By Kimberley C. Patton, Benjamin C. Ray
The 1st thorough evaluation of the sphere of comparative faith in 40 years, this groundbreaking quantity surmounts the likely intractable department among postmodern students who reject the comparative recreation and people who verify it. The individuals show broader imaginative and prescient of faith, related to varied scales of comparability for various reasons, is either justifiable and necessary.
A Magic nonetheless Dwells brings jointly top historians of religions from a variety of backgrounds and vantage issues, and attracts from traditions as assorted as Indo-European mythology, old Greek faith, Judaism, Buddhism, Ndembu ritual, and the spectrum of religions practiced in the USA. The participants take heavily the postmodern critique, clarify its influence on their paintings, uphold or reject a number of premises, and in different situations exhibit new comparative methods. jointly, the essays symbolize a state of the art review of present concerns within the comparative research of faith.
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Extra info for A Magic Still Dwells: Comparative Religion in the Postmodern Age
Our interpretation of the paradigmatic mutations in the Western conception of imagination is based on a flexible hermeneutic which construes history as an open-ended drama of narratives. While we do attempt to offer some concrete historical details about the three main paradigm shifts of imagination, we do not wish to propose this genealogy as binding in a chronological sense. Several premodern writers have proved to be eminently modern; and many modern writers, especially of the late modernist variety, have displayed traits of postmodernism.
While we do attempt to offer some concrete historical details about the three main paradigm shifts of imagination, we do not wish to propose this genealogy as binding in a chronological sense. Several premodern writers have proved to be eminently modern; and many modern writers, especially of the late modernist variety, have displayed traits of postmodernism. When, for instance, one looks at Peter Brook’s production of Shakespeare’s A Midsummer Night’s Dream one can find evidence of each of the three paradigms of imagination.
In an amazing acceleration, the generations precipitate themselves. A work can become modern only if it is first postmodern. Postmodernism thus understood is not modernism at its end but in the nascent state, and this state is constant (The Postmodern Condition 1978). Despite Lyotard’s supposedly reassuring claim that postmodernism does not represent some epistemological coupure, some schismatic rupture with modernist culture, he cannot so 32 Introduction easily dispose of the problem of postmodern nihilism.
A Magic Still Dwells: Comparative Religion in the Postmodern Age by Kimberley C. Patton, Benjamin C. Ray