Daniel White Hodge
Daniel White Hodge
A Post-Soul Theological Exploration
Daniel White Hodge
The central premise are questions: does a Hip Hop ‘theology’ even fit? Is there an actual motif which Hip Hoppers are espousing within the supernatural realm? This study concerns itself with just over 8,500 songs. Its timespan is between 1987-2011, and it contains interviews from those in the Hip Hop community.
Andre L. Delbecq
Catholic Universities frequently seek to anchor students’ educational experience in the spiritual charism of a founding religious order. In its approach, Jesuit Education leans heavily on The Spiritual Exercises of Ignatius of Loyola, a series of foundational reflection. As an increasing number of administrators, faculty and students come from non-Catholic traditions, religious pluralism poses a challenge. How can individuals from varied traditions find resonance with the Ignatian tradition while simultaneously feeling their own religious worldview is a valued contributor to a shared spiritual perspective? In the Western United States, Buddhism provides as an exemplary challenge. This chapter explores how the Spiritual Exercises, the experiential doorway to Jesuit spirituality, can be creatively juxtaposed with Buddhism. Although the setting is higher education, the foundational approach piloted could also be a basis for dialog in other institutional settings.
In this chapter, I will interpret the Dervish as a Dasein. Firstly, I will clarify that Dasein is Heidegger’s notion of subject whose structure of existence is temporality. Dasein is involved in the temporality of his everyday life, nevertheless has a potentiality to care the meaning of this temporal life as such. I will discuss that Heidegger’s notion of temporality offers this potentiality in a special moment of vision by virtue of Dasein’s open structure of everyday temporality. Dasein lets the continuous temporalization of temporality open to him the meaning of existence as a whole. I will argue that Dervish, contrary to the traditional interpretation, dances to feel the temporality as a continuous temporalization which is the meaning of existence as a whole. In his whirling, he lets temporality open itself from itself as an endless temporalization. I will claim that Dervish comes close to the meaning of the temporal structure of existence in his transitory mood, telvin and hears the call of the temporalization of temporality beyond spatial limits.
A spiritual epistemology is presented, in which four ways of spiritual knowing provide a tangible map for enhancing spiritual experiences and creating the conditions for a richer spiritual life. This non-denominational framework emerges out of my personal and professional experience with individuals and groups, as well as my doctoral thesis, in which I studied the effects of activities designed to facilitate spiritual knowing in adult learners. Situated in adult education theory and practice, this framework offers simple skills that can help us tap into our spiritual capacities and develop our inner spiritual guide, providing an opportunity for a spiritually guided life in collaboration with what we call Spirit, or the hidden intelligence of the universe. This has the capacity to affect the outcome of our choices, actions and relationships, transforming our personal and professional life, and providing a qualitative difference in the world. On a systemic level, it can provide a useful platform for developing new and sustainable ecological, economic and social structures.
The hyaku monogatari, the ‘one-hundred tales’, a parlour game created in the Edo period, 1603-1867, was initially played by samurai as a test of courage. However, it shortly spread in popularity and became common also among the lower classes. Considered a sort of lighthouse for spirits, it became very popular and the stories of ghoulish encounters narrated during the gatherings converged in a literary movement, which includes some Japanese masterpieces of all times. In the Meiji, 1868-1912, and Taishō, 1912-1924 eras, despite the wave of positivism that spread in Japan after the influence of the Western culture, well known intellectuals, like the novelists Mori Ōgai and Izumi Kyōka, as well as the ethnographer Yanagita Kunio showed great interest in hyaku monogatari. They even participated in those gothic meetings and reproduced that atmosphere in their works. If in early modern Japan the heritage of hyaku monogatari seems to be in the hands of literature, in the 1960s, manga and anime, in particular Mizuki Shigeru's, production show a special bond with the practice. On the one hand, this represents the debut of Edo-period ghost stories in the media world. On the other hand, this phenomenon can also be seen as youngsters’ rediscovery of older national traditions. The results are shown in the works of the next generation of novelists, whose most representative voice can be considered the ‘contemporary hyaku monogatari teller’ Kyōgoku Natsuhiko (b. 1963). This paper aims to analyse the fortune of hyaku monogatari during the process of modernization of the country, as well as to analyse the path trodden by the practice in order to take on its new forms in contemporary Japan.