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Faith, Activism, and Aesthetics in the Menil Collection
Renowned as one of the most significant museums built by private collectors, the Menil Collection in Houston, Texas, seeks to engage viewers in an acutely aesthetic, rather than pedagogical, experience of works of art. The Menil’s emphasis on being moved by art, rather than being taught art history, comes from its founders’ conviction that art offers a way to reintegrate the sacred and the secular worlds. Inspired by the French Catholic revivalism of the interwar years that recast Catholic tradition as the avant-garde, Dominique and John de Menil shared with other Catholic intellectuals a desire to reorder a world in crisis by imbuing modern cultural forms with religious faith, binding the sacred with the modern. Sacred Modern explores how the Menil Collection gives expression to the religious and political convictions of its founders and how “the Menil way” is being both perpetuated and contested as the Museum makes the transition from operating under the personal direction of Dominique de Menil to the stewardship of career professionals. Taking an ethnographic approach, Pamela G. Smart analyzes the character of the Menil aesthetic, the processes by which it is produced, and the sensibilities that it is meant to generate in those who engage with the collection. She also offers insight into the extraordinary impact Dominique and John de Menil had on the emergence of Houston as a major cultural center.
As Retold By Elders and Headmen Manakaja and Sinyella 1918-1921
Early in the twentieth century, Leslie Spier and Erna Gunther, graduate students trained by anthropologist Franz Boas, hiked to the bottom of the Grand Canyon to learn about Havasupai culture. In the process, they asked two Havasupai leaders and elders for every story they could remember. These were translated by native speakers and transcribed by Spier and, later, Gunther. Yet for unknown reasons Spier never published the whole collection of forty-eight stories, one of the earliest, most complete translations of an entire Native American oral tradition. Passed from Spier to anthropologist and Havasupai scholar Dr. Robert C. Euler, the stories, published here for the first time in book form with the permission of the Havasupai Tribal Council, are a cultural library and a cultural treasure that reflect an ancient Yuman-language mythological tradition. Publication restores them to the People (Pai/Pa/Pah) from whom they arose.
The Politics of Response in the Middle English Religious Drama
Offering a unique historical perspective to the study of medieval English drama, Heather Hill-Vásquez in Sacred Players argues that different treatments of audience and performance in the early drama indicate that the performance life of the drama may have continued well beyond its traditional placement in medieval history and into the Reformation and Renaissance eras.
Durkheim And The College De Sociologie
The Christian Grand Style in the English Renaissance
"There are no studies of a sacred grand style in the English Renaissance," writes Debora Shuger, "because even according to its practitioners it was not supposed to exist." Yet the grand style forms the unacknowledged center of traditional rhetorical theory. In this first history of the grand style, Professor Shuger explores the growth of a Christian aesthetic out of the Classical grand style, showing its development from Isocrates to the sacred rhetorics of the Renaissance. These rhetorics advocate a Christian grand style neither pedantically mimetic nor playfully sophistic, whose models include Tacitus and the Bible, as well as Cicero, and whose theoretical sources embrace not only Cicero and Quintilian, but Hermogenes and Longinus. This style dominates the best and most scholarly rhetorics of the period--texts written in Latin and, while ignored by most recent scholars, extensively used in England throughout the sixteenth and seventeenth centuries. These works are the first attempts since Augustine's pioneering revision of Ciceronian rhetoric to reground ancient rhetorical theory on Christian epistemology and theology.
According to Professor Shuger, the Christian grand style is passionate, vivid, dramatic, metaphoric--yet this emotional energy and sensuousness is shaped and legitimated by Renaissance religious culture. Thus sacred rhetoric cannot be considered apart from contemporary theories of cognition, emotion, selfhood, and signification. It mediates between word and world. Moreover, these texts suggest the almost forgotten centrality of neo-Latin scholarship during these years and provide a crucial theoretical context for England's great flowering of devotional prose and poetry.
