bodily transcendence (which Tantric teachings later modified, as evinced by hatha (...) class='Hi'>yoga texts). Meanwhile, Patanjali is said to be Tantric because he describes a silent mind - despite not mentioning kundalini (as the author implies). And quoting Abhinavagupta does not mean that Vedanta is based on his framework. Yoga and experiential insight might be inseparable, but a history of ideas can still be written, however tangential it might seem to the practices it alludes to. If "that which is comprehensible is reductionist and is an exercise in structural scrutiny which is disastrous to Indology," then why compose an essay reducing Hinduism to Tantra, while dismissing all else as misguided archiving? Regardless, I enjoyed its invective. (shrink)

Joining his monumental erudition in the phenomenology of religion with affinity and skill in the arts, Gerardus van der Leeuw has produced a really beautiful work. Tracing the genesis of the various arts from an original unity in expressive religious dance, through their assertions of independence as distinctive secular forms marked by the individualism of their practioners, he tries to show that each art form structurally expresses an aspect of the holy. His concern is to prepare for the reunification of (...) the arts based on a religious esthetics. The writing is somewhat diffuse but graceful, the presentation descriptive rather than argumentative. Throughout, one senses the quality of the author's cultivation and concern. The posthumous translation and publication of this work gives his many admirers in the English-speaking world a fitting memorial of a beloved master.—W. G. E. (shrink)

Prompted by Levy’s observations and questions, our brief review of symbolic space in ancient Greece suggests that some features of Greek culture that at first sight seem rationalist and modernizing, signs of the transformation of the archaic city, were deeply rooted in the culture of the city-states from as early as we can study them.11 It may be that they are factors that contributed to the intellectual process referred to as the breakthrough or enlightenment which is not easily attributed entirely (...) to economic and social changes in the late sixth and early fifth centuries BCE. The largely secular political tradition is sometimes, and plausibly, invoked as a cause (cf. Humphreys 1986). It should probably be seen as part of the overall ordering of the sacred vis-à-vis the profane. By the later fourth century BCE, contact with a larger, multiethnic world and the growth of impersonal market relationships produced or hastened secondary urbanization and with it the fracturing of a social coherence. In the intervening classical period, in some areas, such as drama, festival, and the visual arts, the first stirrings of the enlightenment may actually have fostered a more intense deployment of traditional resources. The symbolic use of space in the Greek cities probably never matched, despite important similarities, the more complex traditional systems of their South Asian counterparts. Greece’s traditional culture only reached its acme when new winds were blowing (and even because of them), but before they had swept away the delicate links that held the culture together. (shrink)

Georges Bataille's powerful writings have fascinated many readers, enmeshed as they are with the themes of sex and death. His emotive discourse of excess, transgression, sacrifice, and the sacred has had a profound and notable influence on thinkers such as Foucault, Derrida and Kristeva. Bataille: Writing the Sacred examines the continuing power and influence of his work. The full extent of Bataille's subversive and influential writings has only been made available to an English-speaking audience in recent years. By (...) bringing together international specialists on Bataille from philosophy and literature to art history, this collection is able to explore the many facets of his writings. (shrink)

"The definitive work by B.K.S. Iyengar, the world's most respected yoga teacher. B.K.S. Iyengar has devoted his life to the practice and study of yoga. It was B.K.S. Iyengar's unique teaching style, bringing precision and clarity to the practice, as well as a mindset of 'yoga for all', which has made it into the worldwide phenomenon it is today. 'Light on Yoga' is widely called 'the bible of yoga' and has served as the source book (...) for generations of yoga students around the world. It is the classic text for all serious students of yoga." --Publisher description. (shrink)

