spiritual expression
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2021 ◽  
Vol 2 (1) ◽  
Author(s):  
Adégbọlá Tolú Adéfì

This article highlights the diversity of African Christianity in the Ìlàjẹ and Ìkále areas of present-day Ondo State, as well as in neighboring communities. It compares the successive religious movements led by E. M. Líjàdú and his Evangelist Band Mission, which represents an African missionary effort of the first generation in the Ikale and Ìlàjẹ areas, and the more recent Zion and Holy Apostles communities that have been established along the coast as independent Christian settlements under local spiritual leaders and kings. The article shows that there are certain similarities and differences between the successive movements. While the different conditions of the periods in which these movements operated, and the different conditions in which these religious activities were organized, matter, both movements offered their converts a new understanding of the world in which existing practices, were re-examined through an engagement with education and ‘modernity’ in a more general sense, and through existing forms of spiritual expression such as music, dance, and dress.


Author(s):  
Maggi Loubser ◽  
Salome le Roux

To the uninitiated, it is quite probable that the results that art conservators derive from analytical techniques, may resemble alchemy, but they do not create gold from lead. Instead, they represent the composition of an object as its chemical components. X-ray fluorescence spectroscopy (XRF) has long been used for the compositional determination of minerals and metals in the mining and manufacturing industries, and over the past few years the applications in art and conservation increased rapidly. In addition, technical photography (in which filtering determines which wavelengths of light reach the camera) has the ability to create a new art form – one that, apart from being visually appealing, can provide information on the materials which had been used by the artist. In this manner, a whole new layer of information may be revealed, adding to the aesthetic and spiritual impact of the work. In this article, two objects of African art, namely a century-old prayer scroll from Ethiopia and a twodecades old sculpture by South African artist Lucky Sibiya, are investigated to see if this ‘alchemy’ can reveal that which even the artists were unaware of.


2021 ◽  
pp. 553-557
Author(s):  
Liu Ying

The author shows that the specificity of modern cultural tourism is largely due to the fact that at present, the standard of living is gradually improving, and people begin to feel the lack of satisfaction caused by material factors, so they are looking for new ways to get spiritual expression. There are many types of cultural tourism in China, but this issue has not been sufficiently studied. The article presents various types of cultural tourism as a synthesis of various studies which is of importance and can be used in the practice of popularizing culture and spreading ideas about the cultural heritage of any country.


2021 ◽  
Vol 15 (2) ◽  
pp. 318
Author(s):  
Arif Budi Darmawan ◽  
Ayu Dwi Susanti ◽  
Azinuddin Ikram Hakim ◽  
Fadhil Naufal

The end of the New Order era is an opportunity to develop a new structure in Indonesia. The beginning of the reformation era was marked by the emergence of the Islamist movements or the rising religious spirit era. In this article, the term Islamism is not defined as a discourse within politics of religion, but it refers to narrative spiritual expression in the public space. In a more specific way, this article would like to describe how young Muslims criticize Islamism in their daily lives. This research found that Islamism that occurs in family milieu and in the circle of a friendship has created anxiety mong them. This anxiety appears in the form of disagreement on monolithic definition of Islamism, the criticism of the new pattern of piety in the public space, and the counter narrative to the Islamism phenomenon. Pasca runtuhnya rezim Orde Baru seolah menjadi ‘keran’ bagi terbukanya sistem dan struktur sosial di masyarakat, salah satunya ditandai dengan menguatnya Islamisme atau kebangkitan semangat beragama. Islamisme yang akan diulas di penelitian ini bukan merujuk pada diskursus relasi politik agama, namun lebih kepada eksistensi dari ekspresi keagamaan yang muncul dalam bentuk meningkatnya penggunaan atribut Islam di ruang publik. Penelitian ini secara khusus berupaya memberikan gambaran bagaimana pemuda Muslim mengkritisi fenomena Islamisme dalam kehidupan sehari-hari. Hasil penelitian menunjukkan adanya Islamisme yang terjadi di ruang lingkup keluarga dan pertemanan melahirkan berbagai keresahan bagi anak muda. Keresahan itu terwujud melalui ketidaksetujuan tentang pemaknaan baru dalam Islam yang dinilai homogen, kritik atas pola kesalehan di ruang publik, dan munculnya konter narasi berupa perlawanan atas fenomena Islamisme.


