I hate how the word “viking” i still used as a name for an ethnicity. A bit like calling all 19th century Americans “Cowboys” regardless of proffesion, station socially or geographical situation.


Discussion on Loki Part 1 – 4


Loki is indeed not your “average” trickster. In many ways, Odin himself is more like the traditional trickster than Loki is. Odin changes shape, deceives, lies, and tricks people far more often than Loki. Loki is more the sneaky, clever god of randomness than a true trickster. Odin teaches with lessons and challenges. Loki teaches with a swift kick to the groin.

Småland [Province of Smolandia],Sweden


Map
The provinces of Sweden withSmåland highlighted
Coat of Arms
Land Götaland
Maincorresponding county Kronoberg County
Kalmar County
Jönköping County
Indigenous dialect(s) Småländska
Population 720,358[1]
Area 29,400 km²
Flower Twinflower
Animal Otter

 Småland  is a historical province (landskap) in southern Sweden. Småland borders BlekingeScania or Skåne,HallandVästergötlandÖstergötland and the island Öland in the Baltic Sea. The name Småland literally means Small Lands. The latinized form Smolandia has been used in other languages. The highest summit in Småland is Tomtabackenwith its 377 m.

Historical cities

Towns with former city status were: Eksjö (chartered around 1400), Gränna (1652), Huskvarna (1911), Jönköping (1284), Kalmar (approximately 1100), Ljungby (1936), Nybro (1932), Nässjö (1914), Oskarshamn (1856), Sävsjö (1947), Tranås (1919), Vetlanda (1920), Vimmerby(approximately 1400), Värnamo (1920), Västervik (approximately 1200), Växjö (1342)

History

The area was probably populated in the Stone Age from the south, by people moving along the coast up to Kalmar. Småland was populated by Stone Age peoples by at least 6000 BC, since the Alby People are known to have crossed the ice bridge across the Kalmar Strait at that time.

Migration period, Smolandian tumulus (grave mound)

The name Småland (“small lands”) comes from the fact that it was a combination of several independent lands, Kinda (today a part of Östergötland), Tveta, Vista, Vedbo, Tjust, Sevede, Aspeland, Handbörd, MöreVärendFinnveden and Njudung. Every small land had its own law in the Viking age and early middle age and could declare themselves neutral in wars Sweden was involved in, at least if the King had no army present at the parliamentary debate. Around 1350, under the king Magnus Eriksson a national law was introduced in Sweden, and the historic provinces lost much of their old independence.

The city of Kalmar is one of the oldest cities of Sweden, and was in the medieval age the southernmost and the third largest city in Sweden, when it was a center for export of iron, which, in many cases, was handled by German merchants.

Nils Dacke.18th century painting

Småland was the center of several peasant rebellions, the most successful of which was Dackefejden led by Nils Dacke in 1542–1543. When officials of king Gustav Vasa were assaulted and murdered, the king sent small expeditions to pacify the area, but all failed. Dacke was in reality the ruler of large parts of Småland during the winter, though heavily troubled by a blockade of supplies, before finally being defeated by larger forces attacking from both Västergötland and Östergötland. Dacke held a famous battle defence at the (now ruined)Kronoberg Castle, and was shot while trying to escape to then Danish-ruled Blekinge.

Traditional Windsor chairs perhaps made in Småland

In the 19th century, Småland was characterized by poverty, and had a substantial emigration to North America, which additionally hampered its development. The majority of emigrants ended up in Minnesota, with a geography resembling Sweden, combining arable land with forest and lakes.

Max Von Sydow and Liv Ullman from the film "The Emigrants" (novel by V.Moberg)

File:Skurugata.jpg
An image from a canyon in the forested Småland.

Religion

In comparison with much of Sweden, Småland has a higher level of religious intensity and church participation (Lutheran).

Smalandians

In the 20th century, Småland has been known for its high level of entrepreneurship and low unemployment, especially in the Gnosjöregion. Some suggest the harsh conditions have throughout history forced the inhabitants of the region to be cunning, inventive and cooperative.

This is how the old Swedish encyclopedia Nordisk familjebok described the people:

the Smalandian is by nature awake and smart, diligent and hard-working, yet compliant, cunning and crafty, which gives him the advantage of being able to move through life with little means. 
A running joke, or stereotype, in Sweden, is that of the Smalandian being very economical, or even cheap. Ingvar Kamprad said that the Smalandian are seen as the Scotsmen of Sweden.

