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Religion and Cultural Memory : Ten Studies
In ten brilliant essays, Jan Assmann explores the connections between religion, culture, and memory.Building on Maurice Halbwachs's idea that memory, like language, is a social phenomenon as well as an individual one, he argues that memory has a cultural dimension too.He develops a persuasive view of the life of the past in such surface phenomena as codes, religious rites and festivals, and canonical texts on the one hand, and in the Freudian psychodrama of repressing and resurrecting the past on the other.Whereas the current fad for oral history inevitably focuses on the actual memories of the last century or so, Assmann presents a commanding view of culture extending over five thousand years.He focuses on cultural memory from the Egyptians, Babylonians, and the Osage Indians down to recent controversies about memorializing the Holocaust in Germany and the role of memory in the current disputes between Israelis and Palestinians in the Middle East and between Protestants and Catholics in Northern Ireland.
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Erhu Fine Tuners Brass Rust Proof Not Hurting Strings Erhu Accessories Musical Instrument
Erhu Fine Tuners Brass Rust Proof Not Hurting Strings Erhu Accessories Musical Instrument
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Stealing My Religion : Not Just Any Cultural Appropriation
“Bucar’s sharp insights, shot through with humor and self-awareness, are exactly what we need the next time we reach over to borrow from someone else’s religion for our own therapeutic, political, or educational needs.”—Gene Demby, cohost and correspondent for NPR’s Code Switch“So finely written, so intelligent and fair, and laced with such surprising discoveries that it deserves a reader’s full attention…As the act of walking a religious pilgrimage does invite greater self-awareness…Stealing My Religion is now an essential part of that worthy endeavor.” —Kurt Caswell, Los Angeles Review of Books“Lively in style and backed by solid, unobtrusive scholarship.” —Jonathan Benthall, Times Literary Supplement“With interpretive subtlety and ethical vision, Liz Bucar explores the moral risk of intercultural theft.Stealing My Religion is a powerful intervention by a leading scholar of religion into the illiberal results of everyday religious exploitation.Highly recommended." —Kathryn Lofton, author of Consuming ReligionLiz Bucar unpacks the ethical dilemmas of a messy form of cultural appropriation: the borrowing of religious doctrines, rituals, and dress for political, economic, and therapeutic reasons.Does borrowing from another’s religion harm believers?Who can consent to such borrowings? Bucar sees religion as an especially vexing arena for appropriation debates because faiths overlap and imitate each other and because diversity within religious groups scrambles our sense of who is an insider and who is not.Indeed, if we are to understand why some appropriations are insulting and others benign, we have to ask difficult philosophical questions about what religions really are.Stealing My Religion guides us through three revealing case studies—the hijab as a feminist signal of Muslim allyship, a study abroad “pilgrimage” on the Camino de Santiago, and the commodification of yoga in the West.We see why the Vatican can’t grant Rihanna permission to dress up as the pope, yet it’s still okay to roll out our yoga mats.Reflecting on her own missteps, Bucar comes to a surprising conclusion: the way to avoid religious appropriation isn’t to borrow less but to borrow more—to become deeply invested in learning the roots and diverse meanings of our enthusiasms.
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Stealing My Religion : Not Just Any Cultural Appropriation
From sneaker ads and the “solidarity hijab” to yoga classes and secular hikes along the Camino de Santiago pilgrimage route, the essential guide to the murky ethics of religious appropriation. We think we know cultural appropriation when we see it.Blackface or Native American headdresses as Halloween costumes—these clearly give offense.But what about Cardi B posing as the Hindu goddess Durga in a Reebok ad, AA’s twelve-step invocation of God, or the earnest namaste you utter at the end of yoga class?Liz Bucar unpacks the ethical dilemmas of a messy form of cultural appropriation: the borrowing of religious doctrines, rituals, and dress for political, economic, and therapeutic reasons.Does borrowing from another’s religion harm believers?Who can consent to such borrowings? Bucar sees religion as an especially vexing arena for appropriation debates because faiths overlap and imitate each other and because diversity within religious groups scrambles our sense of who is an insider and who is not.Indeed, if we are to understand why some appropriations are insulting and others benign, we have to ask difficult philosophical questions about what religions really are. Stealing My Religion guides us through three revealing case studies—the hijab as a feminist signal of Muslim allyship, a study abroad “pilgrimage” on the Camino de Santiago, and the commodification of yoga in the West.We see why the Vatican can’t grant Rihanna permission to dress up as the pope, yet it’s still okay to roll out our yoga mats.Reflecting on her own missteps, Bucar comes to a surprising conclusion: the way to avoid religious appropriation isn’t to borrow less but to borrow more—to become deeply invested in learning the roots and diverse meanings of our enthusiasms.
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What does music have to do with religion?
Music has a deep connection to religion as it is often used as a form of worship and spiritual expression. In many religious traditions, music is an integral part of rituals, ceremonies, and prayer, helping to create a sense of community and connection to the divine. Music can also convey religious teachings and stories, and is used to evoke emotions and transcendental experiences. Additionally, religious music can serve as a way to pass down traditions and preserve cultural heritage within a religious context. Overall, music plays a significant role in enhancing the spiritual experience and fostering a sense of unity and reverence within religious communities.
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What is the difference between harmony and melody?
