We meet the Greek gods on Olympus and Norse gods in Valhalla. We follow the drama of the Trojan War and the wanderings of Odysseus. We hear the tales of Jason and the Golden Fleece, Cupid and Psyche, and mighty King Midas. We discover the origins of the names of the constellations. And we recognize reference points for countless works of art, literature, and cultural inquiry--from Freud's Oedipus complex to Wagner's Ring Cycle of operas to Eugene O'Neill's Mourning Becomes Electra. Praised throughout the world for its authority and lucidity, Mythology is Edith Hamilton's masterpiece--the standard by which all other books on mythology are measured.

    It considers first the views of E.B. Tylor and James Frazer, two Victorian pioneers in anthropology and the comparative study of religion. It explores the controversial reductionist approaches of Freud, Marx, and Emile Durkheim, then explains the program of their most outspoken opponent, the Romanian-American scholar Mircea Eliade. Further on, it examines certain newer methods and ideas advanced by the English ethnographer E.E. Evans-Pritchard and by the American Clifford Geertz, two of the present century's most celebrated names in fieldwork anthropology. Each chapter offers biographical background, exposition of the theory, comparative analysis, and critical assessment. Easily accessible to students in introductory religion courses, Seven Theories of Religion is an enlightening treatment of this controversial and fascinating subject.

    They explain what happened to the goddess, when, and how she was excluded from western culture, and the implications of this loss.

    But what does all that mean to the modern Hindu today? Why do Hindus call themselves so? Is it merely because their parents were Hindus? In what way does the faith speak to those who profess to follow it? What does Hinduism mean to the everyday-practicing or sometimes-accessing ordinary Hindu? Away from the raucous debate around religions, this is the journey of a common Hindu—an attempt to understand why, for so many Hindus, their faith is one of the most powerful arguments for plurality, for unity in diversity, and even more than the omnipresent power of God, the sublime courage and conviction of man. Being Hindu is the exploration of Hinduism in a way you have never seen before—almost through your own eyes.

    One On One With SatanA chilling and highly convincing account of possession and exorcism in modern America, hailed by NBC Radio as "one of the most stirring books on the contemporary scene."

    A dynamic table of contents enables to jump directly to the chapter selected. Table of Contents - About This Book - The Duty Of Inquiry - The Weight Of Authority - The Limits Of Inference

    Definitive and lively articles focus on the great tales and traditions of the age and includes information on daily and nightly customs andactivities; religious beliefs of the pagan, Christian, Muslim, and Jew; key works of oral and written literature; traditional music and art; holidays and feasts; food and drink; and plants and animals, both real and fantastical.While most books on medieval folklore focus primarily on the West, this unique volume brings together an eclectic range of experts to treat the subject from a global perspective. Especially remarkable are the surveys of the major medieval traditions including Arab-Islamic, Baltic, English, Finno-Ugric, French, Hispanic, Hungarian, Irish, Italian, Jewish, Scandinavian, Scottish, Slavic, and Welsh.For anyone who has ever wanted a path through the tangle of Arthurian legends, or the real lowdown on St. Patrick, or the last word on wolf lore--this is the place to look.The contributors:Ulrich Marzolph -- Arab-IslamicThomas A. DuBois -- BalticJohn McNamara & Carl Lindahl -- EnglishThomas A. DuBois -- Finno-UgricFrancesca Canad� Sautman -- FrenchSamuel G. Armistead -- Hispanic�va P�cs -- HungarianJoseph Falaky Nagy -- IrishGiuseppe C. Di Scipio -- ItalianEli Yassif -- JewishStephen A. Mitchell -- ScandinavianJohn McNamara -- ScottishEve Levin -- SlavicElissa R. Henken & Brynley F. Roberts -- Welsh

    Used in many colleges as an introduction to the saint. Beautiful translation and story from the French edition.

