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Renowned humorist and die-hard football fan Chad Gibbs knows he cannot serve two masters, but at times his faith is overwhelmed by his fanaticism. He is not alone.
A wide-ranging and impressive collection which illuminates the enduring relationship between the Church and literary creation.
Religion, Narcissism and Fanaticism traces the historical and psychosocial development of religiosity and applies anthropological and psychoanalytic perspectives to the understanding of religions, particularly their fanatical and fundamentalist expressions. Religious ideology, practices and institutions satisfy many human needs, including those arising from our hysterical, obsessional, and narcissistic dispositions: the need to segregate the good and bad aspects of our personalities; to belong to an idealized group; and to feel secure and special by identifying with, or living in the orbit of, a supposedly omnipotent figure. But these needs and their modes of satisfaction are distorted by religions which may then nurture and accommodate malign characteristics, especially in the case of the monotheisms, narcissistic inflation or grandiosity. The book shows how interactions between religious ideology and personal development become intricated in the narcissistic pathology which underlies much of the violence and religious aggression in the world today. It presents both a new account of the historical and psychosocial development of religiosity and a powerful polemic against the religions which delusorily satisfy some of the very needs they create. The book will appeal to psychoanalysts, anthropologists, philosophers, sociologists, and all those interested in the place of religion in the modern world.
When world-class biblical scholar Bart Ehrman first began to study the texts of the Bible in their original languages he was startled to discover the multitude of mistakes and intentional alterations that had been made by earlier translators. In Misquoting Jesus, Ehrman tells the story behind the mistakes and changes that ancient scribes made to the New Testament and shows the great impact they had upon the Bible we use today. He frames his account with personal reflections on how his study of the Greek manuscripts made him abandon his once ultraconservative views of the Bible. Since the advent of the printing press and the accurate reproduction of texts, most people have assumed that when they read the New Testament they are reading an exact copy of Jesus's words or Saint Paul's writings. And yet, for almost fifteen hundred years these manuscripts were hand copied by scribes who were deeply influenced by the cultural, theological, and political disputes of their day. Both mistakes and intentional changes abound in the surviving manuscripts, making the original words difficult to reconstruct. For the first time, Ehrman reveals where and why these changes were made and how scholars go about reconstructing the original words of the New Testament as closely as possible. Ehrman makes the provocative case that many of our cherished biblical stories and widely held beliefs concerning the divinity of Jesus, the Trinity, and the divine origins of the Bible itself stem from both intentional and accidental alterations by scribes -- alterations that dramatically affected all subsequent versions of the Bible.
Growing up Catholic in a family where the reforms of Vatican II are seen as the work of Satan. It is 1972, and Veronica Chater's parents believe that Vatican II's liberalization has corrupted the Catholic Church, inviting the Holy Chastisement—an apocalypse prophesied by three shepherds in Fatima, Portugal. To spare his family this horror, Veronica's father quits the highway patrol, sells everything, and moves the family of eight from California to an isolated village near Fatima. But Portugal is no Catholic utopia, and the family schleps home penniless to join the nascent Catholic counterrevolution: attending the Latin Mass in truck garages and abandoned buildings, serving meals to religious soldiers, breeding a new member of the faithful every year. As Veronica comes of age on the fringes of the American Dream, she rebels against a fanaticism that forbids anything modern—clothes, movies, or music. This is the story, both sad and funny, of a family torn apart by religion and brought back together in spite of the injuries it inflicted on itself.