Gods And Ghosts

Demon warrior puppets, sword-wielding Taoist priests, spirit mediums lacerating their bodies with spikes and blades—these are among the most dramatic images in Chinese religion. Usually linked to the propitiation of plague gods and the worship of popular military deities, such ritual practices have an obvious but previously unexamined kinship with the traditional Chinese martial arts. The long and durable history of martial arts iconography and ritual in Chinese religion suggests something far deeper than mere historical coincidence. Avron Boretz argues that martial arts gestures and movements are so deeply embedded in the ritual repertoire in part because they iconify masculine qualities of violence, aggressivity, and physical prowess, the implicit core of Chinese patriliny and patriarchy. At the same time, for actors and audience alike, martial arts gestures evoke the mythos of the jianghu, a shadowy, often violent realm of vagabonds, outlaws, and masters of martial and magic arts. Through the direct bodily practice of martial arts movement and creative rendering of jianghu narratives, martial ritual practitioners are able to identify and represent themselves, however briefly and incompletely, as men of prowess, a reward otherwise denied those confined to the lower limits of this deeply patriarchal society. Based on fieldwork in China and Taiwan spanning nearly two decades, Gods, Ghosts, and Gangsters offers a thorough and original account of violent ritual and ritual violence in Chinese religion and society. Close-up, sensitive portrayals and the voices of ritual actors themselves—mostly working-class men, many of them members of sworn brotherhoods and gangs—convincingly link martial ritual practice to the lives and desires of men on the margins of Chinese society. This work is a significant contribution to the study of Chinese ritual and religion, the history and sociology of Chinese underworld, the history and anthropology of the martial arts, and the anthropology of masculinity.

How do individuals inscribe their spiritual identities and diasporic ethnicities in the city? Through a series of sociological and photographic essays, Terence Heng maps the various rituals, collectives, individuals and events that characterise Chinese religion practices in Singapore. From spirit mediums to the Hungry Ghost Festival, each chapter engages with the social, the spatial and the ephemeral, and in so doing it will explore the significance and relevance of Chinese religion in a secular nation-state; reveal the strategies and tactics used by diasporic individuals to perform and retain their identities; uncover the importance of flow and fluidity in the making of sacred space; and evidence the value and efficacy of the use of photographs in social research. Of Gods, Gifts and Ghosts is a ground-breaking exploration into the intersections between visual sociology, cultural geography and creative photographic practice. A visual monograph that gives equal importance to image and text, it interrogates the tensions between sacred and profane, official and unofficial, state and individual, physical and spiritual, peeling away the myriad layers of the spiritual imagination.

When did the West discover Chinese healing traditions? Most people might point to the "rediscovery" of Chinese acupuncture in the 1970s. In Needles, Herbs, Gods, and Ghosts, Linda Barnes leads us back, instead, to the thirteenth century to uncover the story of the West's earliest known encounters with Chinese understandings of illness and healing. As Westerners struggled to understand new peoples unfamiliar to them, how did they make sense of equally unfamiliar concepts and practices of healing? Barnes traces this story through the mid-nineteenth century, in both Europe and, eventually, the United States. She has unearthed numerous examples of Western missionaries, merchants, diplomats, and physicians in China, Europe, and America encountering and interpreting both Chinese people and their healing practices, and sometimes adopting their own versions of these practices. A medical anthropologist with a degree in comparative religion, Barnes illuminates the way constructions of medicine, religion, race, and the body informed Westerners' understanding of the Chinese and their healing traditions.

Traversing visible and invisible realms, A Time of Lost Gods attends to profound rereadings of politics, religion, and madness in the cosmic accounts of spirit mediumship. Drawing on research across a temple, a psychiatric unit, and the home altars of spirit mediums in a rural county of China’s Central Plain, it asks: What ghostly forms emerge after the death of Mao and the so-called end of history? The story of religion in China since the market reforms of the late 1970s is often told through its destruction under Mao and relative flourishing thereafter. Here, those who engage in mediumship offer a different history of the present. They approach Mao’s reign not simply as an earthly secular rule, but an exceptional interval of divine sovereignty, after which the cosmos collapsed into chaos. Caught between a fading era and an ever-receding horizon, those “left behind” by labor outmigration refigure the evacuated hometown as an ethical-spiritual center to come, amidst a proliferation of madness-inducing spirits. Following pronouncements of China’s rise, and in the wake of what Chinese intellectuals termed semicolonialism, the stories here tell of spirit mediums, patients, and psychiatrists caught in a shared dilemma, in a time when gods have lost their way.

Irish writer Edward J. M. D. Plunkett, 18th Baron of Dunsany, ranks among the twentieth century's great masters of supernatural and science fiction. An outstanding dramatist whose supernatural plays anticipated the theater of the absurd, Dunsany was also a virtuoso writer of short stories and essays. This selection presents the finest of his works, gathered from long-out-of-print sources. Contents include the famous "Three Sailors' Gambit," possibly the best chess story ever written; the remarkable trilogy about Nuth and the Gnoles, Thangobrind the Jeweller, and the Gibbelins; exploits of the Gods, including both "The Gods of Pengana" and adventures from other books; and favorite adventures of Jorkens, prince of liars. Dunsany's spellbinding tales are complemented by the remarkable visions of Sidney H. Sime, whose delicate illustrations form an indispensable complement to the stories.

With its award winning cover, the third instalment in the ongoing Ghost Hunter series is a compelling and thought provoking supernatural thriller with a hard fantasy twist. Join Malachi, Teena, and Carolyn as they investigate a haunting that is anything but straightforward, and become embroiled in an increasingly desperate and dangerous struggle between opposing occultists for control of Camulos, the hitherto mythical Pagan God of Warfare. In the face of betrayal, fear, and mortal danger, they must find a way to prevail; or the consequences will be dire and far-reaching.

"Seeing Ghosts through God's Eyes" documents the explosive rise of interest in ghosts, and how this is affecting tens of millions of Americans concept of spirituality. Despite the fact that ghosts have become ensconced in our culture and contributed to the change in the spiritual landscape in the last few years, the church and media have taken a dismissive posture towards this issue. But the main focus of the book is to answer the question: do ghosts exist? Science,logic,and a biblical worldview are used to analyze this question-a unique methodology is employed which unearths evidence and issues never before discussed. Comprehensive and compelling new paranormal and scientific evidence that answers beyond a reasonable doubt the question of whether ghosts exist. The author proposes an empirically verifiable hypothesis which would PROVE his perspective on ghosts. Lastly, titanic issues are at stake in this debate.

Jonah Rowe knew that he didn't know everything about his abilities as an 11th Percenter - a human who could access the power of their auras. But he knew enough to not believe in the myths of the Greek Gods. Those were stories for kids. Hollywood. Until the Sibyl came along. Eva McRayne wanted nothing more than to get back to her Hollywood life after a senseless tragedy derailed it. So when she and her film crew went to Rome, North Carolina to film an episode for her show, Grave Messages, she had no idea that she was walking straight into a trap. One that only Jonah Rowe could help her escape from.