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Plato's Ghost: Spiritualism in the American Renaissance (AAR Reflection and Theory in the Study of Religion)

In its day, spiritualism brought hundreds of thousands of Americans to séance tables and trance lectures. It has alternately been ridiculed as the apogee of fatuous credulity and hailed as a feminist movement. Its tricks have been exposed, its charlatans unmasked, and its heroes' names lost to posterity. In its day, however, its leaders were household names and politicians worried about capturing the Spiritualist vote. Cathy Gutierrez places Spiritualism in the context of the 19th-century American Renaissance. Although this epithet usually signifies the sudden blossoming of American letters, Gutierrez points to its original meaning: a cultural imagination enraptured with the past and the classics in particular, accompanied by a cultural efflorescence. Spiritualism, she contends, was the religious articulation of the American Renaissance, and the ramifications of looking backward for advice about the present were far-reaching. The Spiritualist movement, says Gutierrez, was a 'renaissance of the Renaissance,' a culture in love with history as much as it trumpeted progress and futurity, and an expression of what constituted religious hope among burgeoning technology and colonialism. Rejecting Christian ideas about salvation, Spiritualists embraced Platonic and Neoplatonic ideas. Humans were shot through with the divine, rather than seen as helpless and inexorably corrupt sinners in the hands of a transcendent, angry God. Gutierrez's study of this fascinating and important movement is organized thematically. She analyzes Spiritualist conceptions of memory, marriage, medicine, and minds, explores such phenomena as machines for contacting the dead, spirit-photography, the idea of eternal spiritual affinity (which implied the necessity for marriage reform), the connection between health and spirituality, and mesmerism.

Plato's Ghost: Spiritualism in the American Renaissance (AAR Reflection and Theory in the Study of Religion)

In its day, spiritualism brought hundreds of thousands of Americans to séance tables and trance lectures. It has alternately been ridiculed as the apogee of fatuous credulity and hailed as a feminist movement. Its tricks have been exposed, its charlatans unmasked, and its heroes' names lost to posterity. In its day, however, its leaders were household names and politicians worried about capturing the Spiritualist vote. Cathy Gutierrez places Spiritualism in the context of the 19th-century American Renaissance. Although this epithet usually signifies the sudden blossoming of American letters, Gutierrez points to its original meaning: a cultural imagination enraptured with the past and the classics in particular, accompanied by a cultural efflorescence. Spiritualism, she contends, was the religious articulation of the American Renaissance, and the ramifications of looking backward for advice about the present were far-reaching. The Spiritualist movement, says Gutierrez, was a 'renaissance of the Renaissance,' a culture in love with history as much as it trumpeted progress and futurity, and an expression of what constituted religious hope among burgeoning technology and colonialism. Rejecting Christian ideas about salvation, Spiritualists embraced Platonic and Neoplatonic ideas. Humans were shot through with the divine, rather than seen as helpless and inexorably corrupt sinners in the hands of a transcendent, angry God. Gutierrez's study of this fascinating and important movement is organized thematically. She analyzes Spiritualist conceptions of memory, marriage, medicine, and minds, explores such phenomena as machines for contacting the dead, spirit-photography, the idea of eternal spiritual affinity (which implied the necessity for marriage reform), the connection between health and spirituality, and mesmerism.

Plato's Gods

This book presents a comprehensive study into Plato's theological doctrines, offering an important re-valuation of the status of Plato's gods and the relation between metaphysics and theology according to Plato. Starting from an examination of Plato's views of religion and the relation between religion and morality, Gerd Van Riel investigates Plato's innovative ways of speaking about the gods. This theology displays a number of diverging tendencies - viewing the gods as perfect moral actors, as cosmological principles or as celestial bodies whilst remaining true to traditional anthropomorphic representations. Plato's views are shown to be unified by the emphasis on the goodness of the gods in both their cosmological and their moral functions. Van Riel shows that recent interpretations of Plato's theology are thoroughly metaphysical, starting from aristotelian patterns. A new reading of the basic texts leads to the conclusion that in Plato the gods aren't metaphysical principles but souls who transmit the metaphysical order to sensible reality. The metaphysical principles play the role of a fated order to which the gods have to comply. This book will be invaluable to readers interested in philosophical theology and intellectual history.

Plato's Gods (Ashgate Studies In The History Of Philosophical Theology Ser.)