Language

The local language is a Swedish dialect known as Småländska (Smalandian). This may in turn be separated in two main branches, with the northern related to the Götaland dialects and the southern to the Scanian dialects.

Heraldry

The first coat of arms for Småland, granted in 1560 pictured a red crossbow with roses on a golden shield but at the coronation ofJohan III in 1569 a new coat of arms was granted. A lion was wielding the crossbow and the roses had fallen off. There was also a revision in 1944, but no alterations were made. Småland is also considered a duchy and has the right to carry a ducal coronet with the arms.

Blazon: “Or a lion rampant Gules langued and armed Azure holding in front paws a Crossbow of the second bowed and stringed Sable with a bolt Argent.”


My other blogs and Twitter


My other blogs and Twitter: http://westernmystery.tumblr.com/ Hermeticism, Theurgy, Thelema, Freemasonry, Heathenry, Golden Dawn, OTO, Ceremonial Magick, Kabbala, Enochian, Yoga, Paganism, Rosicrucianism, Esoterica, Alchemy, Voudoun, Santeria and more http://fornsed.tumblr.com/ Viking Age, Archeology, History, Anthropology, Scandinavia, Germanic tribes, Asatru, Heathenry, Anglo - Saxon faith, Vikings, Norse, Culture,Mythology and more http://jazzage.tumblr.com/ Vintage, 1920´s, Flappers, Charleston, Jazz, Gangsters, Prohibition, Movies, Music, Fashion, Hairstyles, Make Up, Attitudes and more https://marcelgomessweden.wordpress.com/ Personal blog. Longer articles http://twitter.com/#!/MarcelIoPan Twitter Yup, i´m whoring myself out!

My other blogs and Twitter:

http://westernmystery.tumblr.com/

Hermeticism, Theurgy, Thelema, Freemasonry, Heathenry, Golden Dawn, OTO, Ceremonial Magick, Kabbala, Enochian, Yoga, Paganism, Rosicrucianism, Esoterica, Alchemy, Voudoun, Santeria and more

http://fornsed.tumblr.com/

Viking Age, Archeology, History, Anthropology, Scandinavia, Germanic tribes, Asatru, Heathenry, Anglo – Saxon faith, Vikings, Norse, Culture,Mythology and more

http://jazzage.tumblr.com/

Vintage, 1920´s, Flappers, Charleston, Jazz, Gangsters, Prohibition, Movies, Music, Fashion, Hairstyles, Make Up, Attitudes and more

http://marcelgomes.tumblr.com/

Personal blog.

http://twitter.com/#!/MarcelIoPan

Twitter

Yup, i´m whoring myself out!

 

Birka


Birka on the island of Björkö, was the hub of the rich Mälardalenin the Viking Age. The shopping center was built in the 700’s and became aimportant international port for visitors from near and far. OnAdelsö, just across the bay, is Hovgården where the king lived.Birka World Heritage Site and Hovgården contains unusually high number of remnantsViking Age people.Since the late 1800s, archaeologists have examined the ancient remains of Birkaand Hovgården. The rich finds from the excavations tells of asociety with a strong hierarchy and large differences between both class andsex. They had extensive trade contacts with the outside world and it shows infindings.

Birka on the island of Björkö, was the hub of the rich Mälardalen
in the Viking Age. The shopping center was built in the 700’s and became a
important international port for visitors from near and far. On
Adelsö, just across the bay, is Hovgården where the king lived.
Birka World Heritage Site and Hovgården contains unusually high number of remnants
Viking Age people.

Since the late 1800s, archaeologists have examined the ancient remains of Birka
and Hovgården. The rich finds from the excavations tells of a
society with a strong hierarchy and large differences between both class and
sex. They had extensive trade contacts with the outside world and it shows in
findings.

 