2020 ◽  
pp. 245-258
Author(s):  
José Alejandro Lira Carmona

The way in which we experience public space is closely related to the sociocultural and environmental conditions of the context. Similar to the garden – in the strict philosophical sense- Traditional Tapestry ephemeral art represents a utopia; it stands for an aesthetic theory of beauty and a vision of happiness. Traditional ephemeral art is conceptualized as a utopian space where diverse elements, people, as well as a wide variety of activities converge; those are the ones who transform reality through cultural expression, exploring habits and values which pursue a common goal in a livingly way, and improve social coexistence. Tapestry ephemeral art temporarily and actively transforms their surroundings. It is in that public space where it is embraced that a dialogue is modelled; a dialogue where not only formal appearance but also designing constructive one converge, as an artistic, philosophical, and spiritual expression of its community itself. Such artistic intervention allows physical proximity; in a whole overview vision of urban context, design displays Mexican art values and transforms public space. The greater the proximity, the greater the change in the scale of the work, therefore, it is possible to feel immersed in the piece and identify the natural material, which in its arrangement and place, reveals the garden utopia –symbol of harmony between itself and the atmosphere portrayed in a living work of art. Nowadays, the isolated streets in many different parts of the world reflect a universal reality which urges a re-connection with the natural environment to which we belong, as well as a transformation of the sociocultural interactions that emerge from responsibility, equality and the common good.


2020 ◽  
Vol 24 (3) ◽  
pp. 229-245
Author(s):  
Rachel Kilgore

Abstract Though there has been recent interest in how Jane Austen’s faith influenced her novels, scholars have generally looked to her reading in philosophy and sermons, her spiritual expression, or her Anglicanism, and have neglected the more direct influence of the Bible. Yet judging from Austen’s lifelong church attendance and her reading of the Book of Common Prayer, we can conclude that she would have heard the Psalms read entirely through once every month of her forty-one years. This paper explores the resemblance between the psalmists and Fanny Price in terms of their shared experience of exile, their patterns of lament and reminder, their long wait for deliverance, and their final homecoming. Comparing Fanny Price’s character to the psalmists recasts her as a heroine in the Hebrew tradition, offering a new understanding of her passivity and suggesting that her author was more influenced by scriptural patterns than has been heretofore understood.


2020 ◽  
Vol 6 (1-2) ◽  
pp. 7-25
Author(s):  
Hillary Keeney ◽  
Bradford Keeney

The Ju/’hoan Bushmen or San of southern Africa host one of the oldest surviving dance forms. Openly conducted in public for the whole community, the dance serves as the primary locus for healing, conflict resolution, wellbeing, rejuvenation, social reunion, spiritual expression and performance art. Central to the dance is awakening n/om, what the Bushmen regard as a vibrational force that resides in the body of the strongest dancers. Often described as an energy or power that makes the body shake, n/om is more accurately a blend of somatic vibration, heightened emotion and sacred song. N/om is also the source of a dancer’s capacity to heal sickness in themselves and others. The following composite account of an insider’s perspective of the n/om dance is based on decades of field research interviews with Ju/’hoan n/om dancers and our own experience as accepted members of several Bushman dance communities. We focus on the experience of n/om in the body and how this enables the dancer to dance between two worlds – that of everyday knowing and the ineffable spiritual realm or what the Ju/’hoansi call second creation and first creation, respectively.