This book presents a comprehensive study into Plato's theological doctrines, offering an important re-valuation of the status of Plato's gods and the relation between metaphysics and theology according to Plato. Starting from an examination of Plato's views of religion and the relation between religion and morality, Gerd Van Riel investigates Plato's innovative ways of speaking about the gods. This theology displays a number of diverging tendencies - viewing the gods as perfect moral actors, as cosmological principles or as celestial bodies whilst remaining true to traditional anthropomorphic representations. Plato's views are shown to be unified by the emphasis on the goodness of the gods in both their cosmological and their moral functions. Van Riel shows that recent interpretations of Plato's theology are thoroughly metaphysical, starting from aristotelian patterns. A new reading of the basic texts leads to the conclusion that in Plato the gods aren't metaphysical principles but souls who transmit the metaphysical order to sensible reality. The metaphysical principles play the role of a fated order to which the gods have to comply. This book will be invaluable to readers interested in philosophical theology and intellectual history.

Play time: Gender, anti-Semitism and temporality in medieval biblical drama (Manchester Medieval Literature and Culture)

This book presents an important re-theorisation of gender and anti-Semitism in medieval biblical drama. It charts conflicts staged between dramatic personae in plays that represent theological transitions, including the Incarnation, Flood, Nativity and Bethlehem slaughter. Interrogating the Christian preoccupation with what it asserted was a superseded Jewish past, it asks how models of supersession and typology are subverted when placed in dramatic dialogue with characters who experience time differently. The book employs theories of gender, performance, anti-Semitism, queer theory and periodisation to complicate readings of early theatre’s biblical matriarchs and patriarchs. Dealing with frequently taught plays as well as less familiar material, the book is essential reading for specialist, undergraduate and postgraduate researchers working on medieval performance, gender and queer studies, Jewish-Christian studies and time.

Play time: Gender, anti-Semitism and temporality in medieval biblical drama (Manchester Medieval Literature and Culture)

This book presents an important re-theorisation of gender and anti-Semitism in medieval biblical drama. It charts conflicts staged between dramatic personae in plays that represent theological transitions, including the Incarnation, Flood, Nativity and Bethlehem slaughter. Interrogating the Christian preoccupation with what it asserted was a superseded Jewish past, it asks how models of supersession and typology are subverted when placed in dramatic dialogue with characters who experience time differently. The book employs theories of gender, performance, anti-Semitism, queer theory and periodisation to complicate readings of early theatre’s biblical matriarchs and patriarchs. Dealing with frequently taught plays as well as less familiar material, the book is essential reading for specialist, undergraduate and postgraduate researchers working on medieval performance, gender and queer studies, Jewish-Christian studies and time.

The Playbook for Dads: Parenting Your Kids In the Game of Life

On the football field NFL great Jim Kelly was a strong-armed passer, leading his team to victory after victory. In THE PLAYBOOK FOR DADS he passes principles instead of footballs, still using his talent to lead men, but now he leads them to greatness as fathers, in his view the world's most important job. With an emphasis on preparation, hard work and perseverance, Kelly tackles such essential issues as respect, character, accountability and spiritual discipline. From commitment and courage to honesty and humility, Kelly's lessons-learned on and off the field- guide men striving to be the fathers God designed them to be ­- so their children can grow to be everything they are meant to be. Conversational and refreshingly honest, Jim challenges fathers to work hard, pray for their children often, love their wives and implement these principles. Both practical and inspirational this is Jim Kelly coaching every dad how to be the star quarterback for the home team-his family.

Playing across a Divide: Israeli-Palestinian Musical Encounters

In the last decade of the twentieth century and on into the twenty-first, Israelis and Palestinians saw the signing of the Oslo Peace Accords, the establishment of the Palestinian Authority, the assassination of Israeli Prime Minister Yitzhak Rabin, and the escalation of suicide bombings and retaliations in the region. During this tumultuous time, numerous collaborations between Israeli and Palestinian musicians coalesced into a significant musical scene informed by these extremes of hope and despair on both national and personal levels. Following the bands Bustan Abraham and Alei Hazayit from their creation and throughout their careers, as well as the collaborative projects of Israeli artist Yair Dalal, Playing Across a Divide demonstrates the possibility of musical alternatives to violent conflict and hatred in an intensely contested, multicultural environment. These artists' music drew from Western, Middle Eastern, Central Asian, and Afro-diasporic musical practices, bridging differences and finding innovative solutions to the problems inherent in combining disparate musical styles and sources. Creating this new music brought to the forefront the musicians' contrasting assumptions about sound production, melody, rhythm, hybridity, ensemble interaction, and improvisation. Author Benjamin Brinner traces the tightly interconnected field of musicians and the people and institutions that supported them as they and their music circulated within the region and along international circuits. Brinner argues that the linking of Jewish and Arab musicians' networks, the creation of new musical means of expression, and the repeated enactment of culturally productive musical alliances provide a unique model for mutually respectful and beneficial coexistence in a chronically disputed land.

