Kirjahaku

Almond places Otto's theory of religion within the context of his life (1869-1937), looking closely at the significant influences on Otto's thought, among them thinkers as different as Kant and the German Pietists. Elements of Otto's theories are shown to be closely related to the social and intellectual milieu of Germany both before and after World War I. Almond examines Otto's conception of the Holy, of rational and nonrational elements of religion, and compares his views with those of his contemporaries.A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

The end of life has never meant the extinction of hope. People have always yearned for, and often been terrified by, continuance beyond the horizon of mortality. Over many centuries various imaginative and sometimes macabre ideas have been devised to explain what happens to human beings after death. As Philip C. Almond reveals in his new and zestful history of the hereafter, whichever image or metaphor has been employed by visionaries, writers, philosophers, or theologians, it has tended to oscillate between two contrary poles: the resurrection of the body and the immortality of the soul. This pendulum movement of ideas and language reflects the contending influence of the Hebrew Bible and of ancient Greek thought and the often tense encounters, skirmishes, and compromises between them.Exploring this polarity, and boldly ranging across time and space, Almond takes his readers on a remarkable journey to worlds of both torment and delight. He travels to the banks of the Styx, where Charon the grizzled boatman ferries a departing spirit across the river only if a coin is first placed for payment on the tongue of its corpse. He transports us to the legendary Isles of the Blessed, walks the hallowed ground of the Elysian Fields, and plumbs the murky depths of Tartarus, primordial dungeon of the Titans. The pitiable souls of the damned are seen to clog the soot-filled caverns of Lucifer’s domain even as the elect ascend to Paradise. Including medieval fears for the fate of those consumed by cannibals, early modern ideas about the Last Day, and modern scientific explorations of the domains of the dead, this first full treatment of the afterlife in Western thought evokes many rich imaginings of Heaven, Hell, Purgatory, and Limbo.

'The fables of witchcraft have taken so fast hold and deepe root in the heart of man, that few or none can indure with patience the hand and correction of God.' Reginald Scot, whose words these are, published his remarkable book The Discoverie of Witchcraft in 1584. England's first major work of demonology, witchcraft and the occult, the book was unashamedly sceptical. It is said that so outraged was King James VI of Scotland by the disbelieving nature of Scot's work that, on James' accession to the English throne in 1603, he ordered every copy to be destroyed. Yet for all the anger directed at Scot, and his scorn for Stuart orthodoxy about wiches, the paradox was that his detailed account of sorcery helped strengthen the hold of European demonologies in England while also inspiring the distinctively English tradition of secular magic and conjuring. Scot's influence was considerable. Shakespeare drew on The Discoverie of Witchcraft for his depiction of the witches in Macbeth. So too did fellow-playwright Thomas Middleton in his tragi-comedy The Witch. Recognising Scot's central importance in the history of ideas, Philip Almond places his subject in the febrile context of his age, examines the chief themes of his work and shows why his writings became a sourcebook for aspiring magicians and conjurors for several hundred years. England's First Demonologist makes a notable contribution to a fascinating but unjustly neglected topic in the study of Early Modern England and European intellectual history.

For in that sleep of death what dreams may come? The end of life has never meant the extinction of hope. People perpetually have yearned for, and often been terrified by, continuance beyond the horizon of mortality. Ranging across time and space, Philip Almond here takes his readers on a remarkable journey to worlds both of torment and delight. He travels to the banks of the Styx, where Charon the grizzled boatman ferries a departing spirit across the river only if a gold obol is first placed for payment on the tongue of its corpse. He transports us to the legendary Isles of the Blessed, walks the hallowed ground of the Elysian Fields and plumbs the murky depths of Tartarus, primordial dungeon of the Titans. The pitiable souls of the damned are seen to clog the soot-filled caverns of Lucifer even as the elect ascend to Paradise. Including medieval fears for the fate of those consumed by cannibals, early modern ideas about the Last Day and modern scientific explorations of the domains of the dead, this first full treatment of the afterlife in Western thought evokes many rich imaginings of Heaven, Hell, Purgatory and Limbo.

In this elegant new book, the sequel to his earlier, much praised treatment of the Devil, Philip Almond reveals that - whether in Judaism, Christianity or Islam - God is seen to be at once utterly beyond our world yet at the same earnestly desiring to be at one with it. In the Christian chapter of this story the paradox arguably reaches its improbable zenith: in the fragile form of a human being the infinite became finite, the eternal temporal. The way these and other metaphysical tensions have been understood is, the author demonstrates, the key to unlocking the entire history of religion in the West. Expertly placing the narrative of divine presence within the wider history of ideas, Almond suggests that the notion of a deity has been the single greatest conundrum of medieval and modern civilization. In this rich, nuanced appraisal, 'God' is shown to be more complex and fascinating than ever before.