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A poor widow tearfully warned her son, Richard against joining the bad wagon when he got an admission into the University. He did all he could not to join any group of students until he had an encounter with a member of The Black Skulls - a deadly and ruthless secret cult in the campus. Before Richard knew what he was up against, arrangement had been made to initiate him into the cult. While resisting the initiation, he ran to the Campus Christian Fellowship for help. The Christians dragged The President of Students Union Government (S.U.G) into the conflict. With the involvement of the S.U.G President, another formidable cult called The Red Eyes felt obliged to team up against the Black Skulls. Then the campus turned into a battlefield and BLOODSHED became the order of the black day.
The incarnation of God in Jesus poses numerous challenges for the historical consciousness. How does a particular human at a particular time embody the eternal? And how does that embodiment work itself out in faith across the centuries? A gulf would appear to stand between what Christians say about Christ and the historical event of the man Jesus; indeed, the true reality of the incarnation seems unspeakable. Unspeakable Cults considers the nature and potential resolution of the conflict between the relativistic assumptions of the modern historical worldview and the classical Christian assertion of the absolute status of Jesus of Nazareth as God's saving incarnation in history. Paul DeHart contends that an understanding of Jesus' history is possible, proposing a model of the relation of divine causation to historical causation that allows the affirmation of Jesus' divinity without a miraculous rupture of the world's immanent causal patterns. The book first identifies classic articulations of the conflict in nineteenth-century German thought (Troeltsch, D. F. Strauss), and then draws on the history of religions to suggest possible relevant motifs in first-century culture that mitigate the axiomatic tension between Jesus' humanity and his deified status in early Christianity. With a creative appropriation of Thomas Aquinas, the heart of the argument aims to understand the eternal Word's presence in a human being as a thoroughly cultural event, but one dependent on divine power conceived as quasi-formal rather than merely efficient cause. Such an approach undercuts opposition between the absoluteness of Jesus and the relativism of historicism. DeHart ultimately confronts the resulting challenges to traditional belief resulting from this proposed model, including the irremediable ambiguity of Jesus' miraculous performances and the constitutively unfinished nature of his human identity. Rather than treating these as scandals of modern consciousness, Unspeakable Cults vindicates them as necessary aspects of the offense perennially confronting faith in the incarnation.
The radical transformation that universities are undergoing today is no less far-reaching than the upheavals that it experienced in the 1960s. However today, when almost 50 per cent of young people participate in higher education, what occurs in universities matters directly to the whole of society. On both sides of the Atlantic curious and disturbing events on campuses has become a matter of concern not just for academics but also for the general public. What is one to make of the growing trend of banning speakers? What’s the meaning of trigger warnings, cultural appropriation, micro-aggression or safe spaces? And why are some students going around arguing that academic freedom is no big deal? What's Happened To The University? offers an answer to the questions of why campus culture is undergoing such a dramatic transformation and why the term moral quarantine refers to the infantilising project of insulating students from offence and a variety of moral harms.
"College freshman Emily is seduced into joining a cult with deadly results"--
The swelling flows of migration from Africa towards Europe have aroused interest not only in the socio-political consequences of the migrants' insistent appeals to 'fortress Europe' but also in the artistic integration of African migrants into the cultural world of Europe. While in recent years the creative output of Africans living in Europe has received attention from the media and in academia, little critical consideration has been given to African migrants' modes of narration and the manner in which these modes give expression to, or are an expression of, their creators' transcultural realities. Transcultural Modernities: Narrating Africa in Europe responds to this need for reflection by examining the manner in which migrants compose and negotiate their Euro-African affiliations in their narratives. The book brings together scholars in the fields of literary and art criticism, cultural studies, and anthropology for an extensive interdisciplinary exchange on the specific modes of narration displayed in Euro-African literatures, the visual arts, and cinema, as well as offering ethnographic case studies. The result is a wide range of reflections on how African artists, writers, and ordinary people living in Europe experience and explore their transcultural and/or postcolonial environments, and how their experiences and explorations in turn contribute to the construction of modern Euro-African life-worlds.
African cultures and politics remain significantly affected by precolonial and postcolonial configurations of modernity, as well as hegemonic global systems. This project explores Africa's conversation with itself and the rest of the world, critiquing universalist notions of democratization.