Playing across a Divide: Israeli-Palestinian Musical Encounters

In the last decade of the twentieth century and on into the twenty-first, Israelis and Palestinians saw the signing of the Oslo Peace Accords, the establishment of the Palestinian Authority, the assassination of Israeli Prime Minister Yitzhak Rabin, and the escalation of suicide bombings and retaliations in the region. During this tumultuous time, numerous collaborations between Israeli and Palestinian musicians coalesced into a significant musical scene informed by these extremes of hope and despair on both national and personal levels. Following the bands Bustan Abraham and Alei Hazayit from their creation and throughout their careers, as well as the collaborative projects of Israeli artist Yair Dalal, Playing Across a Divide demonstrates the possibility of musical alternatives to violent conflict and hatred in an intensely contested, multicultural environment. These artists' music drew from Western, Middle Eastern, Central Asian, and Afro-diasporic musical practices, bridging differences and finding innovative solutions to the problems inherent in combining disparate musical styles and sources. Creating this new music brought to the forefront the musicians' contrasting assumptions about sound production, melody, rhythm, hybridity, ensemble interaction, and improvisation. Author Benjamin Brinner traces the tightly interconnected field of musicians and the people and institutions that supported them as they and their music circulated within the region and along international circuits. Brinner argues that the linking of Jewish and Arab musicians' networks, the creation of new musical means of expression, and the repeated enactment of culturally productive musical alliances provide a unique model for mutually respectful and beneficial coexistence in a chronically disputed land.

Playing God: The Bible on the Broadway Stage

Whether we regard it as the collected inscriptions of an earlier oral tradition or as the divinely authored source text of liturgical ritual, the Bible can be understood as a sacred performance text, a framework for an instructional theater that performs the shared moral and ethical values of a community. It’s not surprising, then, that playwrights have turned to the Bible as a source for theatrical adaptation. Biblical texts have inspired more than 100 Broadway plays and musicals, ranging from early spectacles like Ben-Hur (1899) to more familiar works such as Godspell and Jesus Christ Superstar. What happens when a culture’s most sacred text enters its most commercial performance venue? Playing God focuses on eleven financially and/or critically successful productions, as well as a few notable Broadway flops that highlight the difficulties in adapting the Old and New Testaments for the stage. The book is informed by both performance studies and theater history, combining analysis of play-scripts with archival research into the actual circumstances of production and reception. Biblical plays, Henry Bial argues, balance religious and commercial considerations through a complex blend of spectacle, authenticity, sincerity, and irony. Though there is no magic formula for a successful adaptation, these four analytical lenses help explain why some biblical plays thrive while others have not.

Playing God?: Genetic Determinism and Human Freedon

Since the original publication of Playing God? in 1996, three developments in genetic technology have moved to the center of the public conversation about the ethics of human bioengineering. Cloning, the completion of the human genome project, and, most recently, the controversy over stem cell research have all sparked lively debates among religious thinkers and the makers of public policy. In this updated edition, Ted Peters illuminates the key issues in these debates and continues to make deft connections between our questions about God and our efforts to manage technological innovations with wisdom.

Playing God?: Genetic Determinism and Human Freedon

Since the original publication of Playing God? in 1996, three developments in genetic technology have moved to the center of the public conversation about the ethics of human bioengineering. Cloning, the completion of the human genome project, and, most recently, the controversy over stem cell research have all sparked lively debates among religious thinkers and the makers of public policy. In this updated edition, Ted Peters illuminates the key issues in these debates and continues to make deft connections between our questions about God and our efforts to manage technological innovations with wisdom.

Playing Host To Deity: Festival Religion In The South Indian Tradition

Playing Host to Deity: Festival Religion in the South Indian Tradition

The annual festivals that are central to the south Indian religious tradition are among the largest religious gatherings found anywhere in the world. Most are located at Hindu temples, but some are at Buddhist, Christian, or Islamic centers, and many involve people or symbols from more than one religious tradition. To an observer, the activities of a festival may seem chaotic, but the participants consider the activities the ritual focus of a distinct religious experience, and frequently testify that it is in the activity of a festival that they find their most profound sense of religious meaning. Here, Younger offers a fieldwork-based study of fourteen different religious festivals, shedding light on not only their religious, but also their social and political meanings.

