Maybe you have seen the board games. Christianity has Vatican: The Board Game; Journeys of Paul, Armor of God and Divinity (the only game to have the imprimatur of the Catholic Church). Islam and Judaism have Race to the Kabah, Mecca to Medina, Exodus, and Kosherland. Buddhism has Karma Chakra and BuddhaWheel. And then there are the dolls--plush and plastic talking Bible dolls, Christian action figures, and talking Muslim dolls that teach Arabic.

Have we humans blended fun with spirituality for good or for ill? And what does all of this say about our insatiable need for fun?

Written with verve and a healthy dollop of humor, "Toying with God" examines the sometimes zany world of religious games and dolls, from pre-history to today. Packed with examples that propel the narrative (and add immeasurably to readers' knowledge of religious trivia), this is a must-read for anyone interested in the intersection of popular culture and spirituality.

In this provocative study of dancing, Sam Gill examines the interpretive styles of a variety of cultural dance traditions in discourse with the philosophic traditions of Schiller, Merleau-Ponty, Barbaras, Derrida, Leroi-Gourhan, and Baudrillard. As a scholar of religion, Gill provides special consideration to the importance of this emerging appreciation of dancing as a perspective inclusive of body and experience. Each chapter delves into the many factions of dancing: moving, gesturing, self-othering, playing, seducing, and masking. Gill also draws on the analysis of contemporary dance films and musicals, his experience as a dancer and dance teacher, his extensive research on dance traditions, and his interest in neurobiology and phenomenology to develop the core of this rich exploration of dancing, the structurality of all dances.

In this provocative study of dancing, Sam Gill examines the interpretive styles of a variety of cultural dance traditions in discourse with the philosophic traditions of Schiller, Merleau-Ponty, Barbaras, Derrida, Leroi-Gourhan, and Baudrillard. As a scholar of religion, Gill provides special consideration to the importance of this emerging appreciation of dancing as a perspective inclusive of body and experience. Each chapter delves into the many factions of dancing: moving, gesturing, self-othering, playing, seducing, and masking. Gill also draws on the analysis of contemporary dance films and musicals, his experience as a dancer and dance teacher, his extensive research on dance traditions, and his interest in neurobiology and phenomenology to develop the core of this rich exploration of dancing, the structurality of all dances.