The Christian Platonic theology and philosophy have been criticised for many years by various scholars. The dualistic perspective may belittle the value of plant and animal kingdoms, entangling humans in anthropocentric bias and promoting hierarchical systems. However, subsequent theologians and philosophers interpreted these works in ways that allowed negative perspectives and misunderstandings of the material world and its symbols to develop, leaving a mark on history. Therefore, the discussed Christian Platonic theology represents a specific spiritual gnostic view with a unique (...) perspective on spirituality. It values all living beings as uniquely revealing their divine nature. Therefore, although hierarchical views may exist, it does not mean any being should dominate. Instead, it means that, in the being’s participation in God’s manifestation, the being adds something unique regarding some of God’s features. This perspective allows for revising religious viewpoints that have been misunderstood or overly simplified and promotes a fundamental humanistic spirit of care for all living beings’ inborn spiritual significance.Contribution: This article explores the sacred value of biological totems in Christian Platonic thought, revealing the divinity embodied in all forms of life through a re-examination of traditional dualistic views. This research contributes to ecological theology by emphasising the intrinsic connection between nature and divinity within the framework of Christian philosophy. (shrink)

The public sphere, in which religion is lived and in which religious singing functions, is briefly discussed and related to manipulated truths and ‘fake news’ regarding the use of spiritual songs and hymns as religious and cultural offerings, with reference especially to texts displaying a disregard for responsible hermeneutical principles. A plea is made not only for a practical theology that engages critically with the fundamentals of the current culture and the use of religious symbols in public, but also for (...) a sounding theology that reflects on communication through singing and other forms of art in the public space of worship as well as in the more ‘visible’ public sphere whilst creating beauty in the process of reflection. Through this means, spaces of resonance could be opened where people become participants drawn in into a performance of practical theology, reflecting together on the religion they live and finding new ways of voicing their faith in the public sphere, unveiling aspects of authenticity and truth. Contribution: From an interdisciplinary perspective fitting the scope of the journal, it is shown how hymns, texts and music draw people into a performance of a practical theology reflecting on lived religion, while finding new ways of performing the sacred in the public sphere – in the process thus opening up aspects of truth in a world of fake news. (shrink)

We call many things sacred, from cows, churches and paintings to flags and burial grounds. Is it still meaningful to talk of things being sacred, or is the idea merely a relic of a bygone religious age? Does everything - and every life - have its price? Is Nothing Sacred? is a stimulating and wide-ranging debate about some of the major moral dilemmas facing us today, such as the value of human life, art, the environment, and personal (...) freedom. Packed with clearly presented controversial issues, we are asked to decide whether we should revere life when someone chooses to die, preserve the giant California redwoods, cherish Vermeer's originals for their own sake, or curtail personal freedom for the greater good. Ronald Dworkin argues that the concept of the scared is essential to any human ethics, and Simon Blackburn explains why he thinks 'a humanist should not feel guilty at the emotions of awe and reverence that can be inspired by great religious works of art. Throughout, the idea of the sacred in a secular age is hotly debated amongst the authors and put to the test: should it be abandoned altogether, or does it still have something to teach us? Is Nothing Sacred? brings together outstanding philosophers and thinkers, including Suzanne Uniacke, Michael Clark, Alan Holland, Simon Blackburn, Richard Dawkins, Richard Norman, Alan Howarth, Nigel Warburton, Matthew Kieran and John Harris. (shrink)

A vibrant example of living literature, the Bhagavata Purana is a versatile Hindu sacred text written in Sanskrit verse. Finding its present form by the tenth century C.E., the work inspired several major north Indian devotional (bhakti) traditions as well as schools of dance and drama, and continues to permeate popular Hindu art and ritual in both India and the diaspora. Introducing the Bhagavata Purana's key themes while also examining its extensive influence on Hindu thought and practice, this collection (...) conducts the first multidimensional reading of the entire text. Each essay focuses on a key theme of the Bhagavata Purana and its subsequent presence in Hindu theology, performing arts, ritual recitation, and commentary. The authors consider the relationship between the sacred text and the divine image, the text's metaphysical and cosmological underpinnings, its shaping of Indian culture, and its ongoing relevance to contemporary Indian concerns. (shrink)