Playing in the Cathedral: Music, Race, and Status in New Spain (Currents in Latin American and Iberian Music)

Throughout Spanish colonial America, limpieza de sangre (literally, "purity of blood") determined an individual's status within the complex system of social hierarchy called casta. Within this socially stratified culture, those individuals at the top were considered to have the highest calidad-an all-encompassing estimation of a person's social status. At the top of the social pyramid were the Peninsulares: Spaniards born in Spain, who controlled most of the positions of power within the colonial governments and institutions. Making up most of the middle-class were criollos, locally born people of Spanish ancestry. During the late seventeenth and early eighteenth centuries, Peninsulare intellectuals asserted their cultural superiority over criollos by claiming that American Spaniards had a generally lower calidad because of their "impure" racial lineage. Still, given their Spanish heritage, criollos were allowed employment at many Spanish institutions in New Spain, including the center of Spanish religious practice in colonial America: Mexico City Cathedral. Indeed, most of the cathedral employees-in particular, musicians-were middle-class criollos. In Playing in the Cathedral, author Jesús Ramos-Kittrell explores how liturgical musicians-choristers and instrumentalists, as well as teachers and directors-at Mexico City Cathedral in the mid-eighteenth century navigated changing discourses about social status and racial purity. He argues that criollos cathedral musicians, influenced by Enlightenment values of self-industry and autonomy, fought against the Peninsulare-dominated, racialized casta system. Drawing on extensive archival research, Ramos-Kittrell shows that these musicians held up their musical training and knowledge, as well as their institutional affiliation with the cathedral, as characteristics that legitimized their calidad and aided their social advancement. The cathedral musicians invoked claims of "decency" and erudition in asserting their social worth, arguing that their performance capabilities and theoretical knowledge of counterpoint bespoke their calidad and status as hombres decentes. Ultimately, Ramos-Kittrell argues that music, as a performative and theoretical activity, was a highly dynamic factor in the cultural and religious life of New Spain, and an active agent in the changing discourses of social status and "Spanishness" in colonial America. Offering unique and fascinating insights into the social, institutional, and artistic spheres in New Spain, this book is a welcome addition to scholars and graduate students with particular interests in Latin American colonial music and cultural history, as well as those interested in the intersections of music and religion.

Playing in the Cathedral: Music, Race, and Status in New Spain (Currents in Latin American and Iberian Music)

Throughout Spanish colonial America, limpieza de sangre (literally, "purity of blood") determined an individual's status within the complex system of social hierarchy called casta. Within this socially stratified culture, those individuals at the top were considered to have the highest calidad-an all-encompassing estimation of a person's social status. At the top of the social pyramid were the Peninsulares: Spaniards born in Spain, who controlled most of the positions of power within the colonial governments and institutions. Making up most of the middle-class were criollos, locally born people of Spanish ancestry. During the late seventeenth and early eighteenth centuries, Peninsulare intellectuals asserted their cultural superiority over criollos by claiming that American Spaniards had a generally lower calidad because of their "impure" racial lineage. Still, given their Spanish heritage, criollos were allowed employment at many Spanish institutions in New Spain, including the center of Spanish religious practice in colonial America: Mexico City Cathedral. Indeed, most of the cathedral employees-in particular, musicians-were middle-class criollos. In Playing in the Cathedral, author Jesús Ramos-Kittrell explores how liturgical musicians-choristers and instrumentalists, as well as teachers and directors-at Mexico City Cathedral in the mid-eighteenth century navigated changing discourses about social status and racial purity. He argues that criollos cathedral musicians, influenced by Enlightenment values of self-industry and autonomy, fought against the Peninsulare-dominated, racialized casta system. Drawing on extensive archival research, Ramos-Kittrell shows that these musicians held up their musical training and knowledge, as well as their institutional affiliation with the cathedral, as characteristics that legitimized their calidad and aided their social advancement. The cathedral musicians invoked claims of "decency" and erudition in asserting their social worth, arguing that their performance capabilities and theoretical knowledge of counterpoint bespoke their calidad and status as hombres decentes. Ultimately, Ramos-Kittrell argues that music, as a performative and theoretical activity, was a highly dynamic factor in the cultural and religious life of New Spain, and an active agent in the changing discourses of social status and "Spanishness" in colonial America. Offering unique and fascinating insights into the social, institutional, and artistic spheres in New Spain, this book is a welcome addition to scholars and graduate students with particular interests in Latin American colonial music and cultural history, as well as those interested in the intersections of music and religion.

