In a very literarily complicated setting, Frater Taciturnus sets a remark about Hamlet not being a Christian tragedy. After unpeeling that literary setting and noting that Taciturnus' remark aims more at Jacob Börne than at Shakespeare, the paper shows how Frater Taciturnus' remark calls into question the religious project of a certain danish author. For, Taciturnus' primary concern is to show that religious drama is not possible, or at least "ought not be." This general law applies to (...) Hamlet as well, and if Shakespeare was attempting a religious drama he a) shouldn't have because such a thing is essentially undramatizable, and b) failed because he did not begin (which would be possible) by showing the hero's religious presuppositions. Frater Taciturnus himself has given considerable thought to the extent and the manner in which the religious can be represented; in fact the letter to the reader is his proof of how perfectly his own narrative, "Guilty/Not Guilty," was constructed with precisely these problems in mind. The play is not the thing that Taciturnus is really interested in, nor is he interested in the playwright's intentions, he considers that the play's the thing that catches out Börne's misunderstanding of the religious, and it is this field—in particular, that area where the religious life and literary art intersect, that is the brother's interest and forte. But if Taciturnus is correct in his criticism of Börne, it should be impossible for S. Kierkegaard to produce a religious authorship as well. (shrink)

Rituals are a very important part of daily life, traditions, cultural and religious gatherings and have a significant role on teaching about cultural heritage and social codes. Teaching about religious and cultural rituals have also important effects on personal development, acculturation and social engagement of an individual. Exploring and understanding the personal, cultural and social aspects of rituals is an important purpose of education and especially religious education. Educational drama offers educational environments that students can improve (...) creativity, critical thinking, empathy, communication skills, knowing others and respect to differences. Creative drama offers a suitable learning environment for students to understand social aspects and importance of rituals it allows students to share their previous experiences and to learn from other students. The aim of this article is to determine the effects of creative drama on teaching about religious and cultural rituals in the school context. For this purpose, creative drama sessions on daily prayer in Islam, fasting in Ramadan, religious feasts in Islam, month of Muharrem and Ashoura and Nawruz Festival has been carried out with 16 secondary school students. Research data has been gathered with focus group interviews and analyzed with thematic analysis method via NVIVO program. It is determined that students have reached an understanding about; basic information about rituals, understanding the source of rituals, being eager to participate to the rituals and knowing about others. These findings can be considered as learning outcome of creative drama sessions on cultural and religious rituals. And students have found creative drama sessions are beneficial in regard of active participation, sharing personal experiences and exploring differences. (shrink)

Dance is an art of human movements, and it is an art form that takes refined, organized and artistically processed human movements as the main means of expression, expresses people's thoughts and feelings, and reflects social life. Humans not only transfer knowledge by means of dance, but also communicate with heaven and earth and soothe the soul by means of dance. Dance drama, an art form, is more and more popular among the masses. With the development of the times (...) and science and technology, dance drama forms are constantly bringing forth the new. On the basis of the ancient stage art, it glows with new splendor and enriches the treasure house of human spirit and culture. During the development of history and culture, both religious culture and dance culture have tenacious vitality, and are constantly developing and evolving. The two are inextricably linked, interacting and influencing each other. This paper studies the relationship between dance and religion, trying to learn from historical experience, analyze the relationship between dance and religion, solve the problems in the creation of dance drama, provide theoretical basis for the development of dance drama, and promote the vigorous development of dance art. (shrink)

Shamanic Healing and Ritual Drama: Health and Medicine in Native North American Religious Traditions. Åke Hultkrantz. New York: Crossroad, 1992. 197 pp. $19.95 (cloth).

Shamanic Healing and Ritual Drama: Health and Medicine in Native North American Religious Traditions. Åke Hultkrantz. New York: Crossroad, 1992. 197 pp. $19.95 (cloth).

