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This paper examines the benefits of ethnographic film for the study of religion. It argues that the exploration of gaps between colloquial descriptions of divinities and their practical manifestation in ritual is instructive of the way religious categories are conceptualized. The argument is developed through an analysis of selected scenes from the documentary AVATARA, a meditation on goddess worship (Śaktism) among the Khas ethnic majority of the Hindu Himalaya (Himachal Pradesh, India). Centering on embodiments of the goddess in spirit possession séances, it points to a fundamental difference between the popular depiction of the deity as a virgin-child (kanyā) who visits followers in their dreams and her actual manifestation as a menacing mother (mātā) during ritual activities. These ostensibly incongruent images are ultimately bridged by the anthropologically informed edition of the material caught on camera, illustrating the added advantage of documentary filmmaking for approximating religious experiences.

This article presents the study of a Jewish liturgical genre that is performed in main sections of Jewish prayer services. This liturgical genre is called “prayer chanting”. The term refers to the musical performance by the cantor of the prose texts in Jewish prayer services. The genre of prayer chanting characterizes most Jewish liturgical traditions, and its central characteristic is a close attachment of the musical structure to the structure of the text. The article will examine musical, cultural, and historical characteristics of prayer chanting of two Sephardi Jewish traditions and will explain how this liturgical genre reflects historical and cultural features related to these liturgical traditions. The study presented here is based on field work that includes recordings of prayer and interviews of well-known cantors of the two traditions as well as observations in synagogue of the two liturgical traditions.

In recent years, scholars have devoted a great deal of attention to the history of scholarship in general and, more specifically, to the emergence of critical historical and anthropological literature from and within ecclesiastical scholarship. However, few studies have discussed the Jewish figures who took part in this process. This paper analyzes the role played by historiographical and ethnographical writing in seventeenth- and eighteenth-century Italian Jewish–Christian polemics. Tracing various Christian polemical ethnographical depictions of the Jewish rite of shaking the lulav (sacramental palm leaves used by Jews during the festival of Sukkot), it discusses the variety of ways in which Jewish scholars responded to these depictions or circumvented them. These responses reflect the Jewish scholars’ familiarity with prevailing contemporary scholarship and the key role of translation and cultural transfers in their own attempts to create parallel works. Furthermore, this paper presents new Jewish polemical manuscript material within the relevant contexts, examines Jewish attempts to compose polemical and apologetic ethnographies, and argues that Jewish engagement with critical scholarship began earlier than scholars of this period usually suggest

In discussing the arrival of Buddhism to China, Erik Zürcher describes the meeting of “a jungle of Buddhist metaphysics” with other local philosophies and practices. This period was a transformative encounter with wide-ranging ramifications, including for textual traditions. Non-complete Emptiness (Bu zhenkong lun 不真空論), written by Seng Zhao 僧肇, is one product of this encounter. While explaining the principle of emptiness, Non-complete Emptiness incorporates Daoist and Confucian terminologies and elements. Nevertheless, the text is considered formative for the development of Buddhist writing and practice during the critical period of Buddhism’s assimilation into China in the third to fifth centuries AD. This study of Non-complete Emptiness looks at the philosophical and cultural relevance of the text. It suggests a methodological solution to some of the tensions that have arisen from Seng Zhao’s notion of emptiness. The article begins by looking into the historical and hermeneutical tendencies in the scholarship of Non-complete Emptiness. The following section provides a textual and cultural analysis of the text and its author, viewing the sage as an “open entity”, to understand Seng Zhao’s idea of emptiness. This analysis suggests that a multiple dialectic approach should be followed to improve the understanding of the text’s Buddhist message and Seng Zhao’s position as a scholar-monk in medieval China.