Incorporating perspectives from religious studies, humor studies, cultural and film studies, and theology, as well as original data from textual analysis and the voices of religious comedians, this book critically analyses the experiences of believers who appreciate that their faith is not necessarily a barrier to their laughter. It is often thought that religion and humor are incompatible, but Religious Humor in Evangelical Christian and Mormon Culture shows that humor is not only a popular means of entertainment, but also a way in which an individual or community expresses their identity and values. Elisha McIntyre argues that believers embrace their sense of humor, actively producing and consciously consuming comic entertainment that reflects their own experiences. This process is not however without conflict. The book argues that there are specific characteristics that indicate a unique kind of humor that may be called 'religious humor'. Through an examination of religious humor found in stand-up comedy, television sitcoms, comedy film and satirical cartoons, and drawing on interview data, the book outlines the main considerations that Christians take into account when choosing their comedy entertainment. These include questions about ideology, blasphemy, taboos around the body, and the motives behind the joke.

The term 'Western esotericism' refers to a wide range of spiritual currents including alchemy, Hermeticism, Kabbala, Rosicrucianism, and Christian theosophy, as well as several practical forms of esotericism like cartomancy, geomancy, necromancy, alchemy, astrology, herbalism, and magic. The early presence of esotericism in North America has not been much studied, and even less so the indebtedness to esotericism of some major American literary figures. In this book Arthur Versluis breaks new ground, showing that many writers of the so-called American Renaissance drew extensively on and were inspired by Western esoteric currents. Before offering his detailed analysis of the esoteric elements in the writings of figures from the American Renaissance, Versluis offers an overview of esotericism in Europe and its offshoots in colonial America.

This book offers the first cultural history of Universalism and the Universalist idea - the idea that an all-good and all-powerful God saves all souls. Ann Bressler argues that Universalism begins as a radical, eschatological, and communally-oriented faith and only later became a 'comfortably established' progressive and individualistic one. Although Universalists are usually classed with Unitarians as pioneering Protestant liberals, says Bressler, they were in fact quite different from both contemporary and later liberalism in their ideas and goals. Unitarians began by rejecting the Calvinist idea of sin as corporate, universal, and absolute, replacing it with their moral self-cultivation. Universalists, on the other hand, accepted the Calvinist view of absolute corporeal sinfulness but insisted on absolute corporeal salvation. Bressler's surprising claim is that Universalists, in their defiance of individualistic moralism, were for much of the 19th century the only consistent Calvinists in America. Bressler traces the emergence of the Universalists' 'improved' Calvinism and its gradual erosion over the course of the 19th century.