The paper takes a Critical Discourse Analysis angle and joins Social Media Studies and Religious Studies perspectives of Computer Mediated Communication material to examine such strategies of online interpersonal communication as may foster civic solidarity on social networks sites over local incidents with national and international media coverage. Computer mediated discourse is often underpinned by ideological antagonism especially when tackling social, political, cultural and even religious issues. Our topic choice was occasioned by an infelicitous episode – a fire (...) in a local venue hosting a rock concert that resulted in a high number of casualties and fatalities. The tragic episode triggered some polarized and highly opinionated positioning in the social media, both independent of and/or in retaliation to media sourced accounts and personal posts. We analyzed qualitatively authentic CMC material as well as edited media inputs in order to establish if and how the networked, yet generationally diverse, public achieve symbolic solidarity through reactive and correlated digi-participation where sociocultural identities become tangent to such ecclesiastic issues as became salient and were up-cycled in the local political conjecture. (shrink)

Giordano Bruno’s visit to Elizabethan England in the 1580s left its imprint on many fields of contemporary culture, ranging from the newly-developing science, the philosophy of knowledge and language, to the extraordinary flowering of Elizabethan poetry and drama. This book explores Bruno's influence on English figures as different as the ninth Earl of Northumberland, Thomas Harriot, Christopher Marlowe and William Shakespeare. Originally published in 1989, it is of interest to students and teachers of history of ideas, cultural history, European (...) drama and renaissance England. Bruno's work had particular power and emphasis in the modern world due to his response to the cultural crisis which had developed - his impulse towards a new ‘faculty of knowing’ had a disruptive effect on existing orthodoxies – religious, scientific, philosophical, and political. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Religious Perspectives on Bioethics, Part 2Laura Jane Bishop (bio) and Mary Carrington Coutts (bio)This is Part Two of a two part Scope Note on Religious Perspectives on Bioethics. Part One was published in the June 1994 issue of this Journal. This Scope Note has been arranged in alphabetical order by the name of the religious tradition.Contents for Parts 1 and 2Part 1I.GeneralVI.HinduismII.African Religious TraditionsVII.IslamIII.Bahá'í FaithVIII.JainismIV.Buddhism (...) and ConfucianismIX.JudaismV.Eastern OrthodoxyPart 2I.Native American ReligiousChristian Scientist TraditionsEpiscopal/AnglicanII.ProtestantismEvangelicalGeneralJehovah's WitnessAnabaptist (Church of theLutheranBrethren, Friends SocietyMethodist/Wesleyan(Quaker), and Mennonite/NazareneAmish/Hutterite)Presbyterian/ReformedAssemblies of GodSeventh-day AdventistBaptistUnitarian UniversalistChurch of Jesus Christ of theUnited Church of Christ Latter-day SaintsIII.Roman CatholicismChristian Church (Disciples of Christ)[End Page 357]IntroductionThe many religions of the world bring diverse, and occasionally divergent attitudes to bioethical issues. These beliefs may guide patients and health care professionals as they seek or provide health care. In an attempt to facilitate understanding of and access to information about these beliefs in our pluralistic and global society, this Scope Note identifies literature by the world's major religious groups on topics relating to bioethics.Topics covered by this Scope Note include general attitudes to health and health care, the physician-patient relationship, treatment refusal, abortion, contraception, sterilization, reproductive technologies, genetics, mental health, human experimentation, organ transplantation and donation, death, euthanasia, suicide, and prolongation of life. Material was not available on all of these topics for each religion.The literature gathered here represents only a small portion of the available writing on religion and medicine for these faith traditions in the United States, and is limited to that which comments explicitly on bioethical issues. Some faiths have a rich tradition of writing on bioethics, for others the literature is more limited. Variation in coverage is not intended to indicate the relative importance of a faith but reflects accessibility and space constraints. Individuals interested in obtaining additional information are encouraged to contact the National Reference Center for Bioethics Literature.It is important to remember that doctrinal and theological differences exist even within the same denomination and that views of individual patients, family members, and health care providers should be sought.Native North American ShamanismAvery, Charlene. Native American Medicine: Traditional Healing. Journal of the American Medical Association 265 (17): 2271, 2273, 1 May 1991. A brief description of the general principles of Southwestern Native American religions is provided. Most tribes believe that health and religious well-being are interconnected.Day, Thomas W. Cross-Cultural Medicine at Home. Minnesota Medicine 75 (3): 15-17, March 1992. The Ojibwe tribe's view of health incorporates spiritual health and emphasizes a holistic approach to health care that encompasses a harmonious balance between the individual, community, and nature, as well as between body, mind, and spirit.Hirschfelder, Arlene B., and Molin, Paulette. The Encyclopedia of Native American Religions. New York: Facts on File, 1992. 367 p. A survey of Native American religions is provided, including tribal histories, descriptions of religious ceremonies, and biographical sketches.Hultkrantz, Åke. Health, Religion, and Medicine in Native North American Traditions. In Healing [End Page 358] and Restoring: Health and Medicine in the World's Religious Traditions, ed. Lawrence Sullivan, pp. 327-58. New York: Macmillan, 1989. Hultkrantz summarizes the Native American attitude toward medicine and health care, explaining that belief in the supernatural and its powers is one of the most important tenets of life. Ailing persons are aided by those who have been trained to act as mediators between the sick individual and the supernatural powers. Attitudes toward health and disease, and the role of the medicine man are demonstrated through the use of examples taken from many tribes.Hultkrantz, Åke. Shamanic Healing and Ritual Drama: Health and Medicine in Native North American Religious Traditions. New York: Crossroad, 1992. 197 p. Hultkrantz surveys the varied traditions of Native North Americans and their outlook on medical care, health, and religion, and emphasizes that Native American medical beliefs... (shrink)

