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Books > Humanities > Religion & beliefs > Non-Christian religions > Pre-Christian European & Mediterranean religions > General
Ever since its first publication in 1932, Sorcerers of Dobu has
been recognized as one of the great triumphs of anthropological
research and interpretation in the field of ethnography. A rich
source of information on primitive psychology, the book presents
sociological analysis of the complex tribal organisation of the
Dobuans.
Do humans have a special capacity designed to foster experiences of God? What role do specific bodily actions or emotions play in the cultivation of a divine experience? Prayer as Divine Experience in 4 Ezra and John's Apocalypse: Emotion, Empathy, and Engagement with God explores these questions in a systematic study of the emotions in two apocalyptic texts. The book of 4 Ezra, an ancient Jewish apocalypse, and the book of Revelation, an ancient Christian Apocalypse written by John, are examined with a focus on the emotional language of the prayers and prayer preludes contained in this literature. Both texts were composed in the first-century of the Common Era, a time when most people exposed to literature heard the content as it was recited. The emotive language in these writings could potentially arouse similar emotions in the readers or hearers of these texts, allowing the person to have access to the divine experiences, which are described by the seer in 4 Ezra and are expressed by the angelic choir in John's Apocalypse. Prior to examining the prayers, Prayer as Divine Experience will describe the neurological processes that cause a person to mirror the emotions expressed by another individual, thereby prompting an imitation of the experience that is perceived.
It is widely believed that the practice of ancient Egyptian religion ceased with the end of pharaonic culture and the rise of Christianity. However, an organised reconstruction and revival of the authentic practice of Egyptian, or Kemetic religion has been growing, almost undocumented, for nearly three decades. Profane Egyptologists is the first in-depth study of the now-global phenomenon of Kemeticism. Presenting key players in their own words, the book utilises extensive interviews to reveal a continuum of beliefs and practices spanning eight years of community growth. The existence of competing visions of Egypt, which employ ancient material and academic resources, questions the position of Egyptology as a gatekeeper of Egypt's past. Exploring these boundaries, the book highlights the politised and economic factors driving the discipline's self-conception. Could an historically self-imposed insular nature have harmed Egyptology as a field, and how could inclusive discussion help guard against further isolationism? Profane Egyptologists is both an Egyptological study of Kemeticism, and a critical study of the discipline of Egyptology itself. It will be of value to scholars and students of archaeology and Egyptology, cultural heritage, religion online, phenomenology, epistemology, pagan studies and ethnography, as well as Kemetics and devotees of Egyptian culture.
Parting company with the trend in recent scholarship to treat the subject in abstract, highly theoretical terms, Magic in Ancient Greece and Rome proposes that the magic-working of antiquity was in reality a highly pragmatic business, with very clearly formulated aims - often of an exceedingly malignant kind. In seven chapters, each addressed to an important arm of Greco-Roman magic, the volume discusses the history of the rediscovery and publication of the so-called Greek Magical Papyri, a key source for our understanding of ancient magic; the startling violence of ancient erotic spells and the use of these by women as well as men; the alteration in the landscape of defixio (curse tablet) studies by major new finds and the confirmation these provide that the frequently lethal intent of such tablets must not be downplayed; the use of herbs in magic, considered from numerous perspectives but with an especial focus on the bizarre-seeming rituals and protocols attendant upon their collection; the employment of animals in magic, the factors determining the choice of animal, the uses to which they were put, and the procuring and storage of animal parts, conceivably in a sorcerer's workshop; the witch as a literary construct, the clear homologies between the magical procedures of fictional witches and those documented for real spells, the gendering of the witch-figure and the reductive presentation of sorceresses as old, risible and ineffectual; the issue of whether ancient magicians practised human sacrifice and the illuminating parallels between such accusations and late 20th century accounts of child-murder in the context of perverted Satanic rituals. By challenging a number of orthodoxies and opening up some underexamined aspects of the subject, this wide-ranging study stakes out important new territory in the field of magical studies.
When we try to make sense of pictures, what do we gain when we use a particular method - and what might we be missing or even losing? Empirical experimentation on three types of mythological imagery - a Classical Greek pot, a frieze from Hellenistic Pergamon and a second-century CE Roman sarcophagus - enables Katharina Lorenz to demonstrate how theoretical approaches to images (specifically, iconology, semiotics, and image studies) impact the meanings we elicit from Greek and Roman art. A guide to Classical images of myth, and also a critical history of Classical archaeology's attempts to give meaning to pictures, this book establishes a dialogue with the wider field of art history and proposes a new framework for the study of ancient visual culture. It will be essential reading not just for students of classical art history and archaeology, but for anyone interested in the possibilities - and the history - of studying visual culture.
This book is about the multiplicity of gods and religions that characterized the Roman world before Constantine. It was not the noble gods such as Jove, Apollo and Diana, who were crucial to the lives of the common people in the empire, bur gods of an altogether more earthly, earth level, whose rituals and observances may now seem bizarre. As well as being of wide general interest, this book will appeal to students of the Roman Empire and of the history of religion.
Winner of The PEN Hessell-Tiltman Prize 2022 Shortlisted for The Wolfson History Prize 2022 A The Times Books of the Year 2022 A fascinating, surprising and often controversial examination of the real God of the Bible, in all his bodily, uncensored, scandalous forms. Three thousand years ago, in the Southwest Asian lands we now call Israel and Palestine, a group of people worshipped a complex pantheon of deities, led by a father god called El. El had seventy children, who were gods in their own right. One of them was a minor storm deity, known as Yahweh. Yahweh had a body, a wife, offspring and colleagues. He fought monsters and mortals. He gorged on food and wine, wrote books, and took walks and naps. But he would become something far larger and far more abstract: the God of the great monotheistic religions. But as Professor Francesca Stavrakopoulou reveals, God's cultural DNA stretches back centuries before the Bible was written, and persists in the tics and twitches of our own society, whether we are believers or not. The Bible has shaped our ideas about God and religion, but also our cultural preferences about human existence and experience; our concept of life and death; our attitude to sex and gender; our habits of eating and drinking; our understanding of history. Examining God's body, from his head to his hands, feet and genitals, she shows how the Western idea of God developed. She explores the places and artefacts that shaped our view of this singular God and the ancient religions and societies of the biblical world. And in doing so she analyses not only the origins of our oldest monotheistic religions, but also the origins of Western culture. Beautifully written, passionately argued and frequently controversial, God: An Anatomy is cultural history on a grand scale. 'Rivetingly fresh and stunning' - Sunday Times 'One of the most remarkable historians and communicators working today' - Dan Snow
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