Havamal


 Hávamál (“Sayings of the high one”) is presented as a single poem in the Poetic Edda, a collection of Old Norse poems from the Viking age. The poem, itself a combination of different poems, is largely gnomic, presenting advice for living, proper conduct and wisdom. The verses are attributed to Odin, much like the biblical Book of Wisdom is attributed to Solomon. The implicit attribution to Odin facilitated the accretion of various mythological material also dealing with Odin. For the most part composed in the metre Ljóðaháttr, a metre associated with wisdom verse, Hávamál is both practical and metaphysical in content. Following the gnomic “Hávamálproper” follows the Rúnatal, an account of how Odin won the runes, and the Ljóðatal, a list of magic chants or spells.   The Hávamál is edited in 165 stanzas by Bellows (1936). Other editions give 164 stanzas, combining Bellow’s stanzas 11 and 12, as the manuscript abbreviates the last two lines of stanzas 11. Some editors also combine Bellow’s stanzas 163 and 164. In the following, Bellow’s numeration is used. The poems in Hávamál is traditionally taken to consist of at least five independent parts, the Gestaþáttr, or Hávamál proper, (stanzas 1-80), a collection of proverbs and gnomic wisdom a dissertation on the faithlessness of women (stanzas 81-95), prefacing an account of the love-story of Odin and the daughter of Billingr (stanzas 96-102) and the story of how Odin got the mead of poetry from the maidenGunnlöð (stanzas 103-110) the Loddfáfnismál (stanzas 111-138), a collection of gnomic verses similar to the Gestaþáttr, addressed to a certain Loddfáfnir the Rúnatal (stanzas 139-146), an account of how Odin won the runes, introductory to the Ljóðatal the Ljóðatal (stanzas 147-165), a collection of charms Stanzas 6 and 27 are expanded beyond the standard four lines by an additional two lines of “commentary”. Bellow’s edition inverses the manuscript order of stanzas 39 and 40. Bellow’s stanza 138 (Ljóðalok) is taken from the very end of the poem in the manuscript, placed before the Rúnatal by most editors following Müllenhoff. Stanzas 65, 73-74, 79, 111, 133-134, 163 are defective. Stanzas 81-84 are in Malahattr, 85-88 in Fornyrthislag. The entire section of 81-102 appears to be an ad hoc interpolation. Stanza 145 is also an interpolation in Malahattr. [edit]Contents [edit]Gestaþáttr The first section Gestaþáttr, the “guest’s section”. Stanzas 1 through 79 comprise a set of maxims for how to handle oneself when a guest and traveling, focusing particularly on manners and other behavioral relationships between hosts and guests and the sacred lore of reciprocity and hospitality to the Norse pagans. The first stanza exemplifies the practical behavioral advice it offers: All the entrances, before you walk forward,you should look at,you should spy out;for you can’t know for certain where enemies are sitting,ahead in the hallNumber 77 is possibly the most known section of Gestaþáttr:  Deyr fé,deyja frændr,deyr sjálfr et sama;ek veit einn,at aldri deyr:dómr of dauðan hvern.Cattle die,kinsmen diethe self must also die;I know one thingwhich never dies:the reputation of each dead man.[4][edit]On women Billingr’s girl watches on while Odin encounters the bitch tied to her bedpost (1895) by Lorenz Frølich. Stanzas 84 to 110 deal with the general topic of romantic love and the character of women. It is introduced by a discussion of the faithlessness of women and advice for the seducing of them in stanzas 84-95, followed by two mythological accounts of Odin’s interaction with women also known as “Odin’s Examples” or “Odin’s Love Quests”. The first is an account of Odin’s thwarted attempt of possessing the daughter of Billing (stanzas 96-102), followed by the story of the mead of poetry which Odin won by seducing its guardian, the maiden Gunnlöð (stanzas 103-110). [edit]Loddfáfnismál The Loddfáfnismál (stanzas 111-138) is again gnomic, dealing with morals, ethics, correct action and codes of conduct. The section is directed to Loddfáfnir (“stray-singer”). [edit]Rúnatal “Odin’s Self-sacrifice” (1908) by W. G. Collingwood.The younger Jelling stone (erected byHarald Bluetooth ca. 970) shows thecrucifixion of Christ with the victim suspended in the branches of a tree instead of on a cross.[5]Rúnatal or Óðins Rune Song, Rúnatáls-þáttr-Óðins (stanzas 138-146) is a section of the Hávamál where Odin reveals the origins of the runes. In stanzas 138 and 139, Odin describes his sacrifice of himself to himself:  Veit ec at ec hecc vindga meiði anetr allar nío,geiri vndaþr oc gefinn Oðni,sialfr sialfom mer,a þeim meiþi, er mangi veit, hvers hann af rótom renn.  I know that I hung on a windy treenine long nights,wounded with a spear, dedicated to Odin,myself to myself,on that tree of which no man knowsfrom where its roots run.Við hleifi mic seldo ne viþ hornigi,nysta ec niþr,nam ec vp rvnar,opandi nam,fell ec aptr þaðan.No bread did they give me nor a drink from a horn,downwards I peered;I took up the runes, screaming I took them,then I fell back from there.The “windy tree” from which the victim hangs is often identified with the world tree Yggdrasil by commentators. The entire scene, the sacrifice of a god to himself, the execution method by hanging the victim on a tree, and the wound inflicted on the victim by a spear, is often compared to the crucifixion of Christ as narrated in the gospels. The parallelism of Odin and Christ during the period of open co-existence of Christianity and Norse paganism in Scandinavia (the 9th to 12th centuries, corresponding with the assumed horizon of the poem’s composition) is also evident from other sources. To what extent this parallelism is an incidental similarity of the mode of human sacrifice offered to Odin and the crucifixion, and to what extent Christianity exerted direct influence on the mythology associated with Odin, is a complex question on which scholarly opinions vary. [edit]Ljóðatal The last section, the Ljóðatal enumerates eighteen charms (songs, ljóð), prefaced with Ljóð eg þau kann / er kann-at þjóðans kona / og mannskis mögur“The songs I know / that king’s wives know not / Nor men that are sons of men” (stanza 147).The charms themselves are not given, just their application or effect described. They are explicitly counted from “the first” in stanza 147, and “a second” to “an eighteenth” in stanzas 148 to 165, given in roman numerals in the manuscript. There is no explicit mention of runes or runic magic in the Ljóðatal excepting in the twelfth charm (stanza 158), which takes up the motif of Odin hanging on the tree and its association with runes, svo eg ríst / og í rúnum fá’g“So do I write / and color the runes”Nevertheless, because of the Rúnatal preceding the list, the Ljóðatal has been associated with the runes, specifically with the sixteen letters of the Younger Futhark. Müllenhoff takes the original Ljóðatal to have ended with stanza 161, with the final three charms (16th to 18th) taken as late and obscure additions. [edit]Germanic Neopaganism The difference of sixteen runes of the Younger Futhark vs. eighteen charms in the Ljóðatal has notably motivated proponents of Germanic mysticism to expand the row by two extra runes. The best-known attempt to this effect are the Armanen runes by Guido von List (1902). Various proponents of Germanic Neopagan groups place an emphasis on Hávamál as a source of a Norse pagan ethical code of conduct. The “Nine Noble Virtues”, first compiled byOdinic Rite founder John “Stubba” Yeowell in the 1970s are “loosely based” on the Hávamál.[citation needed] The Northvegr Foundation cites the Hávamál among other Old Norse and Old English sources to illustrate “the ethical ideal of the Northern spiritual faith of Heithni.” Sveinbjörn Beinteinsson, leader of the Icelandic Ásatrúarfélagið, published his performance of a number of Eddaic poems, including the Hávamál, chanted in rímur style.