The essay surveys Newman's work in literary drama, from an early essay on Aristotle's Poetics to his adaptation of Roman comedies for production at the Oratory School, in order to approach his affinities with Hans Urs von Balthasar's theological dramatic theory. Newman does not find a Balthasarian theo-drama via literary drama – perhaps because he was not properly exposed to medieval religious drama – but scattered dramatic analogies in his history writing suggest that he undertakes (...) a theo-drama in that genre. Von Balthasar and Newman employ dramatic analogies to reject chiliastic apocalyptic and foster ‘keromatic’ apocalyptic. (shrink)

In God and Mystery in Words David Brown uses the way in which poetry and drama have in the past opened people to the possibility of religious experience as a launch pad for advocating less wooden approaches to Christian worship today. So far from encouraging imagination and exploration, hymns and sermons now more commonly merely consolidate belief. Again, contemporary liturgy in both its music and its ceremonial fails to take seriously either current dramatic theory or the sociology of (...) ritual. Yet this was not always so. Imagery and hymns mattered, liturgial msic encouraged a sense of drama, sermons required rhetoric. In a characteristically stimulatling and inspiringly expansive study, that ranges from ancient Greek drama to modern poetry, from the meaning of the Logos to the history of vestments, David Brown pleads for a much wider focus on the kind of factors that aid experience of God. (shrink)

Inspired by Martin Buber's I and Thou, the author holds that the self is neither mind nor body, but rather the "I" which engages in dialogues with itself, with its fellows, and with God. Philosophers and scientists are criticized for their "reductionism" with regard to the self, and the Hellenic tendency to view history and the self as "structured artifacts" is rejected. The author calls for renewed allegiance to the Hebraic heritage of Western culture, and for a more religious (...) view of the self and its role in history. He is perhaps less explicit than one might wish concerning the positive contributions which such a view could make.--C. M. (shrink)

