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Tracing embodied transformation in the context of Gaga, the Israeli dance improvisation practice, this book demystifies what Lina Aschenbrenner coins as “neo-spiritual aesthetics.” This book takes the reader on an analytical journey through a Gaga class, outlining the effective aesthetics of Gaga as an example for the broader field of neo-spiritualities. It distinguishes a threefold effect of Gaga practice-from a momentary extraordinary experience, to a lasting therapeutic effect, and finally Gaga's worldview potential. It situates the effect in an assemblage of interrelating aesthetics of environment, movement, and bodies. The book shows why seemingly leisure time activities such as Gaga form fruitful research objects to an academic study of religion and opens up research on neo-spiritual practices. In understanding the sensory effect of practice and its cultural and social implications, the book follows an Aesthetics of Religion approach. It departs from the idea that cognition is embodied and that the body is thus central to understanding cultural and social phenomena. Drawing upon a wide array of data gathered in the context of Gaga at the Suzanne Dellal Center in Tel Aviv, the book weaves together different methods of discourse, ritual, movement, body knowledge, and narrative analysis, while acknowledging insights from neuroscience and cognitive science.
Tracing embodied transformation in the context of the neo-spiritual Israeli dance improvisation practice Gaga, this book demystifies what the author coins as the "Gaga effect" - the embodied effect of Gaga on its participants. Lina Aschenbrenner takes the reader on an analytical journey through a Gaga class, outlining the effective aesthetics of environment and movement. She distinguishes a threefold effect of Gaga practice - from a momentary extraordinary experience, to a lasting therapeutic effect, and finally Gaga's worldview potential. The book shows why seemingly leisure time activities such as Gaga form indeed justified and fruitful research objects to an academic study-of-religion and opens up research on neo-spiritual practices. In understanding the sensory effect of practice and its cultural and social implications, the book follows an Aesthetics of Religion approach, departing from the idea that cognition is embodied and that the body is thus central to understanding cultural and social phenomena. Drawing upon a wide array of data gathered in the context of Gaga at the Suzanne Dellal Center in Tel Aviv, this book weaves together different methods of ritual, movement, discourse, and narrative analysis, while acknowledging insights from neuroscience and cognitive science.
DIVThe first full-length survey of contemporary Chicana artists/div
Taking up the perceived tensions between the LGBTQ community and religious African Americans, Marlon Rachquel Moore examines how strategies of antihomophobic resistance dovetail into broader literary and cultural concerns. In the Life and in the Spirit shows how creative writers integrate expressions of faith or the supernatural with sensuality, desire, and pleasure in a way that highlights a spectrum of black sexualities and gender expressions. Through these fusions, African American writers enact queer spiritualities that situate the well-known work of James Baldwin into a broader community of artists, including Bruce Nugent, Ann Allen Shockley, Alice Walker, Langston Hughes, Jewelle Gomez, Becky Birtha, an d Octavia Butler. In these texts from 1963 to 1999, Moore identifies a pervasive, affirming stance toward LGBTQ people and culture in African American literary production.
Ethics and Spiritual Care responds to three phenomena of increasing importance: • Although spiritual care is at the heart of ordained ministry, there is no text in professional ethics for clergy that focuses specifically on spiritual care. What ethical guidelines are needed to ensure that spiritual care in ministry is appropriate? • Many people in our world do not consider themselves “religious,” but use the term “spiritual.” The burgeoning interest in “spirituality” is an invitation to people with little training to set themselves up as “spiritual directors.” Guidelines are needed not simply for the ethical practice of parish ministry, but for specific practices of spiritual direction. • Allegations of “spiritual abuse” have been made both in practice and in the literature; the term is being used with some frequency. The development of this term and its implications requires some scrutiny and response, as sexual abuse is not a good model for understanding spiritual abuse.
The Oxford Handbook of Russian Religious Thought is an authoritative new reference and interpretive volume detailing the origins, development, and influence of one of the richest aspects of Russian cultural and intellectual life - its religious ideas. After setting the historical background and context, the Handbook follows the leading figures and movements in modern Russian religious thought through a period of immense historical upheavals, including seventy years of officially atheist communist rule and the growth of an exiled diaspora with, e.g., its journal The Way. Therefore the shape of Russian religious thought cannot be separated from long-running debates with nihilism and atheism. Important thinkers such as Losev and Bakhtin had to guard their words in an environment of religious persecution, whilst some views were shaped by prison experiences. Before the Soviet period, Russian national identity was closely linked with religion - linkages which again are being forged in the new Russia. Relevant in this connection are complex relationships with Judaism. In addition to religious thinkers such as Philaret, Chaadaev, Khomiakov, Kireevsky, Soloviev, Florensky, Bulgakov, Berdyaev, Shestov, Frank, Karsavin, and Alexander Men, the Handbook also looks at the role of religion in aesthetics, music, poetry, art, film, and the novelists Dostoevsky and Tolstoy. Ideas, institutions, and movements discussed include the Church academies, Slavophilism and Westernism, theosis, the name-glorifying (imiaslavie) controversy, the God-seekers and God-builders, Russian religious idealism and liberalism, and the Neopatristic school. Occultism is considered, as is the role of tradition and the influence of Russian religious thought in the West.
Neo-Romantic Landscapes offers a reappraisal of the 1940s films of Powell and Pressburger focusing on their use of landscape. Questioning the established notion that the two film-makers, owing to their non-British personal roots, are located as un-British and ‘other’, Stella Hockenhull draws a correlation between the two media of film and painting to suggest otherwise. Emphasising the spiritual aspects of landscape and nature at a time when the experience and imagery of the war years generated a particular kind of ‘affect’ arising from the aftermath of destruction, she locates Powell and Pressburger’s wartime films in their historical and cultural context, notably Neo-Romanticism. By offering a close analysis of films such as A Canterbury Tale, I Know Where I’m Going!, Black Narcissus and Gone to Earth she finds similar aesthetic qualities in a number of British landscape paintings executed contemporaneously. Drawing on press reviews for contemporary spectator response, Neo-Romantic Landscapes offers a redirection of Film Studies, foregrounding the aesthetic pleasures of cinema in excess of narrative plausibility, thus resituating Powell and Pressburger in the British cultural traditions of the visual arts.
This book demonstrates that numerous prominent artists in every period of the modern era were expressing spiritual interests when they created celebrated works of art. This magisterial overview insightfully reveals the centrality of an often denied and misunderstood element in the cultural history of modern art.
Published in 1892 by a leading British philosopher, this book traces aesthetic theory from ancient Greece to the Victorian era.