The Haunting Fetus: Abortion, Sexuality, and the Spirit World in Taiwan

2002 ◽  
Vol 61 (2) ◽  
pp. 333
Author(s):  
Igarashi Masako ◽  
Marc L. Moskowitz
Keyword(s):  
2020 ◽  
Vol 23 (4) ◽  
pp. 5-14
Author(s):  
Sabina Magliocco

This essay introduces a special issue of Nova Religio on magic and politics in the United States in the aftermath of the 2016 presidential election. The articles in this issue address a gap in the literature examining intersections of religion, magic, and politics in contemporary North America. They approach political magic as an essentially religious phenomenon, in that it deals with the spirit world and attempts to motivate human behavior through the use of symbols. Covering a range of practices from the far right to the far left, the articles argue against prevailing scholarly treatments of the use of esoteric technologies as a predominantly right-wing phenomenon, showing how they have also been operationalized by the left in recent history. They showcase the creativity of magic as a form of human cultural expression, and demonstrate how magic coexists with rationality in contemporary western settings.


2005 ◽  
Vol 1 (1) ◽  
pp. 35-48
Author(s):  
James Cox

Earlier this year, I received a small grant from the Edinburgh University Development Trust Fund to determine the feasibility of formulating a major research project exploring the religious dimensions within the recent land resettlement programme in Zimbabwe. Since spirit mediums had played such an important role in the first Shona uprising in 1896–97 against colonial occu¬pation (the so-called First Chimurenga) (Parsons, 1985: 50-51) and again in the war of liberation between 1972 and 1979 (the Second Chimurenga) (Lan, 1985), I suspected that these central points of contact between the spirit world and the living communities would be affecting the sometimes militant invasions of white commercial farms that began sporadically in 1998, but became systematic after the constitutional referendum of February 2000. Under the terms of the grant, I went with my colleague, Tabona Shoko of the University of Zimbabwe, in July and August 2004, to two regions of Zimbabwe: Mount Darwin in the northeast, where recent activities by war veterans and spirit mediums had been reported, and to the Mberengwa District, where land resettlement programmes have been widespread. This article reports on my preliminary findings in Mount Darwin, where I sought to determine if evidence could be found to link the role of Traditional Religion, particularly through spirit mediums, to the current land redistribution programme, and, if so, whether increasing levels of political intolerance within Zimbabwean society could be blamed, in part at least, on these customary beliefs and practices


1982 ◽  
Vol 12 (1) ◽  
pp. 45-49 ◽  
Author(s):  
David Lester

Spiritualism is a religion whose beliefs incude the idea that the spirit of deceased persons moves to a spirit world, and that it is possible to communicate with these deceased spirits occasionally, through living persons known as mediums. Data involving the use of spiritualists, regardless of whether one accepts their beliefs or not, may be of interest to students of suicidal behavior. This paper explores the views of spiritualists towards suicide and their potential use for the study of suicide.


Author(s):  
Jonathan Weinel

This chapter discusses shamanism, explaining the ethos and mythology of several indigenous societies, and how these belief systems relate to the design of art and music. First, a general overview of shamanism is provided, which outlines the typical role and function of a shaman. An explanation of the shamanic visionary experience, a type of altered state of consciousness, is then provided. Following this, the chapter explores a variety of visual art from indigenous shamanic cultures, including examples from San, Native American, Huichol, Tukano, and Shipibo traditions. The sound and music of shamanic and trance cultures is also discussed, with reference to Vodou, Tukano, Mazatec, Kiowa, and Mayan examples, and relevant field recordings. Through the course of this discussion, the chapter establishes a view of how shamanic art and music invoke a sense of the spirit world, which informs the subsequent discourse of Inner Sound.


Author(s):  
K. K. Yeo

This chapter challenges the ‘received’ view that traces the expansion of the dominant theologies of the European and North American colonial powers and their missionaries into the Majority World. When they arrived, these Westerners found ancient Christian traditions and pre-existing spiritualities, linguistic and cultural forms, which questioned their Eurocentric presumptions, and energized new approaches to interpreting the sacred texts of Christianity. The emergence of ‘creative tensions’ in global encounters are a mechanism for expressing (D)issent against attempts to close down or normalize local Bible-reading traditions. This chapter points to the elements which establish a creative tension between indigenizing Majority World approaches to the Bible and those described in the ‘orthodox’ narrative, including: self-theologizing and communal readings; concepts of the Spirit world and human flourishing; the impact of multiple contexts, vernacular languages, sociopolitical and ethno-national identities, and power/marginalization structures; and ‘framing’ public and ecological issues.


2014 ◽  
Vol 41 (5) ◽  
pp. 709-722
Author(s):  
Timothy H. Barrett

Most Chinese religious practice and belief in times past, and even throughout much of the Chinese world today, falls into the still current category of superstition. Assessing the ethical notions that tend to obtain within this vast area of religious life is not easy, but it needs to be done for practical reasons, not least because the legal consequences of moral actions arising from the body of beliefs concerned are starting to come before courts outside China itself. Once the assumptions of a very different worldview affirming the existence of an unseen spirit world are taken into account, the deeds of believers in this worldview can be discussed from the point of view of ethics. Philosophers might do well to pay more attention to this topic.


Author(s):  
Alexander Kluge

This chapter studies the first of four lectures that Alexander Kluge gave in 2012 in conjunction with the acclaimed series, Frankfurt Lectures on Poetics. Kluge's Frankfurt lectures were entitled, “Theory of Storytelling.” A praxis of poetics and narrative can be explained. A collection of every practical experience is also a task none too difficult. A theory, however, is something very difficult. Kluge uses the term “theory” in the sense of Critical Theory. Theory in the sense of Critical Theory is always nourished on interests that are simultaneously practical, political, and vital. It does not theorize in any old manner, but rather serves as an orientation for essential questions. Kluge then explains that reality has many properties when it comes to narration. When it comes to enumeration, registration, or balancing accounts, reality is fairly straightforward. But once one begins to tell stories, one begins to notice that reality has catacombs, wells, and abysses. Below every linear narrative lie happiness and misfortune. In addition to the objective inconsistencies of reality, which are neither smooth nor clear and thus constitute a kind of spirit world, there exists within humans an antirealism of feeling. Kluge also provides a definition of narrative and notes that narrative distinguishes itself from information quite clearly.


Author(s):  
Camina Weasel Moccasin

This chapter explores the concept of contemporary rock-art making as a form of repatriation. According to Blackfoot culture the making of rock art is considered a sacred act that involves communication with the spirit world. Current policies help protect existing, tangible rock art, but at the expense of continuing the intangible heritage of communicating with the spirit world. Writing-on-Stone Provincial Park is in the process of creating a new policy which would allow the making of contemporary rock art in a traditional sense.


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