 

Hávamál (“Sayings of the high one”) is presented as a single poem in the Poetic Edda, a collection of Old Norse poems from the Viking age. The poem, itself a combination of different poems, is largely gnomic, presenting advice for living, proper conduct and wisdom.

The verses are attributed to Odin, much like the biblical Book of Wisdom is attributed to Solomon. The implicit attribution to Odin facilitated the accretion of various mythological material also dealing with Odin.

For the most part composed in the metre Ljóðaháttr, a metre associated with wisdom verse, Hávamál is both practical and metaphysical in content. Following the gnomic “Hávamálproper” follows the Rúnatal, an account of how Odin won the runes, and the Ljóðatal, a list of magic chants or spells.

The Hávamál is edited in 165 stanzas by Bellows (1936). Other editions give 164 stanzas, combining Bellow’s stanzas 11 and 12, as the manuscript abbreviates the last two lines of stanzas 11. Some editors also combine Bellow’s stanzas 163 and 164. In the following, Bellow’s numeration is used.

The poems in Hávamál is traditionally taken to consist of at least five independent parts,

  1. the Gestaþáttr, or Hávamál proper, (stanzas 1-80), a collection of proverbs and gnomic wisdom
  2. a dissertation on the faithlessness of women (stanzas 81-95), prefacing an account of the love-story of Odin and the daughter of Billingr (stanzas 96-102) and the story of how Odin got the mead of poetry from the maidenGunnlöð (stanzas 103-110)
  3. the Loddfáfnismál (stanzas 111-138), a collection of gnomic verses similar to the Gestaþáttr, addressed to a certain Loddfáfnir
  4. the Rúnatal (stanzas 139-146), an account of how Odin won the runes, introductory to the Ljóðatal
  5. the Ljóðatal (stanzas 147-165), a collection of charms

Stanzas 6 and 27 are expanded beyond the standard four lines by an additional two lines of “commentary”. Bellow’s edition inverses the manuscript order of stanzas 39 and 40. Bellow’s stanza 138 (Ljóðalok) is taken from the very end of the poem in the manuscript, placed before the Rúnatal by most editors following Müllenhoff. Stanzas 65, 73-74, 79, 111, 133-134, 163 are defective.

