This book adds richly not only to understanding of the unique form of Daoism in Central Hunan today, but to the entire fashi tradition that rose to prominence in the Song-Yuan. In the hills of China's central Hunan province, an anxious young apprentice officiates over a Daoist ritual known as the Banner Rite to Summon Sire Yin. Before a crowd of masters, relatives, and villagers-and the entire pantheon of gods and deceased masters ritually invited to witness the event-he seeks to summon Celestial Lord Yin Jiao, the ferocious deity who supplies the exorcistic power to protect and heal bodies and spaces from illness and misfortune. If the apprentice cannot bring forth the deity, the rite is considered a failure and the ordination suspended: His entire professional career hangs in the balance before it even begins. This richly textured study asks how the Banner Rite works or fails to work in its own terms. How do the cosmological, theological, and anthropological assumptions ensconced in the ritual itself account for its own efficacy or inefficacy? Weaving together ethnography, textual analysis, photography, and film, David J. Mozina invites readers into the religious world of ritual masters in today's south China. He shows that the efficacy of rituals like the Banner Rite is driven by the ability of a ritual master to form an intimate relationship with exorcistic deities like Yin Jiao, which is far from guaranteed. Mozina reveals the ways in which such ritual claims are rooted in the great liturgical movements of the Song and Yuan dynasties (960-1368) and how they are performed these days amid the social and economic pressures of rural life in the post-Mao era. Written for students and scholars of Daoism and Chinese religion, Knotting the Banner will also appeal to anthropologists and comparative religionists, especially those working on ritual.

This third volume of "Princeton Readings in Religions" demonstrates that the "three religions" of China--Confucianism, Daoism, and Buddhism (with a fourth, folk religion, sometimes added)--are not mutually exclusive: they overlap and interact with each other in a rich variety of ways. The volume also illustrates some of the many interactions between Han culture and the cultures designated by the current government as "minorities." Selections from minority cultures here, for instance, are the folktale of Ny Dan the Manchu Shamaness and a funeral chant of the Yi nationality collected by local researchers in the early 1980s. Each of the forty unusual selections, from ancient oracle bones to stirring accounts of mystic visions, is preceded by a substantial introduction. As with the other volumes, most of the selections here have never been translated before.

Stephen Teiser provides a general introduction in which the major themes and categories of the religions of China are analyzed. The book represents an attempt to move from one conception of the "Chinese spirit" to a picture of many spirits, including a Laozi who acquires magical powers and eventually ascends to heaven in broad daylight; the white-robed Guanyin, one of the most beloved Buddhist deities in China; and the burning-mouth hungry ghost. The book concludes with a section on "earthly conduct."

This book draws attention to a striking aspect of contemporary Japanese culture: the prevalence of discussions and representations of "spirits" (tama or tamashii). Ancestor cults have played a central role in Japanese culture and religion for many centuries; in recent decades, however, other phenomena have expanded and diversified the realm of Japanese animism. For example, many manga, anime, TV shows, literature, and art works deal with spirits, ghosts, or with an invisible dimension of reality. International contributors ask to what extent these are cultural forms created by the media for consumption, rather than manifestations of "traditional" ancestral spirituality in their adaptations to contemporary society. Spirits and Animism in Contemporary Japan considers the modes of representations and the possible cultural meanings of spirits, as well as the metaphysical implications of contemporary Japanese ideas about spirits. The chapters offer analyses of specific cases of "animistic attitudes" in which the presence of spirits and spiritual forces is alleged, and attempt to trace cultural genealogies of those attitudes. In particular, they present various modes of representation of spirits (in contemporary art, architecture, visual culture, cinema, literature, diffuse spirituality) while at the same time addressing their underlying intellectual and religious assumptions.