The Goddess People of Avalon, a young and flourishing religious community in Glastonbury (South-England), have been defining themselvesprincipally as a revitalization of the prehistoric worship of the Great Goddess. Based on fieldwork data of the author, the article offers an introduction into the religious tradition and ritual praxis of the contemporary Goddess People. Specifically, the analysis focuses on the ritual genre of Sacred Drama with its interpretationof the general and local history of religions. The variety of recursivity (...) (as a reference to the past), which this ritual genre expresses, is examined within an analytical frame that has been developed for different forms of ritual dynamics. Particularly, the analytical concepts ritual transfer, adaptation, invention and ritual design are discussed. Within the lastyears, a change in the self-image and legitimizing strategies of the Goddess People has occurred: Whereas in their nascent years, they understood themselves as a reactualization of primordial spirituality, they tend to see themselvescurrently more as a newreligious tradition, inventing their rituals creatively and confidently. The article argues for the use of the analytical concept ritual design to describe this aspect of ritual dynamics. Thus, instead of evaluating the degree of originality of rituals from an academic point of view, the legitimizing strategiesof religious agents come to the fore. (shrink)

The article is devoted to the study of the history of theatrical therapy in the no-si ritual drama. It is shown that, in general, the ritual elements of the no-si drama can be used in modern drama therapy. In addition, dramatic therapy, which is implied by the author in this article, is somewhat different from the modern concept of psychodrama, since it covers large areas of the human psyche. The author believes that it is not necessary to (...) completely ignore this complex area of human culture, because regardless of function or form, dramatic therapy is closely related to the shamanic ritual of healing. The formation of the Chinese national drama took place in the context of the historical development of China. Having originated in the most ancient forms of shamanic rituals, the theatrical performance has evolved into a unique stage genre. Along with other earliest theatrical forms such as ancient Greek theater and ancient Indian drama, Chinese opera originated several centuries before our era, but unlike them it has survived to this day almost unchanged. Now Chinese traditional opera occupies an important place in the list of intangible heritage not only of China itself, but also of the whole world. One of the most important milestones in the development of theatrical art in China was the ritual drama "no-si", which today the ritual drama no-si in China is called a real "living fossil", because it is the oldest cultural form that has come down to us through the centuries. Archaic religious rituals, reflected in modern theatrical performances, testify to the mixing and syncretization of various religious traditions, including no-rituals and no-si drama, and modernity. The current generation is successfully modernizing the tradition of its ancestors in accordance with the times, preserving it in the centuries-old cultural memory of its people. (shrink)

This study analyses several aspects of the relationship between communist censorship and literature, from the vantage point of literary sociology. Focusing on the issue of religious drama, the author intends to examine the transformations undergone by Romanian literature in the 1950s and 1960s, considering the impact of totalitarian communist ideology had upon it. What the study highlights is the game between prohibition and subversiveness, between misappropriation and reappropriation, which shaped the literary climate of that period. One of the (...) conclusions envisaged here is that despite unrelenting and excessive pressures exerted by censorship, literature resisted being turned into an ally of the Romanian Communist Party. (shrink)

The purpose of the present article is not an excursion into the history of philosophy. It is not a story of the adventures of Immanuel Kant on Russian soil, and even less does it pretend to expound systematically the perception of Kantian philosophy by Russian metaphysics. The author's interest is strictly philosophical. Russian religious thought, insofar as it has an appetite for philosophizing, consciously enters into the life of classical European philosophy, into that living communication of minds by which (...) truth is sustained, moved, and nourished among people and nations.2 A clarification of its personal relations with the central figures of this philosophical drama will help us to understand the strictly philosophical significance of Russian metaphysics more accurately than even sometimes the most dedicated description of it in itself succeeds in doing. (shrink)

Analyses The Problems Of Understanding Exegesis And Translation. Scrutinises Peculiariaties Of Grammar, Syntax, Diction, Style And Metaphor In Various Languages And Their Forms-Prose, Poetry, Drama Etc In India And Western Tradition-In English, German, French, Greek, Sanskrit And Pali Texts. Emphazises The Importance Of Classical Languages In Which Religion And Philosophical Works Have Been Written.