Stanzas 81-84 are in Malahattr, 85-88 in Fornyrthislag. The entire section of 81-102 appears to be an ad hoc interpolation. Stanza 145 is also an interpolation in Malahattr.

Contents

Gestaþáttr

The first section Gestaþáttr, the “guest’s section”. Stanzas 1 through 79 comprise a set of maxims for how to handle oneself when a guest and traveling, focusing particularly on manners and other behavioral relationships between hosts and guests and the sacred lore of reciprocity and hospitality to the Norse pagans.

The first stanza exemplifies the practical behavioral advice it offers:

All the entrances, before you walk forward,
you should look at,
you should spy out;
for you can’t know for certain where enemies are sitting,
ahead in the hall

Number 77 is possibly the most known section of Gestaþáttr:

 

Deyr fé,
deyja frændr,
deyr sjálfr et sama;
ek veit einn,
at aldri deyr:
dómr of dauðan hvern.
Cattle die,
kinsmen die
the self must also die;
I know one thing
which never dies:
the reputation of each dead man.

On women

Billingr’s girl watches on while Odin encounters the bitch tied to her bedpost (1895) by Lorenz Frølich.Stanzas 84 to 110 deal with the general topic of romantic love and the character of women.

It is introduced by a discussion of the faithlessness of women and advice for the seducing of them in stanzas 84-95, followed by two mythological accounts of Odin’s interaction with women also known as “Odin’s Examples” or “Odin’s Love Quests”. The first is an account of Odin’s thwarted attempt of possessing the daughter of Billing (stanzas 96-102), followed by the story of the mead of poetry which Odin won by seducing its guardian, the maiden Gunnlöð (stanzas 103-110).

Loddfáfnismál

The Loddfáfnismál (stanzas 111-138) is again gnomic, dealing with morals, ethics, correct action and codes of conduct. The section is directed to Loddfáfnir (“stray-singer”).

Rúnatal

“Odin’s Self-sacrifice” (1908) by W. G. Collingwood.The younger Jelling stone (erected byHarald Bluetooth ca. 970) shows thecrucifixion of Christ with the victim suspended in the branches of a tree instead of on a cross.Rúnatal or Óðins Rune SongRúnatáls-þáttr-Óðins (stanzas 138-146) is a section of the Hávamál where Odin reveals the origins of the runes. In stanzas 138 and 139, Odin describes his sacrifice of himself to himself:

Veit ec at ec hecc vindga meiði a
netr allar nío,
geiri vndaþr oc gefinn Oðni,
sialfr sialfom mer,
a þeim meiþi, er mangi veit, hvers hann af rótom renn.
I know that I hung on a windy tree
nine long nights,
wounded with a spear, dedicated to Odin,
myself to myself,
on that tree of which no man knows
from where its roots run.
Við hleifi mic seldo ne viþ hornigi,
nysta ec niþr,
nam ec vp rvnar,
opandi nam,
fell ec aptr þaðan.
No bread did they give me nor a drink from a horn,
downwards I peered;
I took up the runes, screaming I took them,
then I fell back from there.

The “windy tree” from which the victim hangs is often identified with the world tree Yggdrasil by commentators. The entire scene, the sacrifice of a god to himself, the execution method by hanging the victim on a tree, and the wound inflicted on the victim by a spear, is often compared to the crucifixion of Christ as narrated in the gospels. The parallelism of Odin and Christ during the period of open co-existence of Christianity and Norse paganism in Scandinavia (the 9th to 12th centuries, corresponding with the assumed horizon of the poem’s composition) is also evident from other sources. To what extent this parallelism is an incidental similarity of the mode of human sacrifice offered to Odin and the crucifixion, and to what extent Christianity exerted direct influence on the mythology associated with Odin, is a complex question on which scholarly opinions vary.