Originally published in 1988.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
A Cultural Phenomenology of Charismatic Healing
How does religious healing work, if indeed it does? In this study of the contemporary North American movement known as the Catholic Charismatic Renewal, Thomas Csordas investigates the healing practices of a modern religious movement to provide a rich cultural analysis of the healing experience. This is not only a book about healing, however, but also one about the nature of self and self- transformation. Blending ethnographic data and detailed case studies, Csordas examines processes of sensory imagery, performative utterance, orientation, and embodiment. His book forms the basis for a rapprochement between phenomenology and semiotics in culture theory that will interest anthropologists, philosophers, psychologists, physicians, and students of comparative religion and healing.
A History of Meaning and Memory in Ghana
"Greene gives the reader a vivid sense of the Anlo encounter with
western thought and Christian beliefs... and the resulting erasures, transferences,
adaptations, and alterations in their perceptions of place, space, and the
-- Emmanuel Akyeampong
Sandra E. Greene reconstructs a vivid and convincing portrait of the human and physical environment of the 19th-century Anlo-Ewe people of Ghana and brings history and memory into contemporary context. Drawing on her extensive fieldwork, early European accounts, and missionary archives and publications, Greene shows how ideas from outside forced sacred and spiritual meanings associated with particular bodies of water, burial sites, sacred towns, and the human body itself to change in favor of more scientific and regulatory views. Anlo responses to these colonial ideas involved considerable resistance, and, over time, the Anlo began to attribute selective, varied, and often contradictory meanings to the body and the spaces they inhabited. Despite these multiple meanings, Greene shows that the Anlo were successful in forging a consensus on how to manage their identity, environment, and community.
Experiencing Music in World Religions
Includes CD with 40 selections of music and chants. See Table of Contents for CD track playlist.
This innovative book explores religion through music, one of the most universally recognized forms of human experience. The only art form named after a divinity, music has been documented from prehistory to the present age in virtually all known cultures. For many, music is a vehicle for spiritual growth and community empowerment, whether it’s understood as a gift of the gods or simply a practice for achieving mental states conducive to enlightenment.
Traditionally, when religious scholars talk about music, it’s as a kind of aesthetic supplement to the important spiritual content of a religion, analogous to stained-glass windows or temple paintings. In contrast, Sacred Sound: Experiencing Music in World Religions acknowledges the critical role of musical activity in religious life. Music, including chant and vocal utterance, is not incidental in religious practice but a sacred treasure that is central to the growth and sustenance of religions throughout the world. Musical sound is sacred in most religions because it embodies the divine and can be shared by all participants, enduring among diverse communities of people despite theological differences.
Covering six of the major world religionsJudaism, Christianity, Islam, Hinduism, Sikhism, and Buddhism—the book is accompanied by a CD of forty selections of music and chant. Contributors are respected scholars in religious studies and musicology and provide insight from both disciplines. The first book of its kind, Sacred Sound is a milestone in the growing cross-disciplinary study of religion and music.
The investigation of Dodson and the African Atlantic Research team offers an interconnected examination of the history and embedded understandings of four religions while simultaneously offering a panoramic view of religious development in Cuba and practitioners' struggle for a self-defined, Africa-based nature for their religious activities on the island.
Inside an African American Steel Guitar Tradition
In this book, Robert L. Stone follows the sound of steel guitar into the music-driven Pentecostal worship of two related churches: the House of God and the Church of the Living God. A rare outsider who has gained the trust of members and musicians inside the church, Stone uses nearly two decades of research, interviews, and fieldwork to tell the story of a vibrant musical tradition that straddles sacred and secular contexts._x000B__x000B_Most often identified with country and western bands, steel guitar is almost unheard of in African American churches--except for the House of God and the Church of the Living God, where it has been part of worship since the 1930s. Sacred Steel traces the tradition through four generations of musicians and in some two hundred churches extending across the country from Florida to California, Michigan to Alabama. Presenting detailed portraits of musical pioneers such as brothers Troman and Willie Eason and contemporary masters such as Chuck Campbell, Glenn Lee, and Robert Randolph, Stone expertly outlines the fundamental tensions between sacred steel musicians and church hierarchy.