"Were there countervailing cosmic realms ruled by Yahweh and Asherah in late pre-exilic Israel? Brian B. Schmidt presents five case studies corroborating the existence of a daimonic realm replete with intermediary protecticve spirits and a pandemonium that wreaked havoc upon both the living and dead. Having converged with Egypt's protective deities Bes and Beset, YHWH and Asherah also possessed the enhanced powers to govern a counteractive apotropaic realm from which Asherah mediated divine portections for humanity." -- bck cover

Since the emergence of religious studies and the social sciences as academic disciplines, the concept of "magic" has played a major role in defining religion and in mediating the relation of religion to science. Across these disciplines, magic has regularly been configured as a definitively non-modern phenomenon, juxtaposed to distinctly modern models of religion and science. Yet this notion of magic has remained stubbornly amorphous. In Making Magic, Randall Styers seeks to account for the extraordinary vitality of scholarly discourse purporting to define and explain magic despite its failure to do just that. He argues that this persistence can best be explained in light of the Western drive to establish and secure distinctive norms for modern identity, norms based on narrow forms of instrumental rationality, industrious labor, rigidly defined sexual roles, and the containment of wayward forms of desire. Magic has served to designate a form of alterity or deviance against which dominant Western notions of appropriate religious piety, legitimate scientific rationality, and orderly social relations are brought into relief. Scholars have found magic an invaluable tool in their efforts to define the appropriate boundaries of religion and science. On a broader level, says Styers, magical thinking has served as an important foil for modernity itself. Debates over the nature of magic have offered a particularly rich site at which scholars have worked to define and to contest the nature of modernity and norms for life in the modern world.

By focusing on religion, this monograph represents the first extended attempt to explore how the socio-cultural infrastructure of Cyprus was affected by the transition from segmented administration by many Cypriot kings to the island-wide government by a foreign Ptolemaic correspondent.

“This is a powerful and exciting work. Mosse has produced a work of scholarship that is lively and readable without any loss of subtlety and sophistication. It is a ground-breaking study, of critical importance to the ways we understand religious nationalism and the anthropology of postcolonial experience.”—Susan Bayly, author of Asian Voices in a Postcolonial Age

The 12 Powers of Man aims to clear up the mystery that ever envelops the advent, life, and death of Jesus. To the superficial reader of the Gospels His life was a tragedy and, so far as concerns the kingly reign that was prophesied, it was a failure. Yet those who understand the subtlety of the soul and supremacy of Spirit see that Jesus was conqueror of a psychic force that was destroying the human race. Jesus was the star actor in the greatest drama ever played on earth. This drama was developed in the celestial realm, its object being to inject new life into perishing men. The full significance of this great plan of salvation cannot be understood by man until he awakens faculties that relate him to the earth beneath and heavens above. Contents The Twelve Powers of Man The Development of Faith Strength -- Stability -- Steadfastness Wisdom -- Judgment Regenerating Love Power -- Dominion -- Mastery The Work of the Imagination in Regeneration Understanding The Will Is the Man Spiritual Law and Order Zeal -- Enthusiasm Renunciation Generative Life

New approaches to tourism study demonstrate a notable ‘critical turn’ – a shift in thought that emphasises interpretative and critical modes of tourism inquiry. The chapters in this volume reflect this emerging critical school of tourism studies and represent a coordinated effort of tourism scholars whose work engages innovative research methodologies. Since such work has been dispersed across a variety of tourism-related and other research fields, this book responds to a pressing need to consolidate recent advances in a single text. Adopting a broad definition of ‘criticality’, the contributors seek to find ‘fresh’ ways of theorising tourism by locating the phenomenon in its wider political, economic, cultural and social contexts. The collection addresses the power relations underpinning the production of academic knowledge; presents a range of qualitative data collection methods which confront the field’s dominant (post)positivist approaches; foregrounds the emotional dynamics of research relations and explores the personal, the political and the situated nature of research journeys. The book has been divided into two parts, with the essays in the first part establishing a context-specific framework for engaging philosophical and theoretical debates in contemporary tourism enquiry. The second set of essays then present, discuss and critique specific methodologies, research techniques, methods of interpretation and writing strategies, all of which are in some sense illustrative of ‘critical’ tourism research. Contributors range from postgraduate students to established academics and are drawn from both the geopolitical margins and the ‘powerbases’ of the tourism academy. Their various relationships with the English-speaking academy thus range from relative ‘outsider’ to well-positioned ‘insider’ and as a result, their essays are reflective of a range of locations within the complexly spun web of academic power relations and social divisions.

This book examines the relationship between art and tourism through the study of the material culture of tourism: tourist art and souvenirs. It thoroughly examines how to categorise the material culture of tourism within the discourses of contemporary art and cultural anthropology, and demonstrates that tourist art is a unique expression of place and genuine artistic style. The first investigation to consider the activity of souvenirs from both indigenous and settler tourist sites, it brings a unique addition to the existing, dated, research in the area. Working initially from Graburn’s definition of tourist art, as the art of one culture made specifically for the consumption of another, Tourism Art and Souvenirs sheds light on important aspects of the souvenir that have not been widely discussed. The most recent research is used to consider how the souvenir is designed and consumed, consumer expectations and influence on the character of the souvenir, how the souvenir maker is consumed by the tradition of heritage and how products become successful as souvenirs. The title also investigates the language involved in the representation of place and the recording of experience through the souvenir, developing a method that expresses the descriptive data of individual souvenir artefacts graphically so the patterns of language may be analysed. Enhancing the understanding of material culture in tourism and therefore adding to future tourism development this volume will be of interest to upper level students, researchers and academics in tourism, culture, heritage and sustainability.

What do we mean when we talk about 'the body'? This Reader challenges the assumption that it can be invoked as a neutral, or indeed natural, point of reference in critical discussion or cultural practice. The essays collected here foreground the historical construction of 'the body' throughout a range of discourses from the modern to the postmodern, and seek to present it not as a biological 'given', but as a contestable signifier in the articulation of identities.

Museums, Art and Inclusion in a Climate Emergency considers the impact of the Anthropocene on history and memory, approaches to objects and agency and the incommensurability of western and Indigenous ontologies. Drawing on Indigenous knowledge, humanities and museological literature, continental philosophy, contemporary art and popular culture, Baker acknowledges the autonomous agency of geological forms, including soils, minerals and fossil fuels. Demonstrating that this has implications for an expanded idea of an ‘inclusive’ museum and its relationship to entities beyond ‘life’ and living species, the book argues that the ‘inclusion’ paradigm needs to include nonlife actors. Gesturing to a geontological ‘turn’ through developing notions of geo-inclusion, the mineralhuman and approaches to object agency that connect with Aboriginal ‘heritage’, Baker exposes the ongoing destruction of Country by mining interests in Western Australia and elsewhere. By addressing the need for urgent change through the artifice of the museum, the book identifies an expanded approach to inclusion beyond the limits imposed by the politics of identity. Museums, Art and Inclusion in a Climate Emergency theorises the potential of an expanded idea of the museum and will be of interest to scholars and students engaged in the study of museums and heritage, environmental humanities and geo-humanities, ecological art history and contemporary art.