Ljóðatal

The last section, the Ljóðatal enumerates eighteen charms (songs, ljóð), prefaced with

Ljóð eg þau kann / er kann-at þjóðans kona / og mannskis mögur
“The songs I know / that king’s wives know not / Nor men that are sons of men” (stanza 147).

The charms themselves are not given, just their application or effect described. They are explicitly counted from “the first” in stanza 147, and “a second” to “an eighteenth” in stanzas 148 to 165, given in roman numerals in the manuscript.

There is no explicit mention of runes or runic magic in the Ljóðatal excepting in the twelfth charm (stanza 158), which takes up the motif of Odin hanging on the tree and its association with runes,

svo eg ríst / og í rúnum fá’g
“So do I write / and color the runes”

Nevertheless, because of the Rúnatal preceding the list, the Ljóðatal has been associated with the runes, specifically with the sixteen letters of the Younger Futhark.

Müllenhoff takes the original Ljóðatal to have ended with stanza 161, with the final three charms (16th to 18th) taken as late and obscure additions.

Germanic Neopaganism

The difference of sixteen runes of the Younger Futhark vs. eighteen charms in the Ljóðatal has notably motivated proponents of Germanic mysticism to expand the row by two extra runes. The best-known attempt to this effect are the Armanen runes by Guido von List (1902).

Various proponents of Germanic Neopagan groups place an emphasis on Hávamál as a source of a Norse pagan ethical code of conduct. The “Nine Noble Virtues”, first compiled byOdinic Rite founder John “Stubba” Yeowell in the 1970s are “loosely based” on the Hávamál.[citation needed] The Northvegr Foundation cites the Hávamál among other Old Norse and Old English sources to illustrate “the ethical ideal of the Northern spiritual faith of Heithni.”

Sveinbjörn Beinteinsson, leader of the Icelandic Ásatrúarfélagið, published his performance of a number of Eddaic poems, including the Hávamál, chanted in rímur style.

 

Religion as a Christian concept


 Religion as a Christian concept The social constructionists In recent years, some academic writers have described religion according to the theory of social constructionism, which considers how ideas and social phenomena develop in a social context. Among the main proponents of this theory of religion are Timothy Fitzgerald, Daniel Dubuisson and Talad Assad. The social constructionists argue that religion is a modern concept that developed from Christianity and was then applied inappropriately to non-Western cultures and European pre Christian cultures.

The social constructionists

In recent years, some academic writers have described religion according to the theory of social constructionism, which considers how ideas and social phenomena develop in a social context. Among the main proponents of this theory of religion are Timothy Fitzgerald, Daniel Dubuisson and Talad Assad. The social constructionists argue that religion is a modern concept that developed from Christianity and was then applied inappropriately to non-Western cultures and European pre Christian cultures.

Similar views to social constructionism have been put forward by writers who are not social constructionists. George Lindbeck, a Lutheran and a postliberal theologian, says that religion does not refer to belief in “God” or a transcendent Absolute, but rather to “a kind of cultural and/or linguistic framework or medium that shapes the entirety of life and thought … it is similar to an idiom that makes possible the description of realities, the formulation of beliefs, and the experiencing of inner attitudes, feelings, and sentiments.” Nicholas de Lange, Professor of Hebrew and Jewish Studies at Cambridge University, says that “The comparative study of religions is an academic discipline which has been developed within Christian theology faculties, and it has a tendency to force widely differing phenomena into a kind of strait-jacket cut to a Christian pattern. The problem is not only that other ‘religions’ may have little or nothing to say about questions which are of burning importance for Christianity, but that they may not even see themselves as religions in precisely the same way in which Christianity sees itself as a religion.”

Similar views to social constructionism have been put forward by writers who are not social constructionists. George Lindbeck, a Lutheran and a postliberal theologian, says that religion does not refer to belief in “God” or a transcendent Absolute, but rather to “a kind of cultural and/or linguistic framework or medium that shapes the entirety of life and thought … it is similar to an idiom that makes possible the description of realities, the formulation of beliefs, and the experiencing of inner attitudes, feelings, and sentiments.” Nicholas de Lange, Professor of Hebrew and Jewish Studies at Cambridge University, says that “The comparative study of religions is an academic discipline which has been developed within Christian theology faculties, and it has a tendency to force widely differing phenomena into a kind of strait-jacket cut to a Christian pattern. The problem is not only that other ‘religions’ may have little or nothing to say about questions which are of burning importance for Christianity, but that they may not even see themselves as religions in precisely the same way in which Christianity sees itself as a religion.”