Lucian S Laughing Gods

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.

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

Humour and Religion highlights the importance and functioning of humour in different world religions. Exploring the major religious cultures, the book looks at more constructive aspects to the relation between humour and religion, with humour seen as a pathway to spiritual wisdom. Exploring how religions contain (implicit) references to the finitude and relativity of the human condition, and why humour and spirituality fit well together, contributors discuss what the meaning of humour in different religions is - Did it evolve historically? How does it function? How is humour related to the realization of spiritual goals? Looking at religions from an external perspective, the contributors then analyze the way religion interacts with humour in society. How does a religion respond to sarcasm and irony? Are there limits to mockery and making fun of believers? Does humour have a pacifying effect when societal tensions run high or does it intensify the sensitivities? This volume will provide essays of value to scholars in the various religions and literatures covered.

For about three thousand years comedy has applied a welcome humanist perspective to the world’s religious beliefs and practices. From the ancient Greek comedies of Aristophanes, the famous poem by Lucretius, and dialogues of Cicero to early modern and Enlightenment essays and philosophical texts, together with the inherent skepticism about life after death in tragicomedies by Plautus, Shakespeare, Molière, and nineteenth-century novels by such as Dickens and Hugo, the literary critic and historian Alexander Welsh analyzes the prevalence of openness of mind and relieving good humor in Western thought. The Humanist Comedy concludes with close examination of a postmodern novel by the Nobel Prize winner José Saramago.

How do historians understand the minds, motivations, intentions of historical agents? What might evolutionary and cognitive theorizing contribute to this work? What is the relation between natural and cultural history? Historians have been intrigued by such questions ever since publication in 1859 of Darwin's The Origin of Species, itself the historicization of biology. This interest reemerged in the latter part of the twentieth century among a number of biologists, philosophers and historians, reinforced by the new interdisciplinary finding of cognitive scientists about the universal capacities of and constraints upon human minds. The studies in this volume, primarily by historians of religion, continue this discussion by focusing on historical examples of ancient religions as well as on the theoretical promises and problems relevant to that study.

How new is atheism? In Battling the Gods, Tim Whitmarsh journeys into the ancient Mediterranean to recover the stories of those who first refused the divinities. Long before the Enlightenment sowed the seeds of disbelief in a deeply Christian Europe, atheism was a matter of serious public debate in the Greek world. But history is written by those who prevail, and the Age of Faith mostly suppressed the lively free-thinking voices of antiquity. Tim Whitmarsh brings to life the fascinating ideas of Diagoras of Melos, perhaps the first self-professed atheist; Democritus, the first materialist; and Epicurus and his followers. He shows how the early Christians came to define themselves against atheism, and so suppress the philosophy of disbelief. Battling the Gods is the first book on the origins of the secular values at the heart of the modern state. Authoritative and bold, provocative and humane, it reveals how atheism and doubt, far from being modern phenomena, have intrigued the human imagination for thousands of years.

Explores Lucian's influence on Renaissance writers