In some remote churches in East Tennessee and nearby states, Jesus’ words in the sixteenth chapter of Saint Mark are taken literally: “and they shall take up serpents; and if they drink any deadly thing, it shall not hurt them.”Members of these churches describe themselves as Pentecostal-Holiness, autonomous groups of Christians with strong traditional religious views and a fundamentalist approach to biblical interpretation. Their strong faith is based largely on personal experience. Handling serpents and fire, laying on the hands of healing, speaking in tongues, and drinking poison are seen as acts of Christian obedience that demonstrate the power of the Holy Spirit.
In the past these very religious people have often been distorted by the media as members of a “snake religion” or a “snake cult” because of their unorthodox beliefs and practices. Thomas Burton seeks to present a more balanced view of this generally misunderstood group in this in-depth study of serpent handlers and their religious culture. Using both oral history and scholarly research, Burton traces the evolution of Christian serpent handling from its apparent beginning in East Tennessee and explores legal and ethical issues associated with this and other unorthodox practices, allowing participants to speak for themselves through personal interviews. The result is both a dramatic presentation, through vivid photography, and a thorough analytical insight into the serpent handlers’ culture.
An important and previously unexplored body of esoteric ritual songs of the Tz’utujil Maya of Santiago Atitlán, Guatemala, the “Songs of the Old Ones” are a central vehicle for the transmission of cultural norms of behavior and beliefs within this group of highland Maya. Ethnomusicologist Linda O’Brien-Rothe began collecting these songs in 1966, and she has amassed the largest, and perhaps the only significant, collection that documents this nearly lost element of highland Maya ritual life.
This book presents a representative selection of the more than ninety songs in O’Brien-Rothe’s collection, including musical transcriptions and over two thousand lines presented in Tz’utujil and English translation. (Audio files of the songs can be downloaded from the UT Press website.) Using the words of the “songmen” who perform them, O’Brien-Rothe explores how the songs are intended to move the “Old Ones”—the ancestors or Nawals—to favor the people and cause the earth to labor and bring forth corn. She discusses how the songs give new insights into the complex meaning of dance in Maya cosmology, as well as how they employ poetic devices and designs that place them within the tradition of K’iche’an literature, of which they are an oral form. O’Brien-Rothe identifies continuities between the songs and the K’iche’an origin myth, the Popol Vuh, while also tracing their composition to the late sixteenth and early seventeenth centuries by their similarities with the early chaconas that were played on the Spanish guitarra española, which survives in Santiago Atitlán as a five-string guitar.
“This is the first complete history of Spanish Catholicism in English. The history of the Spanish church is rich, complex, and controversial, and this enormous undertaking by Stanley Payne is all the more praiseworthy in view of his determination not to limit his study to the church alone, but to investigate the relationship between the Catholic Church and Spanish culture and nationhood in general.”—Isaac Aviv, Mediterranean Historical Review
Despite Taiwan's rise as an economic force in the world, modernity has not led to a Weberian process of disenchantment or curbed religiosity. To the contrary, other factors—social, economic, political—have stimulated religion. How and why this has happened are central issues in this book.
One part of Taiwan's flourishing religious culture is the elaborate and colorful procession of local gods accompanied by troupes of musicians and dancers. Among them are performers with outlandishly painted faces portraying underworld generals who serve the gods and punish the living. Through their performances, these troupes claim to exorcise harmful forces from the community.
In conducting fieldwork among these troupes, Donald Sutton confronted their claims to a long history—when all evidence indicated that the troupes had been insignificant until the 1970s—and their assertions of devotion to tradition given the diversity of performances. Concentrating on the stylistic variations in performances, the author describes the troupes as organizations shaped by the "market forces" of supply and demand in the culture of religious festivals. By focusing on performances as the nexus of market and art, he shows how bodily performance is the site where religious statements are made and the power of the gods made visible.
The first English translation of Guy Stresser-Péan's tour-de-force presents two decades of fieldwork in the Sierra Norte de Puebla, Mexico, where native pre-Hispanic pagan beliefs blended with traditional Catholic evangelization from the sixteenth century and the more recent intrusion of modernism.
The Indians of the Sierra Norte de Puebla are deeply devoted to Christianity, but their devotion is seamlessly combined with pagan customs, resulting in a hybrid belief system that is not wholly indigenous, yet not wholly Christian. The syncretism practiced here has led the Totonac and Nahua people to identify Christ with the Sun God, a belief expressed symbolically in ritual practices such as the Dance of the Voladores.
Spanning the four centuries from the earliest systematic campaign against Nahua ritual practices - Zumárraga's idolatry trials of 1536-1540 - to the twentieth century, Stresser-Péan contextualizes Nahua and Totonac ritual practices as a series of responses to Christian evangelization and the social reproduction of traditional ritual practices. The Sun God and the Savior is a monumental work on the ethnographic and historical knowledge of the peoples of the Sierra Norte.
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