Laughing Gods, Weeping Virgins analyses how laughter has been used as a symbol in myths, rituals and festivals of Western religions, and has thus been inscribed in religious discourse. The Mesopotamian Anu, the Israelite Jahweh, the Greek Dionysos, the Gnostic Christ and the late modern Jesus were all laughing gods. Through their laughter, gods prove both their superiority and their proximity to humans. In this comprehensive study, Professor Gilhus examines the relationship between corporeal human laughter and spiritual divine laughter from c`ussical antiquity, to the Christian West and the modern era. She combines the study of the history of religion with social-scientific approaches, to provide an original and pertinent exploration of a universal human phenomenon, and its significance for the development of religions.

"Laughing Gods, Weeping Virgins" provides an engaging analysis of how laughter has been used as a symbol in myths, rituals and festivals of Western religions. Ingvild Saelid Gilhus argues that laughter is a central human phenomenon. Humans use laughter as a means to experience the world, categorize its forms and judge its values. Laughter is frequently used as a characteristic of the divine. In this comprehensive study Gilhus examines the relationship between corporeal human laughter and spiritual divine laughter from Classical antiquity to the Christian West and the modern era. She offers an original and pertinent exploration of a universal human phenomenon, and its significance for the development of religions.

No comic author from the ancient world features the gods as often as Lucian of Samosata, yet the meaning of his works remain contested. He is either seen as undermining the gods and criticizing religion through his humor, or as not engaging with religion at all, featuring the gods as literary characters. His humor was traditionally viewed as a symptom of decreased religiosity, but that model of religious decline in the second century CE has been invalidated by ancient historians. Understanding these works now requires understanding what it means to imagine as laughing and laughable gods who are worshipped in everyday cult. In Lucian's Laughing Gods, author Inger N. I. Kuin argues that in ancient Greek thought, comedic depictions of divinities were not necessarily desacralizing. In religion, laughter was accommodated to such an extent as to actually be constituent of some ritual practices, and the gods were imagined either to reciprocate or push back against human laughter—they were never deflated by it. Lucian uses the gods as comic characters, but in doing so, he does not automatically negate their power. Instead, with his depiction of the gods and of how they relate to humans—frivolous, insecure, callous—Lucian challenges the dominant theologies of his day as he refuses to interpret the gods as ethical models. This book contextualizes Lucian’s comedic performances in the intellectual life of the second century CE Roman East broadly, including philosophy, early Christian thought, and popular culture (dance, fables, standard jokes, etc.). His texts are analyzed as providing a window onto non-elite attitudes and experiences, and methodologies from religious studies and the sociology of religion are used to conceptualize Lucian’s engagement with the religiosity of his contemporaries.

Utilizing contemporary scholarship on secularization, individualism, and consumer capitalism, this book explores religious movements founded in the West which are intentionally fictional: Discordianism, the Church of All Worlds, the Church of the SubGenius, and Jediism. Their continued appeal and success, principally in America but gaining wider audience through the 1980s and 1990s, is chiefly as a result of underground publishing and the internet. This book deals with immensely popular subject matter: Jediism developed from George Lucas' Star Wars films; the Church of the Flying Spaghetti Monster, founded by 26-year-old student Bobby Henderson in 2005 as a protest against the teaching of Intelligent Design in schools; Discordianism and the Church of the SubGenius which retain strong followings and participation rates among college students. The Church of All Worlds' focus on Gaia theology and environmental issues makes it a popular focus of attention. The continued success of these groups of Invented Religions provide a unique opportunity to explore the nature of late/post-modern religious forms, including the use of fiction as part of a bricolage for spirituality, identity-formation, and personal orientation.

A fascinating read for anyone seeking to understand the conflict between Christianity and LGBTQI individuals, this book is, as its editors proclaim, "a fearlessly wide vision of queer Christians finding a place within Christianity—and claiming their authentic experience and voice." Through essays by noted lesbian, gay, bisexual, transgender, queer or questioning, and intersex (LGBTQI) religion scholars, this important compilation summarizes the history and current status of LGBTQI theology, exploring its relationship to the policies, practices, and theology of traditional Christianity. Contributors contrast the "radically inclusive" thinking of LGBTQI theology with the "exclusivity" practiced by many Christian churches, explaining the reasoning of each and clarifying contentious issues. At the same time, the book highlights ways in which "queer" theology and practice benefit Christian congregations. Writing from the perspective of grassroots Christian LGBTQI movements, many of the contributors draw upon their own experiences. They provide graphic examples of the effects exclusion has on individuals, congregations, and denominations, and also share examples of inclusion and its effects. Equally important, the work creates the basis for dialogue between traditional churches and followers of LGBTQI theology, offering practical suggestions for Christian congregations that wish to put aside exclusionary policies and practices.

Explores the range and complexity of human emotions and their transmission across cultural traditionsWhat makes us laugh and cry, sometimes at the same time? How do these two primal, seemingly discrete and non-verbal modes of expression intersect in everyday life and ritual, and what range of emotions do they evoke? How may they be voiced, shaped and coloured in literature and liturgy, art and music?Bringing together scholars from diverse periods and disciplines of Hellenic and Byzantine studies, this volume explores the shifting shapes and functions of laughter and tears. With a focus on the tragic, the comic and the tragicomic dimensions of laughter and tears in art, literature and performance, as well as on their emotional, socio-cultural and religious significance, it breaks new ground in the study of ancient and Byzantine affectivity.Key featuresIncludes an international cast of 25 distinguished contributors Prominence is given to performative arts and to interactions with other cultures Transitions from Late Antiquity to Byzantium, and from Byzantium to the Renaissance, form focal points from which contributors look backwards, forwards and sidewaysHighlights the variety, audacity and quality of the finest Byzantine works and the extent to which they anticipated the renaissance

Perhaps the most revolutionary contribution of "Take Back the Word" is its presentation of resistant practices of reading the Bible that challenge oppressive applications of Scripture to "clobber" queer folx. If lesbians, gay men, bisexuals, transgender, non-gender-conforming, and questioning people are to take back the word of Scripture for themselves, they must take it back in a new way. Essays examine queer strategies for reading, queer ethical models from the Hebrew Scriptures, and queer good news stories from the Christian Scriptures.