Harmony refers to the combination of different musical notes played or sung simultaneously to create a pleasing sound. It involves the use of chords and the relationship between different notes played together. On the other hand, melody is a sequence of single notes that are perceived as a single entity. It is the main theme or tune of a piece of music and is usually the most memorable part of a song. In summary, harmony involves the combination of notes played together, while melody is a sequence of single notes that form the main theme of a piece of music.
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Which string instrument had the most strings?
The string instrument with the most strings is typically the harp. A standard concert harp has 47 strings, although some models can have up to 47 strings. The harp's large number of strings allows for a wide range of notes and tones to be produced, making it a versatile and expressive instrument.
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Which string instrument has the most strings?
The string instrument with the most strings is typically the harp. A standard concert harp can have up to 47 strings, although some harps can have even more. The large number of strings allows for a wide range of notes and tones to be produced, making the harp a versatile and expressive instrument.
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Making Modern Spain : Religion, Secularization, and Cultural Production
In this elegantly written study, Alfante explores the work of select nineteenth-century writers, intellectuals, journalists, politicians, and clergy who responded to cultural and spiritual shifts caused by the movement toward secularization in Spain.Focusing on the social experience, this book probes the tensions between traditionalism and liberalism that influenced public opinion of the clergy, sacred buildings, and religious orders.The writings of Cecilia Böhl de Faber (Fernán Caballero), Gustavo Adolfo Bécquer, Benito Pérez Galdós, and José María de Pereda addressed conflicts between modernizing forces and the Catholic Church about the place of religion and its signifiers in Spanish society.Foregrounding expropriation (government confiscation of civil and ecclesiastical property) and exclaustration (the expulsion of religious communities), and drawing on archival research, the history of disentailment, cultural theory, memory studies, and sociology, Alfante demonstrates how Spain’s liberalizing movement profoundly influenced class mobility and faith among the populace.
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Thought-Sign-Symbol : Cross-Cultural Representations of Religion
This unique volume focuses on religion and spirituality, along with rituals, practices and symbols, discussed and analysed from a semiotic perspective.It covers both cognitive and social dimensions of religious practices and beliefs, various aspects of spirituality, multiple forms of representation, as well as spheres of religious beliefs and practices.The volume is an outcome of the Signum-Idea-Verbum-Opus project initiated by Umberto Eco’s keynote address during his visit at the University of Lódz in 2015.More theoretical insights and further explorations into contemporary semiosphere can be found in Current Perspectives in Semiotics: Signs, Signification and Communication and Current Perspectives in Semiotics: Texts, Genres and Representations, published by Peter Lang.
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Focus: Music and Religion of Morocco
Focus: Music and Religion of Morocco introduces the region and its history, highlighting how the pressures of religious life, post-colonial economic struggle, and global media come together within Moroccan musical life.Musical practices contextualize and clarify global historical and contemporary movements-many of which remain poorly understood-while articulating the daily realities of the region's populations in ways that rarely show through current news accounts of religious extremism, poverty and inequality, and forced migration. As with other volumes in the series, Focus: Music and Religion of Morocco addresses large, conceptual issues though interwoven case studies, in three parts: Part I - Memories and Medias: Who We Are highlights how issues of religion, colonialism, nationalism, and globalization transcend boundaries through music to create a sense of personal and national identity, whether hundreds of years ago or on today's satellite television stations. Part II - Contesting Mainstreams: Where We're Going explores Morocco's sacred and secular music practices as they relate to the country's diversity and its contemporary politics. Part III - Focusing In: Faith and Fun in Fez highlights Fez's sacred music industry by introducing musicians who navigate musical and religious expectations to appeal to both their own devotional ethics and their audiences' wants. Links to music examples referenced in the text can be accessed on the eResource site www.routledge.com/9781138094581
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Witches and Pagans : Women in European Folk Religion, 700-1100
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What is folk music?
Folk music is a genre of music that is passed down orally from generation to generation within a community or culture. It often reflects the traditions, customs, and values of a particular group of people. Folk music can encompass a wide range of styles and instruments, and it is typically characterized by its simplicity and authenticity. This genre of music has deep roots in history and is an important part of many cultures around the world.
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In your opinion, what should be the relationship between art, music, and religion? Can art replace religion?
In my opinion, the relationship between art, music, and religion should be one of mutual enrichment and inspiration. Art and music have historically been used as expressions of religious devotion and can enhance the spiritual experience. However, I do not believe that art can replace religion. While art and music can provide a sense of awe and wonder, they do not necessarily fulfill the same role as religion in providing moral guidance, community, and a sense of purpose. Instead, art and music can complement and enhance the religious experience, offering different avenues for spiritual expression and connection.
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What distinguishes a religion from a substitute religion?
A religion is typically characterized by a belief in a higher power or powers, a set of sacred texts or teachings, and a system of rituals and practices. It often provides a framework for understanding the meaning and purpose of life, as well as guidelines for moral behavior. A substitute religion, on the other hand, may lack some or all of these elements, but still fulfills a similar role in providing meaning, community, and a sense of purpose for its followers. Substitute religions may include belief systems, ideologies, or even activities such as sports or political movements that fulfill some of the same functions as traditional religions.
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Is substitute religion the same as religion replacement?
No, substitute religion and religion replacement are not the same. Substitute religion refers to alternative belief systems or practices that individuals adopt in addition to their traditional religion, while religion replacement involves completely abandoning one's original religion in favor of a new belief system. Substitute religion allows individuals to incorporate elements of different faiths into their lives, whereas religion replacement involves a complete shift in religious identity.
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