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In the context of the growing debate over the relationship between humanities education and the future of liberal democracy, To Be One of Us surveys in dialectical fashion several contemporary humanist thinkers, and analyzes their diverse philosophical positions in relation to John Dewey's claim that "creative democracy" is the "task before us." The cultural roots of these diverse positions are compared on the basis of their normative conceptions of moral authority. The first section of the text contains analyses of Allan Bloom's conservative platonism, and of several critiques of his discourse of crisis. The second section is an exploration of Rorty's liberal pragmatism and its implications for education and democracy, and of the critique of Rorty which emanates from his political left. Finally, West's "prophetic pragmatism" is examined, and presented as the philosophical position best suited to "creative democracy," given prevailing social, economic, and political realities.
Illustrated with color and black-and-white images of the mountain and its associated religious practices, H. Byron Earhart's study utilizes his decades of fieldwork—including climbing Fuji with three pilgrimage groups—and his research into Japanese and Western sources to offer a comprehensive overview of the evolving imagery of Mount Fuji from ancient times to the present day. Included in the book is a link to his twenty-eight minute streaming video documentary of Fuji pilgrimage and practice, Fuji: Sacred Mountain of Japan. Beginning with early reflections on the beauty and power associated with the mountain in medieval Japanese literature, Earhart examines how these qualities fostered spiritual practices such as Shugendo, which established rituals and a temple complex at the mountain as a portal to an ascetic otherworld. As a focus of worship, the mountain became a source of spiritual insight, rebirth, and prophecy through the practitioners Kakugyo and Jikigyo, whose teachings led to social movements such as Fujido (the way of Fuji) and to a variety of pilgrimage confraternities making images and replicas of the mountain for use in local rituals. Earhart shows how the seventeenth-century commodification of Mount Fuji inspired powerful interpretive renderings of the "peerless" mountain of Japan, such as those of the nineteenth-century print masters Hiroshige and Hokusai, which were largely responsible for creating the international reputation of Mount Fuji. In the eighteenth and nineteenth centuries, images of Fuji served as an expression of a unique and superior Japanese culture. With its distinctive shape firmly embedded in Japanese culture but its ethical, ritual, and spiritual associations made malleable over time, Mount Fuji came to symbolize ultranationalistic ambitions in the 1930s and early 1940s, peacetime democracy as early as 1946, and a host of artistic, naturalistic, and commercial causes, even the exotic and erotic, in the decades since.
Stephen B Bevans's Models of Contextual Theology has become a staple in courses on theological method and as a handbook used by missioners and other Christians concerned with the Christian tradition's understanding of itself in relation to culture. First published in 1992 and now in its seventh printing in English, with translations underway into Spanish, Korean, and Indonesian, Bevans's book is a judicious examination of what the terms "contextual theology" and "to contextualize" mean. In the revised and expanded edition, Bevans adds a "counter-cultural" model to the five presented in the first edition -- the translation, the anthropological, the praxis, the synthetic, and the transcendental model. This means that readers will be introduced to the way in which figures such as Stanley Hauerwas, John Milbank, Lesslie Newbigin, "and (occasionally) Pope John Paul II" need to be taken into account. The author's revisions also incorporate suggestions made by reviewers to enhance the clarity of the original three chapters on the nature of contextual theology and the five models.
In this book, Hans Schwarz leads us into the web of Christian theology's recent past from Kant and Schleiermacher to Mbiti and Zizoulas, pointing out all the theologians of the last two hundred years who have had a major impact beyond their own context. With an eye to the blending of theology and biography, Schwarz draws the lines of connection between theologians, their history, and wider theological movements. - Publisher.
In Introduction to Religious Studies, Harvey J. Sindima provides an unconventional approach to the study of world religions. Often, books and courses on religious studies focus on the major world religions. This approach, however, frequently ignores other religious experiences, such as those of various African groups as well as the indigenous people of the Americas and Australia. These less widespread religions are commonly described in pejorative terms such as 'primitive religions' or 'non-literate religions.' Focusing solely on well-known religions is an approach that impoverishes religious studies and deprives students of the enormous wealth of religious knowledge of the world. Introduction to Religious Studies pulls together the diverse religious experience of Africans, Native Americans, and the indigenous peoples of Australia in order to provide a comprehensive introduction to the study of religion and broaden the horizons of religious studies students. Under each theme or topic, examples are drawn from religions of salvation as well as African and Native American religious traditions. This book provides students with a deep, wide, and very rich introduction to religious studies.
Mount Fuji has always stirred the imagination of artists. Many Japanese print artists, including some of the greatest, such as Hokusai and Hiroshige, have attempted to capture the spirit of the mountain in their designs. This book offers an overview of the many faces of Mount Fuji as seen through the eyes of such artists. The introduction focuses on Mount Fuji in mythology, early portrayal, pilgrimage history, and its depiction in Japanese prints -- in particular, in the work of Hokusai and Hiroshige. The book also contains chapters on Mount Fuji seen from the Ttkaidt, Fuji and the "Ch{shingura" drama, Fuji and poetry ("surimono"), Fuji seen from Edo (present-day Tokyo) and "The thirty-six views of Mount Fuji."