I. Consider that our class is taught as an Arts Studies course. How would it be

I. Consider that our class is taught as an Arts Studies course. How would it be different if
it were taught in a theology or divinity school or seminary program. Base your response
on your reading of the introduction to Daniel Pals Nine Theories of Religion.
II. What is Religious Art? Explain in your own words, but demonstrate that you have
read Leslie Ross’ essay on Religious Art.
III. Geertz’ Definition of Religion: A religion is
1) a system of symbols which
2) acts to establish powerful, pervasive, and long-lasting moods and motivations
3) by formulating conceptions of a general order of existence
4) and clothing these conceptions in such an aura of factuality
5) that the moods and motivations seem uniquely realistic.
Take each clause and write a paragraph, numbered 1-5, explaining Geertz’ ideas in your
own words. Then,
6) Why is religious ART important in the context of this definition?
III. Consider “The Three Hermits” by Tolstoy. How does it work as a conveyer of sacred
symbols in the Geertzian sense? What Worldview and Ethos does it convey?
IV. Consider the following paragraph:
“It is in some sort of ceremonial form—even if that form be hardly more than the
recitation of a myth, the consultation of an oracle, or the decoration of a grave—that
the moods and motivations which sacred symbols induce in men and the general
conceptions of the order of existence which they formulate for men meet and reinforce
one another.  In a ritual, the world as lived and the world as imagined, fused under the
agency of a single set of symbolic forms, turn out to be the same world, producing thus
that idiosyncratic transformation in one’s sense of reality to which Santayana refers in
my epigraph.  Whatever role divine intervention may or may not play in the creation of
faith—and it is not the business of the scientist to pronounce on such matters one way
or another—it is, primarily at least, out of the context of concrete acts of religious
observance that religious conviction emerges on the human plane.”
Here, Geertz places particular emphasis on sacred symbols–music, dance, poetry,
architecture, gestures, processions, etc. etc.–as they are USED in ritual. It is the ways
that religious commitment is ENACTED that is crucial for Geertz in fusing ETHOS and
WORLDVIEW and overlaying everyday reality with their potency to assure that life is
lived MEANINGFULLY.  I would like you to explain this idea of Geertz with an example,
chosen from any of the world’s religions.  It can be a single symbol, collection of
symbols, an entire ritual, etc.  It should be a symbol that is not as obvious as a cross, star
of David, Yin/Yang etc. Or consider the architecture of a religious edifice with which you are familiar; or a work of religious music. Consider how the work you have
chosen functions in the context of religious ritual, either public or private.