Brain development in early childhood is of critical importance in the lifelong education process due to the high number of neurons and the high potential to form interneuron connections. The human brain, which has never been so active and productive in any period of life, makes it meaningful and necessary to benefit from this natural equipment with an educational view. In the early childhood period, when the foundations of religious education are laid, it is necessary to prepare the education (...) program by taking into account the child’s neural development and selecting teaching materials and methods that will appeal to children’s senses. In this case, attention is drawn to the importance of educational activities that enable the child to gain a large number of experiences. Early childhood religious education is designed in a way that gives the child multiple experiences in line with the data of educational sciences. It is believed that the richness of stimuli offered to the child in this period contributes to her/his cognitive, emotional and psychomotor development. However, the contribution of the richness of stimuli in early childhood religious education to the cognitive development of the child is not sufficiently discussed in terms of its suitability for brain development or neural structure. For this reason, the aim of our study is to establish the neuroscientific basis of the richness of stimuli that should be presented in accordance with the child's brain development in early childhood religious education. Early childhood religious education should be designed in a way that allows the child to have different experiences, based on the fact that religious development is not independent of other developmental areas. The tendency to believe in God in the child's nature proves the religious education that should be given in the first years of life. The child is innately ready to understand and accept religion and has an interest and inclination to believe in Allah. Therefore, religion should be one of the matters of the child's life from an early age, and religious content should be included in educational activities. During this period, the number of neurons in the child's brain and the potential to form synaptic connections between neurons is quite high. In order to benefit from this neural capacity at the highest level, the child needs a learning environment equipped with rich stimulus. The adaptability and flexibility of the brain to new learning, which is expressed by the concept of neuroplasticity, reaches its highest level in early childhood. Since neuroplasticity occurs mostly in areas of the brain related to vision, hearing, motor and language skills, it has been revealed that stimuli that activates these regions of the brain in early childhood religious education support its synaptic bond development. Firstly, it is possible to use music as a means of entertainment and learning in early childhood religious education because early children enjoy singing songs as well as hymns and poems. The melodic presentation of the text facilitates the memorization of suras and praying and makes it funny. The educational aims achieved by enjoyable activities enable the brain to form bonds that associate these actions with entertainment. Secondly, synapse formation is quite high when exposed to visual stimuli in the early childhood period. For this reason, it is necessary to enrich the visualization for early childhood. Consequently, the more visual stimuli are included in religious education, the more synapse formation will increase. Thirdly, motor activities positively affect neuroplasticity, creating new connections between neurons which can even be used for cognitive activities. Finally, religious curiosity in early childhood guides adults about the content and timing of religious stimuli to be presented in this period. With the religious curiosity that appears from the age of 3-4, children ask questions about religious concepts and show interest in religious activities. Therefore, every new information presented to the child's curiosity ensures the formation of new synapses in his/her brain. As a result of the research, the activities such as stories/parables, drama/games, songs/rhythms, physical activities, nature trips, visits to religious places, etc., in early religious education contribute to the brain development of early children. It has been revealed that the activities provide the opportunity for effective and permanent learning by supporting the neural development of the child. It is recommended to carry out more comprehensive studies in which the neuron activity in the early child's brain can be observed during religious learning with the help of magnetic brain imaging devices in the discipline of religious education. (shrink)

In this essay I begin with Aristotle’s perplexing observation that a tragic drama is a “whole,” one identified by a clear beginning, middle and ending. I pause to wonder how Aristotle imagines such ends, given his contention that a play concludes in such a way that “nothing can follow from it.” On the face of it, it is very difficult to imagine what Aristotle has in mind here. I suggest that one clue may be found in his title, Poetics, (...) with its clear suggestion that a dramatic event is in fact a making, a poiesis. I develop this idea to suggest that the end of a story, any story, tends to be something the reader imposes, often in the interest of generating a specific moral. I then display these readerly dynamics by providing a close reading of the famous story from Genesis, concerning the cities of Sodom and Gomorrah. I explore a number of different ways in which this story may be thought to “end,” as well as the implications of each such ending. (shrink)