This book explores the topography of Mount Athos, emphasizing the significance of silence and communal ritual in its understanding. Mount Athos, a mountainous peninsula in northern Greece, is a valuable case study of sacred topography, as it is one of the world’s largest monastic communities and an important pilgrimage destination. Its phenomenological examination highlights the importance of embodiment in the experience of religious places. Combining interdisciplinary insights from architectural theory, philosophy, theology and anthropology with archival and ethnographic materials, the (...) book brings a fresh contribution to both Athonite studies and scholarship on sacred space. By focusing on the interrelation between silence and communal ritual, it offers an alternative to the traditional art historical, objectifying approaches. It reintroduces the phenomenological understanding of place, investigating also how this is expressed through a number of narratives, such as travel literature, maps and diaries. (shrink)

How did an ancient Indian spiritual discipline turn into a £20 billion-a-year mainstay of the global wellness industry? What happened along yoga's winding path from the caves and forests of the sages to the gyms, hospitals and village halls of the modern West? This comprehensive history sets yoga in its global cultural context for the first time. It leads us on a fascinating journey across the world, from arcane religious rituals and medieval body-magic, through muscular Christianity and the (...) British Raj, to the Indian nationalist movement and the arrival of yoga in the twentieth-century West. We discover how the practice reached its present-day ubiquity and how it became embedded in powerful social currents shaping the world's future, such as feminism, digital media, celebrity culture, the stress pandemic and the quest for an authentic identity in the face of unprecedented change. Shearer's revealing history boasts a colorful cast of characters past and present, who tell an engaging tale of scholars and scandal, science and spirit, wisdom and waywardness. This is the untold story of yoga, warts and all. (shrink)

This paper aims to show how philosophical debates about the nature of music as an art can throw light on one of the problems raised by Plato’s Euthryphro—how can human beings serve the gods?—and applies this to the use of music in worship. The paper gives a broad overview of expressivist, representationalist and formalist philosophies of music. Drawing in part on Hanslick, Nietzsche and Schleiermacher, it argues that formalism as a philosophy of sacred music can generate an answer to (...) Plato’s problem. (shrink)

Mircea Eliade has contributed immense scholarship to the study of religion. His theories have been analyzed, utilized, and critiqued by many. This paper will apply Eliade’s concept of axis mundi in an interpretation of the North Indian classical dance form of Kathak. A foundational understanding of axis mundi will be established before applying the theory in interpreting Kathak. The foundation will be built by defining terms and ideas integral in Eliade’s writings and by examining his interpretation of Barabudur as an (...) axis mundi. By discussing the consecration of space, the positioning of the body, the intention of the performer, and the role of the art form in society, this paper will argue that a Kathak dancer also functions as an axis mundi—a point of communication between the profane and the Divine. While acknowledging various critiques of Eliade’s approach, this paper will also address the need for practitioner perspectives in developing a multi-faceted interpretation of religious phenomena. (shrink)

The philosophy of piano performance teaching, rooted in hermeneutic theory, represents a significant evolution from traditional pedagogical methods. This approach emphasizes a shift from mere knowledge transmission to a deeper, interpretative understanding of music, prioritizing the dialogic interaction between teacher and student. Such an educational framework underscores the ontological essence of music, advocating for respect for its historical and contemporary realities and elevating the interpretative role of the student within the learning process. In this context, piano performance teaching transcends conventional (...) skill-based instruction, evolving towards a model that is student-centered and rich in connotative depth. This pedagogical philosophy not only respects but also highlights students' subjectivity, recognizing their central role in interpreting and understanding musical texts. The emphasis on the ontological aspects of music encourages respect for both the past interpretations and potential future directions of musical expression. Moreover, by integrating hermeneutic principles into piano performance teaching, this approach fosters a spiritual and philosophical exploration of music, aligning with broader themes of religious art education. It encourages students to engage with music as performers and as thoughtful interpreters who consider the deeper meanings and spiritual dimensions of musical works. This philosophical shift enhances the educational experience, promoting a holistic understanding of music that connects technical proficiency with existential and spiritual inquiry. In essence, the hermeneutic-based philosophy of piano performance teaching redefines the pedagogical landscape, offering a more nuanced and spiritually enriching framework that aligns with the principles of religious art education. This approach not only challenges traditional methods but also opens new avenues for the exploration of music as a profound medium of human expression and spiritual reflection. (shrink)