2020 ◽  
Vol 68 (4 Zeszyt specjalny) ◽  
pp. 57-71
Author(s):  
Urszula Mazurczak

The letter of the Holy Father John Paul II written in Rome in 1987, in the tenth year of His pontificate, on December 4th, on the day of memorial of Saint John Damascene, the doctor of the Church, on the Twelfth Centenary of finishing the controversy over the icon, is of great importance for the Pope’s program of ecumenism. The Holy Father indicated various directions of the dialogue, however, the one of the utmost importance concerned the agreement with the Orthodox Church, which was confirmed in the letters and in His other documents quoted in this paper. The image used to be essential for religious practice, for illustrating the word of prayer and of the song, in order to preserve the tradition of the Church. The strict prohibition introduced by the iconoclasm depreciated not only the artistic tradition of paintings but also the basic dogmas of Christ’s Incarnation and the one which introduced Virgin Mary as the Theotokos (the God-bearer). The ban constituted a threat not only for the icons but also for the Christian faith. In His Letter, the Pope underlined the important role of the Second Council of Nicaea which reintroduced icons and maintained and deepened the meaning of the cult in the faith of believers. Furthermore, the Holy Father indicated the connection with the Second Vatican Council in understanding the function and form of images in contemporary Church. Contemporary trends are overwhelmed by the impotence of the spiritual expression of sacral art, which is a great concern for the Pope. The Letter is, therefore, a dramatic warning of the threats for religious art in contemporary time, expressed by the Holy Father with these words: ‘The rediscovery of the Christian icon will also help in raising the awareness of the urgency of reacting against the depersonalizing and at times degrading effects of the many images that condition our lives in advertisements and the media.’ (DS, 11).


2019 ◽  
Vol 3 ◽  
Author(s):  
Sobirov Anvar Kuvandikovich

In the methodological study of word order, it is important to look at it as a means of spiritual expression. The usual mode of expression is that it does not have the same sensitivity, but also provides a greater function of language communication. Inversion is characterized by stylistic dyes in the language of poetic works. The main purpose of the inversion is to ensure that the author's methodical purpose in literary texts, especially in the language of poetic works, helps the reader to quickly and easily understand the main point by highlighting and highlighting a part of the sentence.


2019 ◽  
pp. 33-54
Author(s):  
Julie Rugg

Este artículo cuestiona la afirmación de que la secularidad ha sido siempre un debate central en la idea de cementerio. En gran parte de Inglaterra se impuso una ‘guerra cultural’ entre partidarios de la Iglesia Anglicana y varias confesiones de Disidencia protestante. El cementerio fue un foco de conflicto, centra- do en el grado de control ejercido por la Iglesia Establecida. Este conflicto no reflejó la demanda de funerales ‘civiles’. Los protestantes No Conformistas buscaron asegurar un espacio de enterramiento y donde pudieran expresar sus propias creencias. A lo largo del siglo XIX y hasta la I Guerra Mundial, la formulación del derecho de enterramiento estuvo acompañada de conflictivos debates. Los cementerios llegaron a significar tanto la libertad religiosa como la influencia opresiva de la Iglesia Establecida. También estuvieron acompañados de una regulación sobre el gestión de entierros sanitarios, pero esto no definió el espacio de enterramiento como específicamente secular. Más bien, en Inglaterra, el cementerio fue, y sigue siendo, una coproducción espacial de tecnología sanitaria, burocracia municipal y expresión espiritual. This paper challenges the contention that secularity is always central to the idea of the cemetery. In largely England a ‘culture war’ was enjoined between supporters of the Church of England and various denom- inations of Protestant Dissent. The cemetery was a focus of conflict, centred on the degree of control exercised by the Established Church. This conflict did not reflect demand for ‘civic’ funerals. Protestant Nonconformists sought to secure burial space where they might express their own beliefs. Through the 19th century and up until the First World War, the framing of burial law was accompanied by divisive debate. Cemeteries came to signify both religious freedom and the oppressive influence of the Established Church. Cemetery establishment was also accompanied by regulation on sanitary burial management, but this did not define burial space as being innately secular. Rather, in England the cemetery was, and remains, a spatial co-production of sanitary technology, municipal bureaucracy and spiritual expression.


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