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Originally published in 1948 and then updated in 1961 outlines the religious and social background of the Zulus and discusses the rise of the Independent Church Movement. It examines the organization and inner workings of the different Churches, their forms of worship, and the personalities of their leaders. It also analyses the blend of old and new which appears in Zulu interpretations of some aspects of Christian doctrine.
Between the 1870s and the 1930s competing European powers carved out and consolidated colonies in Melanesia, the most culturally diverse region of the world. As part of this process, great assemblages of ethnographic artefacts were made by a range of collectors whose diversity is captured in this volume. The contributors to this tightly-integrated volume take these collectors, and the collecting institutions, as the departure point for accounts that look back at the artefact-producing societies and their interaction with the collectors, but also forward to the fate of the collections in metropolitan museums, as the artefacts have been variously exhibited, neglected, re-conceived as indigenous heritage, or repatriated. In doing this, the contributors raise issues of current interest in anthropology, Pacific history, art history, museology, and material culture.
Nothing has so radically transformed the world as the distinction between true and false religion. In this nuanced consideration of his own controversial Moses the Egyptian, renowned Egyptologist Jan Assmann answers his critics, extending and building upon ideas from his previous book. Maintaining that it was indeed the Moses of the Hebrew Bible who introduced the true-false distinction in a permanent and revolutionary form, Assmann reiterates that the price of this monotheistic revolution has been the exclusion, as paganism and heresy, of everything deemed incompatible with the truth it proclaims. This exclusion has exploded time and again into violence and persecution, with no end in sight. Here, for the first time, Assmann traces the repeated attempts that have been made to do away with this distinction since the early modern period. He explores at length the notions of primary versus secondary religions, of "counter-religions," and of book religions versus cultic religions. He also deals with the entry of ethics into religion's very core. Informed by the debate his own work has generated, he presents a compelling lesson in the fluidity of cultural identity and beliefs.
"... wonderfully imaginative and provocative in its interdisciplinary approach to the study of nineteenth-century American religion and women's role within it."Â -- Choice "... an important addition to the fields of religious studies, women's history, and American cultural history." -- Journal of the American Academy of Religion "... a complete and complex portrait of the Christian home." -- The Journal of American History
Multicultural Riddle is a comprehensive exploration of all the issues that shape our search for a multicultural society. The book examines how we can establish a state of justice and equality between and among three groups: those who believe in a unified national culture, those who trace their culture to their ethnic identity, and those who view their religion as their culture. To solve the multicultural riddle, one must rethink national identity, ethnicity and the role of religion in the modern world.
In this revision of his dissertation (in religion, at U. of California, Santa Barbara), Burris (religious studies, Stetson U.) explores the development of a comparative study of religion as this can be deduced from the exhibits on world religion and culture at 19th-century world expositions. The book's four main themes are: the colonial mindset of the exhibiting of cultures and their religions, the effect of evolutionary theory on the defining of American religious and social hierarchies, the role of the expositions in popularizing the theory of social evolution, and the denigration of "primitive" peoples and their religions through comparative display. The text is as much cultural studies as religious studies and will appeal to those interested in American societal and intellectual trends of this period. Annotation copyrighted by Book News, Inc., Portland, OR
Art and Belief presents twelve new essays at the intersection of philosophy of mind and philosophy of art, particularly to do with the relation between belief and truth in our experience of art. Several contributors discuss the cognitive contributions artworks can make and the questions surrounding these. Can authors of fiction testify to their readers? If they can, are they culpable for the false beliefs of their readers formed in response to their work? If they cannot, that is, if the testimonial powers of authors of fiction are limited, is there some non-testimonial epistemic role that fiction can play? And in any case, is such a role relevant when determining the value of the work? Also explored are issues concerned with the phenomenon of fictional persuasion, specifically, what is the nature of the attitude involved in such cases (those in which we form beliefs about the real world in response to reading fiction)? If these attitudes are typically unstable, unjustified, and unreliable, does this put pressure on the view that they are beliefs? If these attitudes are beliefs, does this put pressure on the view that all beliefs are aimed at truth? The final pair of papers in the volume take different stances on the nature of aesthetic testimony, and whether testimony of this kind is a legitimate source of beliefs about aesthetic properties and value.