The author asks to what extent a knowledge of the concepts of yoga may prepare the way to a better understanding of Indian archaeology. The yoga at the basis of this study is that which forms the core of the Tantras. In the first chapter the author surveys the system of Tantrik yoga. He then continues with a discussion of the various forms of yantras, that is all the means employed by yogis in their meditational exercises as (...) aids to the concentration of thought. The author provides in-depth studies of ritual objects of the Lamaistic cult in Tibet and Nepal, the sacred cemeteries of Nepal, and pantheons in Java and Bali. (shrink)

Providing a decolonial, action-focused account of Yoga philosophy, this practical work from Dr. Shyam Ranganathan, pioneering scholar in the field of Indian moral philosophy, focuses on the South Asian tradition to explore what Yoga was like prior to colonization. It challenges teachers and trainees to reflect on the impact of Western colonialism on Yoga as well as understand Yoga as the original decolonial practice in a way that is accessible. -/- This book is accessible but thought (...) provoking in its approach, but it will also challenge the way you think. Each chapter takes the reader through a journey of sources and traditions, beginning with an investigation into the colonial -Platonic and Aristotelian- approaches to pedagogy in colonized yoga spaces, through contrary, ancient philosophies of South Asia, such as Jainism, Buddhism, Sankhya, and various forms of Vedanta, to sources of Yoga, including the Upanisads, Yoga Sutra, Bhagavad Gita and Hatha Yoga Pradipika. With discussions of the precolonial philosophy of Yoga, its relationship to social justice, and modern postural yoga's relationship with colonial trauma, this is a comprehensive guide for any yoga teacher or trainee to activate and synergize their practice. (shrink)

This is a select annotated bibliography of the translations of primary sources of Hatha Yoga. The bibliography is important to understand the connection between Yoga and Tantra. The latter is the telos of the former.

Comedy is sacred—it's woven through the Bible. James Cary has rare first-hand experience of writing comedy for the BBC—and has a degree in theology. He and former actor and comedian, Barry Cooper (co-writer of Christianity Explored) do a weekly podcast called Cooper and Cary Have Words. This is an intelligent, funny, informative book for anyone who likes comedy.

