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Poetry. Asian & Asian American Studies. Translated by Red Pine. Before Qu Yuan (340-278 B.C.E.), poems in China read as if they could have been written by anyone. Qu Yuan changed this. It was his voice. He was a poet. Wang Wei once said he never traveled anywhere without taking two books with him: the Vimalakirti Sutra, from which he took his own pen name, and the poems of Qu Yuan. He wasn't alone. It's hard to find any Chinese poet of the past whose verse wasn't affected, if not inspired, by what Qu Yuan wrote and by the way he used language, his rhythms and his voice.
This book challenges Christian communities to engage in lament—a mode of existence characterized by impassioned expression, witnessing, and personal or social protest in the face of evil and injustice, reflecting a profound yearning for God’s saving presence. Divine lament responds to, and expresses solidarity with, human suffering, unveiling multiple facets of God’s image and demonstrating a profound sense of divine compassion. Drawing on the Book of Lamentations, Korean concepts related to suffering (han and hanpuri), the Paschal Triduum narratives, and recent homiletic discourses on suffering, the author investigates how complex issues related to grief and hope can be addressed in preaching without diminishing the harsh reality of affliction. Designed to assist preachers, this book encourages a more intentional approach to addressing suffering, specifically by advocating for lament as a transitional space between affliction and hope. Furthermore, readers are invited to contemplate the significance of the church, which, within a world in decline, embodies the body of Christ, manifesting both the demise and resurrection of God.
Having set aside age-old ways of mourning, how do people in the modern world cope with tragic loss? Using traditional mourning rituals as an instructive touchstone, Gail Holst-Warhaft explores the ways sorrow is managed in our own times and how mourning can be manipulated for social and political ends. Since ancient times political and religious authorities have been alert to the dangerously powerful effects of communal expressions of grief--while valuing mourning rites as a controlled outlet for emotion. But today grief is often seen as a psychological problem: the bereaved are encouraged to seek counseling or take antidepressants. At the same time, we have witnessed some striking examples of manipulation of shared grief for political effect. One instance is the unprecedented concentration on recovery of the remains of Americans killed in the Vietnam War. In Buenos Aires the Mothers of the Disappeared forged the passion of their grief into a political weapon. Similarly the gay community in the United States, transformed by grief and rage, not only lobbied effectively for AIDS victims but channeled their emotions into fresh artistic expression. It might be argued that, in contrast to earlier cultures, modern society has largely abdicated its role in managing sorrow. But in The Cue for Passion we see that some communities, moved by the intensity of their grief, have utilized it to gain ground for their own agendas.
This book on Nanai shamanic culture is based on first-hand information provided by shamans and recorded in the years between 1980 and 2012, a time of rapid socio-cultural change in Russia. It sheds light on the lively indigenous discourse in which social factors such as the splitting of society into different paternal lineages relates to spiritual troubles that Nanai people experience as collective ‘shamanic disease.’ But inter-clan confrontations are not only mediated in shamanic rituals, as these must not be separated from folk narratives, dances and other forms of art. Furthermore, the book provides profound insights into the plurality of contradictory discourses on indigenous knowledge as well as those delivered in non-indigenous contexts. The latter arose or became more intense in the Soviet and post-Soviet periods, and often led to experiments in new shamanic practices.
Lament, mourning, and the transmissibility of a tradition in the aftermath of destruction are prominent themes in Jewish thought. The corpus of lament literature, building upon and transforming the biblical Book of Lamentations, provides a unique lens for thinking about the relationships between destruction and renewal, mourning and remembrance, loss and redemption, expression and the inexpressible. This anthology features four texts by Gershom Scholem on lament, translated here for the first time into English. The volume also includes original essays by leading scholars, which interpret Scholem’s texts and situate them in relation to other Weimar-era Jewish thinkers, including Walter Benjamin, Franz Rosenzweig, Franz Kafka, and Paul Celan, who drew on the textual traditions of lament to respond to the destruction and upheavals of the early twentieth century. Also included are studies on the textual tradition of lament in Judaism, from biblical, rabbinic, and medieval lamentations to contemporary Yemenite women’s laments. This collection, unified by its strong thematic focus on lament, shows the fruitfulness of studying contemporary and modern texts alongside the traditional textual sources that informed them.
