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By Logsdon M.I.

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Example text

Players in the Drama of World Religions “ All the world’s a stage, and all the men and women merely players,” observed William Shakespeare (1564-1616) in As You Like It (act 2, scene 7). As the players parade across the world stage of human cultures, we might observe further that some are more colorful than others. Among the most colorful players on the world stage are players enacting the drama of world religions. This is so because the drama includes a wider variety of figures than any other drama of human history.

Discussions target players in religiously transformative personal and cultural moments so that the history of each religion can be told. 2. “Religious texture” covers foundational works, commentarial texts that validate the foundational works, and material that in some way reaches out beyond the core. These can be innovative (sometimes controversial) works that challenge the core texts, or commentaries that bridge the tradition to the outside. 3. “Meaningful performance” examines in detail a custom, ritual or artistic form that shaped the non-verbal backdrop of the tradition.

Their atheism may guide the kind of questions they ask about religion; but they do not build theories based on the hypothesis that God does not exist. Likewise, some (not all) religionist scholars believe in God. Their monotheism may guide the kinds of questions they ask about religion; but they do not build theories based on the hypothesis that God exists. Religionist and reductionist scholars engaged in the academic study of religions are called historians of religions. This has become a problematic term for reductionists because they do not believe that “religion” is sui generis.

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