    But very few people could say just how its seemingly disparate jumble of writings — stories, letters, poems, collections of laws, religious visions — got there. Filling this knowledge gap, How the Bible Was Built clearly tells the story of how the Bible came to be. Penned by Charles Merrill Smith in response to his teenage granddaughter’s questions, the manuscript was discovered after Smith’s death and has been reworked by his friend James Bennett for a wider audience. Free of theological or sectarian slant, this little volume provides a concise, factual overview of the Bible’s construction throughout history, outlining how its various books were written and collected and later canonized and translated. Written in an easy conversational style and enhanced by two helpful appendixes (of biblical terms and dates), How the Bible Was Built will give a more informed understanding of the Bible to people of virtually any reading level and any religious persuasion. Did you know?The word “Bible” comes from biblion, a Greek word meaning “papyrus scroll.”It took several thousand years to construct the Bible.The book we call Deuteronomy was discovered hidden away in a dark corner during the reconstruction of the temple under King Josiah.The Apocrypha contains some of the earliest “detective” stories on record.Church councils had many disagreements about which books ought to be authoritative (a book called the Shepherd of Hermas almost made the cut; the book of Revelation almost didn’t).A heretic helped form the canon.Debate over the canon didn’t really end until the Protestant Reformation and the use of the printing press.

    From lavish tomb paintings and imposing temple reliefs to humble household shrines, countless tributes throughout Egypt reflect the richness and complexity of their mythology. This book examines the evolution, worship, and eventual decline of the numerous gods and goddesses—from minor household figures such as Bes and Taweret to the all-powerful deities Amun and Rethat made Egypt the most completely theocratic society of the ancient world, and made Egyptians, according to Herodotus, "more religious than any other people."     • "Rise and Fall of the Gods" considers the origins of Egypt's deities, their struggles to control cosmic forces, and their eventual decline.     • "Nature of the Gods" examines the forms, appearances, and manifestations of the deities, as well as the transcendence of preeminent deities such as Amun.     • "Worship of the Gods" introduces the rituals and mysteries of formal Egyptian worship, including the importance of temples and festivals.     • "Kingship and the Gods" discusses the all-important position of the king, who served as a bridge between the gods and humanity.     • "The Many Faces of the Divine" is a unique catalogue of Egypt's gods and goddesses grouped according to their primary forms, discussing their iconography, mythology, and worship, and their influence over time.With hundreds of illustrations and specially commissioned drawings, this is a comprehensive and authoritative guide to the deities that lay at the heart of Egyptian religion and society.

    But although he lived in the German golden age of Goethe, Schiller and Mozart, he also believed that art was in terminal decline.To resolve this apparent paradox, as Michael Inwood explains in his incisive Introduction, we must understand the particular place of aesthetics in Hegel's vast intellectual edifice. Its central pillars consist of logic, philosophy of nature and philosophy of spirit. Art derives its value from offering a sensory vision of the God-like absolute, from its harmonious fusion of form and content, and from summing up the world-view of an age such as Homer's. While it scaled supreme heights in ancient Greece, Hegel doubted art's ability to encompass Christian belief or the reflective irony characteristic of modern societies. Many such challenging ideas are developed in this superb treatise; it counts among the most stimulating works of a master thinker.Table of ContentsIntroductory Lectures on Aesthetics Introduction A Note on the Translation and CommentaryINTRODUCTORY LECTURES ON AESTHETICSChapter I: The Range of Aesthetic Defined, and Some Objections against the Philosophy of Art Refuted[α Aesthetic confined to Beauty of Artβ Does Art merit Scientific Treatment?γ Is Scientific Treatment appropriate to Art?δ Answer to βε Answer to γ]Chapter II: Methods of Science Applicable to Beauty and Art[1. Empirical Method - Art-scholarship(a) Its Range(b) It generates Rules and Theories(c) The Rights of Genius2. Abstract Reflection3. The Philosophical Conception of Artistic Beauty, general notion of]Chapter III: The Conception of Artistic BeautyPart I - The Work of Art as Made and as Sensuous1. Work of Art as Product of Human Activity[(a) Conscious Production by Rule(b) Artistic Inspiration(c) Dignity of Production by Man(d) Man's Need to produce Works of Art]2. Work of Art as addressed to Man's Sense[(a) Object of Art - Pleasant Feeling?(b) Feeling of Beauty - Taste(c) Art-scholarship(d) Profounder Consequences of Sensuous Nature of Art(α) Relations of the Sensuous to the Mind(αα) Desire(ββ) Theory(γγ) Sensuous as Symbol of Spiritual(β) The Sensuous Element, how Present in the Artist(γ) The Content of Art Sensuous]Part II - The End of Art3. [The Interest or End of Art(a) Imitation of Nature?(α) Mere Repetition of Nature is -(αα) Superfluous(ββ) Imperfect(γγ) Amusing Merely as Sleight of Hand(β) What is Good to Imitate?(γ) Some Arts cannot be called Imitative(b) Humani nihil - ?(c) Mitigation of the Passions?(α) How Art mitigates the Passions(β) How Art purifies the Passions(αα) It must have a Worthy Content(ββ) But ought not to be Didactic(γγ) Nor explicitly addressed to a Moral Purpose(d) Art has its own Purpose as Revelation of Truth]Chapter IV: Historical Deducation of the True Idea of Art in Modern Philosophy1. Kant[(a) Pleasure in Beauty not Appetitive(b) Pleasure in Beauty Universal(c) The Beautiful in its Teleological Aspect(d) Delight in the Beautiful necessary though felt]2. Schiller, Winckelmann, Schelling3. The IronyChapter V: Division of the Subject[1. The Condition of Artistic Presentation is the Correspondence of Matter and Plastic Form2. Part I - The Ideal3. Part II - The Types of Art(α) Symbolic Art(β) Classical Art(γ) Romantic Art4. Part III - The Several Arts(α) Architecture(β) Sculpture(γ) Romantic Art, comprising(i) Painting(ii) Music(iii) Poetry5. Conclusion]Commentary