Stravinsky considered himself a maker, a Homo faber, an artisan of the past. He confessed that he liked to compose music more than music itself, and argued that expression was not an immanent character of music. With this paper, I intend to discuss Stravinsky’s musical aesthetics (the Charles Eliot Norton Lectures given right after the outbreak of WWII –Poétique musicale), depicting and criticising his notion of expression and his view of the musician as mere “executant”. I will also point out (...) some biographical details (the controversial premiere of Le Sacre du printemps and Stravinsky’s antisemitism) while criticising Adorno’s harsh critique of Stravinsky’s music. -/- . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Sacred Game: The Role of the Sacred in the Genesis of Modern Literary FictionAndrew J. McKennaThe Sacred Game: The Role of the Sacred in the Genesis of Modern Literary Fiction, by Cesareo Bandera; 318 pp. University Park: Pennsylvania State University Press, 1994, $16.50.When we consider the early relations of philosophy and literature, we most often think of Republic X and about degrees of (...) separation between reality and its image. That is a mistake, according to Cesareo Bandera, who shows in his deft reading of Laws that Plato expelled the poets chiefly because of their threat to the difference between sacred and profane: their mournful harmoniae polluted sacred rites. In this Plato is closer to the religious world examined by Durkheim, where the absolute difference between sacred and profane alone guarantees all other differences. Aristotle is shown to be starkly misleading here, since his Poetics discuss tragedy as if it had nothing to do with the ritual practices in which it originates. His vaunted realism can only save poetry—and ontological appearances—by ignoring, by virtually expelling the sacred from its purview.This expulsion of the sacred from the horizon of our rationality is the thematic core of Bandera’s argument about modern literary fiction as it [End Page 189] emerges in the Renaissance. He does not bring the religious back to our attention to enthrall us with it anew, but to explain via formidable literary and historical scholarship how we stand with respect to it, and how we misunderstand our enlightened disrespect for it. Our modern scientific spirit, our really amazing freedom of inquiry, has a different genealogy than we commonly suppose.It is not primarily philosophy which grounds our humanist irreverence, but our Western religious tradition, which Bandera reads, along with René Girard, Roberto Calasso, and Marcel Gauchet, as a uniquely desacralizing agency in culture. His book’s central endeavor is to expand the implications of Girard’s sacrificial theory of social formation across close readings of ancient and Renaissance literature and criticism in order to show the constraints on rationality within a culture where the sacred veiled human violence. According to this view, that veil is rent irreparably with the revelation of the innocent victim as the vantage point from which to interpret the murderous fury of the crowd, however ritualized as awe for the god(s), or as art. A stunning analysis of Virgil (with an assist from Michel Serres’s reading of Lucretius) reveals a writer holding back from his appalled understanding of violent foundations. With the Renaissance, art is cannily deritualized; not pious Aeneas, born of a goddess, but Don Quixote, born in prison, sets the course for modern fiction.Bandera’s astute readings of Renaissance literature and criticism shed decisively new light on the significance of this axial period, poised at the fulcrum of his argument. His vast and probing research reminds us how modern literary fiction nourished its self-consciousness and freedom amidst lavish and vehement debate over mixing the human and divine. Stripped of the taboos limiting classical thought, the sacred’s monopoly on violence had eroded to reveal individual culpability—but also vast, new possibilities for thought and action. A clear ethical impulse accompanies these readings, in which Calderon and Cervantes are shown to deprive us of a sacred alibi for human violence, which is now a matter for me to resolve with my neighbor. Organically cultural imperatives lose ground to a sense of individual responsibility, which Bandera traces back to the historically documented ascendancy of devotio moderna in late medieval Europe.Despite and because of debates over its cultural role, Renaissance literature’s very marginality freed it to explore every dimension of human error. And we learn how those who unwittingly conspire to resacralize it, from Tasso and Shelley through Arnold and Frye, only continue to play the sacred game that caused shudders in Plato and inspires just plain silliness among our own critical anarchs and demystifyers.Bandera’s net is cast wide and deep, including a bracing debate with Milbank and Blumenberg, whose sweep he emulates successfully, and whose powerful analyses he corrects. Witty and adroit scrutiny of our “sacred allergy” extends... (shrink)

The heart of this book is a dramatic love poem, the Rasa Lila, which is the ultimate focal point of one of the most treasured Sanskrit texts of India, the Bhagavata Purana. Judged a literary masterpiece by Indian and Western scholars alike, this work of poetic genius and soaring religious vision is one of the world's greatest sacred love stories and, as Graham Schweig clearly demonstrates, should be regarded as India's Song of Songs. The story presents the supreme deity (...) as the youthful and amorous cowherd, Krishna, who joins his beloved maidens in an enchanting and celebratory "dance of divine love." Schweig introduces this work of exquisite poetry and profound theology to the Western world in the form of a luminous translation and erudite scholarly treatment. His book explores the historical context and literary genre of the work and elucidates the aesthetic and emotional richness of the composition, highlighting poignant details of this drama of divine love. Schweig illuminates the religious dimensions and ethical nuances of the drama, drawing widely from the commentaries and esoteric vision of masters of the Caitanya school of Vaishnavism, a prominent devotional Hindu tradition. Themes such as transcendence of death through love, the yoga of devotion, the contrast between worldly love and passionate love for God, and the dialectical tension between ethical boundaries and boundless love are presented. The final event of the Rasa dance, the author concludes, presents a dynamic symbol of supreme love that provides the basis for a theological vision of genuine religious pluralism. (shrink)

