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Looks at megalithic sites and monuments in Great Britain
Die körperlich-sinnliche Erfahrung von Musik ist ein wesentliches Medium für die Identifizierung mit religiösen Traditionen, das heißt für die Anbindung Einzelner an kollektive religiöse Identitäten. Diese zentrale These wird in der ethnografischen Studie für das Forschungsfeld Glastonbury entwickelt.Grundlage der Feldforschung ist die Erfassung der religiösen Strömungen vor Ort. Das Spektrum reicht von Anglikanern über Neo-Hindus bis hin zu Druiden und den Goddess People. In der Darstellung dieses religiösen Feldes wird die Vielfalt, Flexibilität und situative Gebundenheit religiöser Identitätsbildung auf innovative Weise eingefangen. Des Weiteren wird im Rahmen einer Sensografie beschrieben, wie Körper und Sinne im Rahmen der gemeinschaftlichen religiösen Praxis der verschiedenen Gruppierungen angesprochen werden.Im Zentrum der Untersuchung steht die ausführliche religionsmusikologische Analyse der im religiösen Feld verwendeten Musik.Ein theoretisches Erklärungsmodell wird entworfen, das die Rolle von Musik in den lokalen kollektiven Identitätsbildungsprozessen bestimmen will. Dabei werden Aspekte wie die Wirksamkeit von Musik, Gemeinschaftserlebnisse beim Musizieren, die Konstruktion kollektiver religionshistorischer Autobiografien und ästhetisch-musikalische Identitätskonstitutionen diskutiert und neueste ethnologische, musikwissenschaftliche und ritualtheoretische Ansätze kreativ miteinander verbunden. Das im Umfeld der Religionsästhetik angesiedelte Forschungsfeld Religion und Musik wird erstmals umfassend aus religionswissenschaftlicher Perspektive erschlossen.
In popular culture, such diverse characters as occultist Aleister Crowley, Doors musician Jim Morrison, and performance artist Joseph Beuys have been called shamans. In anthropology, on the other hand, shamanism has associations with sorcery, witchcraft and healing, and archaeologists have suggested the meaning of prehistoric cave art lies with shamans and altered consciousness. Robert J. Wallis explores the interface between 'new' and prehistoric shamans. The book draws on interviews with a variety of practitioners, particularly contemporary pagans in Britain and north America. Wallis looks at historical and archaeological sources to explore contemporary pagan engagements with prehistoric sacred sites such as Stonehenge and Avebury, and discusses the controversial use by neo-Shamans of indigenous (particularly native American) shamanism.
This book sets out to explore the connections between megalithic monuments and Rock 'n' Roll music by first addressing what the megalithic structures would have originally meant to the builders and users of these sites and at the statements they were making at that time. It then looks at how Rock 'n' Roll artists have incorporated images of these monuments into album cover designs by looking at specific examples, in an attempt to understand why, despite being separated by millennia from the original builders, they chose to use such places to represent the statements they are making through their music in the late 20th and early 21st centuries.
Blake said of his works, 'Tho' I call them Mine I know they are not Mine'. So who owns Blake? Blake has always been more than words on a page. This volume takes Blake 2.0 as an interactive concept, examining digital dissemination of his works and reinvention by artists, writers, musicians, and filmmakers across a variety of twentieth-century media.
This text presents a comprehensive and up-to-date reference work on popular music, from the early 20th century to the present day.
Introduces undergraduates to the key debates regarding space and culture and the key theoretical arguments which guide cultural geographical work. This book addresses the impact, significance, and characteristics of the 'cultural turn' in contemporary geography. It focuses on the development of the cultural geography subdiscipline and on what has made it a peculiar and unique realm of study. It demonstrates the importance of culture in the development of debates in other subdisciplines within geography and beyond. In line with these previous themes, the significance of space in the production of cultural values and expressions is also developed. Along with its timely examination of the health of the cultural geographical subdiscipline, this book is to be valued for its analysis of the impact of cultural theory on studies elsewhere in geography and of ideas of space and spatiality elsewhere in the social sciences.

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