    Jeffrey Burton Russell here chronicles the remarkable story of the Devil from antiquity to the present. While recounting how past generations have personified evil, he deepens our understanding of the ways in which people have dealt with the enduring problem of radical evil.After a compelling essay on the nature of evil, Russell uncovers the origins of the concept of the Devil in various early cultures and then traces its evolution in Western thought from the time of the ancient Hebrews through the first centuries of the Christian era. Next he turns to the medieval view of the Devil, focusing on images found in folklore, scholastic thought, art, literature, mysticism, and witchcraft. Finally, he follows the Devil into our own era, where he draws on examples from theology, philosophy, art, literature, and popular culture to describe the great changes in this traditional notion of evil brought about by the intellectual and cultural developments of modern times.Is the Devil an outmoded superstition, as most educated people today believe? Or do the horrors of the twentieth century and the specter of nuclear war make all too clear the continuing need for some vital symbol of radical evil? A single-volume distillation of Russell's epic tetralogy on the nature and personifcation of evil from ancient times to the present (published by Cornell University Press between 1977 and 1986), The Prince of Darkness invites readers to confront these and other critical questions as they explore the past faces of that figure who has been called the second most famous personage in Christianity.

    Consequently, his view of history is confused. For centuries, the history of the Western world has been viewed from the Christian or classical standpoint—from a deep faith in the Kingdom of God or a belief in recurrent and eternal life-cycles. The modern mind, however, is neither Christian nor pagan—and its interpretations of history are Christian in derivation and anti-Christian in result. To develop this theory, Karl Löwith—beginning with the more accessible philosophies of history in the nineteenth and eighteenth centuries and working back to the Bible—analyzes the writings of outstanding historians both in antiquity and in Christian times. "A book of distinction and great importance. . . . The author is a master of philosophical interpretation, and each of his terse and substantial chapters has the balance of a work of art."—Helmut Kuhn, Journal of Philosophy

    The Age of Reason represents the results of years of study and reflection by Thomas Paine on the place of religion in society.Paine wrote: "Of all the tyrannies that affect mankind, tyranny in religion is the worst; every other species of tyranny is limited to the world we live in; but this attempts to stride beyond the grave, and seeks to pursue us into eternity."The cool rationale of Paine's The Age of Reason influenced religious thinking throughout the world; and its pervasieve influence continues to the present day.

    Burge details a comprehensive picture of an increasingly significant group--Americans who say they have no religious affiliation.The growth of the nones in American society has been dramatic. In 1972, just 5 percent of Americans claimed "no religion" on the General Social Survey. In 2018, that number rose to 23.7 percent, making the nones as numerous as both evangelical Protestants and Roman Catholics. Every indication is that the nones will be the largest religious group in the United States in the next decade.Burge illustrates his precise but accessible descriptions with charts and graphs drawn from over a dozen carefully curated datasets, some tracking changes in American religion over a long period of time, others large enough to allow a statistical deep dive on subgroups such as atheists and agnostics. Burge also draws on data that tracks how individuals move in and out of religion over time, helping readers understand what type of people become nones and what factors lead an individual to return to religion.The Nones gives readers a nuanced, accurate, and meaningful picture of the growing number of Americans who say they have no religious affiliation. Burge explains how this rise happened, who the nones are, and what they mean for the future of American religion.