Purpose. Without claiming to explain the meaning and purpose of the Cycladic figurines of the canonical type in the context of the culture that created them, the author attempts to investigate the phenomenon of these ancient images and their impact on contemporary humans through the lens of Carl Gustav Jung’s theory of the collective unconscious and the archetypes. Theoretical basis. The primary meanings and purposes of the Cycladic figurines are ambiguous and incomprehensible to us. We cannot understand them in the (...) context of their original culture. But we are able to create our own meanings: unfinished images generate an opportunity to bypass our conscious mind and to contact the unconscious. The Cycladic figurines may resonate with female archetypes in the male and female psyche, as well as symbolize the ontological primacy of creative unity of opposites, the integrity of consciousness and the unconscious. Originality. The author outlined the possible unconscious meanings generated by the Cycladic figurines for human psyche. The Cycladic figurines actualize the archetypes of the collective unconscious, such as the Great Mother, the Anima, and the Self. These ancient images can be used for introspection, art therapy, active imagination, meditation, mindfulness. Conclusions. The results show that the Cycladic figurines have had a huge impact on the artists of the 20 th century and continue to influence our contemporaries due to the emotional response they evoke in the unconscious, which conceals the primordial features of the ancient mind. Laconic ancient images provide a vast space of options for human imagination. In an attempt to interpret them, we are suddenly seized and carried away into unknown depths. Archetypal images are manifested in any form – from sublime and beautiful to terrible, but they create a single space full of numinous awe and beauty. Engaging with the archetypes and revealing their hidden messages, we establish a connection between consciousness and the unconscious, between the personal and collective unconscious to achieve a deep self-awareness and inner growth. (shrink)

This unique book is a complete guide to spiritual Raja and Kriya Yoga. Beginning with historical and spiritual accounts of all Yoga traditions, it covers Raja and Kriya Yoga in depth, with instruction on the asanas, breathing techniques and meditations. The book is an invaluable resource for yoga practitioners, as well as spiritual seekers.

An alternative to the traditional religious and religious art was the time, which, especially in the XX century, began to intensively transform the entire arsenal of sacred art into the art at a fast pace. All changed - architecture, fine arts, music, literature... There were new types of art, and traditional ones, under the pressure of socio-economic changes and globalization processes, experienced significant deformations in both form and content. Extrapolation of these tendencies to the life of the Christian church (...) and its sacred inspiration in religious art caused a violent reaction, opposition and confusion. Christianity also had to face similar processes, to adapt to the demands of time, but the scale of change that life in the 20th century required was completely different. (shrink)

The sun -- The silence of art : Bataille's babbling sacrifice -- A map, of sorts -- Life's grave traces -- The clarity of method and its demands -- Truths of displacement -- Aristotle and the trace of phenomenology -- Encompassing flow or receding deformation ... a first tracing -- The formal force of presence -- The creative force of form -- The force of an impotent demand -- Limitation and light : creatures of the possible -- The intellect moves (...) as the necessity of exchange -- The trace as the force of the absent -- The trace and the gravity of words -- The trace as the absence and the motion of the intelligible -- Affirmation and absence -- The sense of a gesture -- Deformation of one hand rather than another -- The difficulty of gestures -- The subject as the site of the representation of possibility -- The unity of the place of a doubled reflection -- The displacing and transcending logic -- Of the power of representation -- On the place of the subject -- The beginning of the subjective -- Movement and method -- Belonging to the necessity of the element -- The divine task of beginning -- The necessity of the hand -- The difficult gesture of abandon -- The presence of an object, the force of a gesture -- The black box -- The vanishing compulsion -- The philosophical stakes of aesthetic form -- The dark gestures of the hand -- The presence of the frame ... and its gestures -- The originality of trust -- The silence evoked. (shrink)