Thirty years ago, anthropologist Laurel Kendall did intensive fieldwork among South Korea’s (mostly female) shamans and their clients as a reflection of village women’s lives. In the intervening decades, South Korea experienced an unprecedented economic, social, political, and material transformation and Korean villages all but disappeared. And the shamans? Kendall attests that they not only persist but are very much a part of South Korean modernity. This enlightening and entertaining study of contemporary Korean shamanism makes the case for the dynamism of popular religious practice, the creativity of those we call shamans, and the necessity of writing about them in the present tense. Shamans thrive in South Korea’s high-rise cities, working with clients who are largely middle class and technologically sophisticated. Emphasizing the shaman’s work as open and mutable, Kendall describes how gods and ancestors articulate the changing concerns of clients and how the ritual fame of these transactions has itself been transformed by urban sprawl, private cars, and zealous Christian proselytizing. For most of the last century Korean shamans were reviled as practitioners of antimodern superstition; today they are nostalgically celebrated icons of a vanished rural world. Such superstition and tradition occupy flip sides of modernity’s coin—the one by confuting, the other by obscuring, the beating heart of shamanic practice. Kendall offers a lively account of shamans, who once ministered to the domestic crises of farmers, as they address the anxieties of entrepreneurs whose dreams of wealth are matched by their omnipresent fears of ruin. Money and access to foreign goods provoke moral dilemmas about getting and spending; shamanic rituals express these through the longings of the dead and the playful antics of greedy gods, some of whom have acquired a taste for imported whiskey. No other book-length study captures the tension between contemporary South Korean life and the contemporary South Korean shamans’ work. Kendall’s familiarity with the country and long association with her subjects permit nuanced comparisons between a 1970s "then" and recent encounters—some with the same shamans and clients—as South Korea moved through the 1990s, endured the Asian Financial Crisis, and entered the new millennium. She approaches her subject through multiple anthropological lenses such that readers interested in religion, ritual performance, healing, gender, landscape, material culture, modernity, and consumption will find much of interest here.
The book makes out a case for the introduction of a new genre of tale, the shamanic story, which has either been based on or inspired by a shamanic journey, or contains a number of the elements that are typical of such a journey. The stories featured are the Book of Jonah from the Old Testament, two traditional stories from the Republic of Georgia–The Earth will take its Own and Davit, a contemporary German tale Bundles, and the Korean story of Shimchong, the Blindman’s Daughter. By making use of textual material from a number of different cultures and times, the intention is to highlight the pervasive influence shamanism has had and to show how the “new” genre being proposed is a universal one. The research questions addressed include 1) defining what shamanism is, deciding whether it should be classified as a religion, a methodology or a way of life 2) considering whether a case can be made out for the introduction of a new genre of tale and, if so, what its characteristics are. It is hoped the book will be of interest not only to those involved in the study of shamanism but also to those whose interest is in the study of literary texts. Since the old bearers of shamanic traditions quite often were, and even today are, illiterate, the study of their folklore–epic songs, laments, narratives–undoubtedly provides a rich source for research.
This is an essential tribute to the vitality and breadth of shamanic tradition both amongst the most distant tribes of America and Asia, and within seemingly ordinary aspects of modern western culture.
A Companion to the Anthropology of Religion presents a collection of original, ethnographically-informed essays that explore the variety of beliefs, practices, and religious experiences in the contemporary world and asks how to think about religion as a subject of anthropological inquiry. Presents a collection of original, ethnographically-informed essays exploring the wide variety of beliefs, practices, and religious experiences in the contemporary world Explores a broad range of topics including the ‘perspectivism’ debate, the rise of religious nationalism, reflections on religion and new media, religion and politics, and ideas of self and gender in relation to religious belief Includes examples drawn from different religious traditions and from several regions of the world Features newly-commissioned articles reflecting the most up-to-date research and critical thinking in the field, written by an international team of leading scholars Adds immeasurably to our understanding of the complex relationships between religion, culture, society, and the individual in today’s world
Cinema has become a battleground upon which history is made – a major mass medium of the twentieth century dealing with history. The re-enactments of historical events in film straddle reality and fantasy, documentary and fiction, representation and performance, entertainment and education. This interdisciplinary book examines the relationship between film and history and the links between historical research and filmic (re-)presentations of history with special reference to South Korean cinema. As with all national film industries, Korean cinema functions as a medium of inventing national history, identity, and also establishing their legitimacy – both in forgetting the past and remembering history. Korean films also play a part in forging cultural collective memory. Korea as a colonized and divided nation clearly adopted different approaches to the filmic depiction of history compared to colonial powers such as Western or Japanese cinema. The Colonial Period (1910-45) and Korean War (1950-53) draw particular attention as they have been major topics shaping the narrative of nation in North and South Korean films. Exploring the changing modes, impacts and functions of screen images dealing with history in Korean cinema, this book will be of huge interest to students and scholars of Korean history, film, media and cultural studies.