When people talk about religion, most soon mention the major religious traditions of our times, but then, thinking further, most mention as well the religions of Indigenous peoples and of such vanished civilizations as ancient Greece and Egypt and Persia. That is, we have come to understand that there are-and have been-many different religions; anthropologists estimate the total in the thousands. They also estimate that there have been thousands of human cultures, which is to say that the making of a (...) culture and the making of its religion go together: each religion is embedded in its cultural history. True, certain religions have attempted, and variously succeeded, in crossing cultural boundaries to "convert the heathens," but the invaded cultures usually put their unmistakable stamp on what they import, as evinced by the pulsating percussive Catholic masses sung in Africa. In the end, each of these religions addresses two fundamental human concerns: How Things Are and Which Things Matter. How Things Are is articulated as a Cosmology or Cosmos: How the natural world came to be, how humans came to be, what happens after we die, the origins of evil and tragedy and natural disaster and love. Which Things Matter becomes codified as a Morality or Ethos: the Judaic Ten Commandments, the Christian Sermon on the Mount, the Five Pillars of Islam, the Buddhist Vinaya, the Confucian Five Relations, and the understandings inherent in numerous Indigenous traditions. The role of a religion is to integrate the Cosmology and the Morality, to render the cosmological narrative so rich and compelling that it elicits our allegiance and our commitment to its attendant moral understandings. As a culture evolves, a distinctive Cosmos and Ethos appears in its co-evolving religion. For billions of us, back to the early humans, the stories, ceremonies and art associated with our religions-of-origin have been central to our lives. I stand in awe of these religions. I have no need to take on their contradictions or immiscibility, any more than I would quarrel with the fact that Scottish bagpipe ceremonies coexist with Japanese tea ceremonies. And indeed, the failure of Soviet Marxism to obliterate Russian Orthodoxy, and of Maoism to obliterate Buddhism, Confucianism, or Daoism, and of Christianity to obliterate Indigenous understandings, reminds us that projects designed to overthrow religious traditions face strong headwinds. (shrink)

Arguably, there is no better place to acquire the civic capacities described in the previous chapter than in the theology or religious studies classroom. As individual religion courses emphasize different aspects of civic engagement, they serve a liberal arts education historically committed to producing good citizens; as these different approaches are themselves brought into shared conversation, religion provides a distinctive site for cultivating capacities of intellectual complexity, social framing, empathetic accountability, and motivated action, and thus for the broader civic project. (...) This chapter illustrates how some of the aspects of teaching and learning in religion can advance the objectives described in chapter 1, attentive both to the function of these pedagogical methods to the study of religion and their potential to enhance education for civic engagement across the curriculum. The final section addresses the difficult question of assessment. (shrink)

The incredible story of the woman--actress, dancer, yogi, globetrotter--who brought yoga to America and to much of the rest of the western world. Born Eugenia Peterson in early 20th century Russia, Indra Devi was a rebel from earliest childhood. In the 1930s she fled to Berlin, and then--driven by her passion for yoga and a fascination with yogic philosophy (and Theosophy)--she journeyed to India, at a time when unaccompanied young European women were unheard of. In India she performed (...) perhaps her greatest feat--convincing even the most recalcitrant yogis, from Krishnamurti to Krishnamacharya, to reveal to her the secrets of their art. She would go on to share what she learned with men and women around the world--teaching Gloria Swanson and Greta Garbo in Hollywood, then moving to Mexico and later to Buenos Aires--helping to usher in the craze for yoga that continues unabated in the U.S. and throughout the world today. Written with vivid clarity, and describing the extraordinary spread and popularization of a philosophical movement, The Goddess Posebrings Indra Devi's little known but wholly remarkable story to life. (shrink)