Playing the Crusades: Engaging the Crusades, Volume Five (Engaging the Crusades)

Engaging the Crusades is a series of volumes which offer windows into a newly emerging field of historical study: the memory and legacy of the crusades. Together these volumes examine the reasons behind the enduring resonance of the crusades and present the memory of crusading in the modern period as a productive, exciting, and much needed area of investigation. This volume considers the appearance and use of the crusades in modern games; demonstrating that popular memory of the crusades is intrinsically and mutually linked with the design and play of these games. The essays engage with uses of crusading rhetoric and imagery within a range of genres – including roleplaying, action, strategy, and casual games – and from a variety of theoretical perspectives drawing on gender and race studies, game design and theory, and broader discussions on medievalism. Cumulatively, the authors reveal the complex position of the crusades within digital games, highlight the impact of these games on popular understanding of the crusades, and underline the connection between the portrayal of the crusades in digital games and academic crusade historiography. Playing the Crusades is invaluable for scholars and students interested in the crusades, popular representations of the crusades, historical games, and collective memory.

Playing the Crusades: Engaging the Crusades, Volume Five (Engaging the Crusades)

Engaging the Crusades is a series of volumes which offer windows into a newly emerging field of historical study: the memory and legacy of the crusades. Together these volumes examine the reasons behind the enduring resonance of the crusades and present the memory of crusading in the modern period as a productive, exciting, and much needed area of investigation. This volume considers the appearance and use of the crusades in modern games; demonstrating that popular memory of the crusades is intrinsically and mutually linked with the design and play of these games. The essays engage with uses of crusading rhetoric and imagery within a range of genres – including roleplaying, action, strategy, and casual games – and from a variety of theoretical perspectives drawing on gender and race studies, game design and theory, and broader discussions on medievalism. Cumulatively, the authors reveal the complex position of the crusades within digital games, highlight the impact of these games on popular understanding of the crusades, and underline the connection between the portrayal of the crusades in digital games and academic crusade historiography. Playing the Crusades is invaluable for scholars and students interested in the crusades, popular representations of the crusades, historical games, and collective memory.

Playing with God: Religion and Modern Sport

The spectacle of modern sport displays all the latest commercial and technological innovations, yet age-old religious concerns still thrive at the stadium. Coaches lead pre-game and post-game prayers, athletes give God the credit for home runs and touchdowns, and fans wave signs with biblical quotations and allusions. Like no other nation on earth, Americans eagerly blend their religion and sports. Playing with God traces this dynamic relationship from the Puritan condemnation of games as sinful in the seventeenth century to the near deification of athletic contests in our own day. Early religious opposition to competitive sport focused on the immoderate enthusiasm of players and spectators, the betting on scores, and the preference for playing field over church on Sunday. Disapproval gradually gave way to acceptance when "wholesome recreation" for young men in crowded cities and soldiers in faraway fields became a national priority. Protestants led in the readjustment of attitudes toward sport; Catholics, Jews, Mormons, and Muslims followed. The Irish at Notre Dame, outstanding Jews in baseball, Black Muslims in the boxing ring, and born-again athletes at Liberty University represent the numerous negotiations and compromises producing the unique American mixture of religion and sport.

Playing with Scripture: Reading Contested Biblical Texts with Gadamer and Genre Theory (Routledge Interdisciplinary Perspectives on Biblical Criticism)

This book puts a creative new reading of Hans-Georg Gadamer’s philosophical hermeneutics and literary genre theory to work on the problem of Scripture. Reading texts as Scripture brings two hermeneutical assumptions into tension: that the text will continually say something new and relevant to the present situation, and that the text has stability and authority over readers. Given how contested the Bible’s meaning is, how is it possible to ‘read Scripture’ as authoritative and relevant? Rather than anchor meaning in author, text or reader, Gadamer’s phenomenological model of hermeneutical experience as Spiel (‘play’) offers a dynamic, intersubjective account of how understanding happens, avoiding the dead end of the subjective–objective dichotomy. Modern genre theory addresses some of the criticisms of Gadamer, accounting for the different roles played by readers in different genres using the new term Lesespiel (‘reading game’). This is tested in three case studies of contested texts: the recontextualization of psalms in the book of Acts, the use of Hagar’s story (Genesis 16) in nineteenth-century debates over slavery and the troubling reception history of the rape and murder in Gibeah (Judges 19). In each study, the application of ancient text to contemporary situation is neither arbitrary, nor slavishly bound to tradition, but playful.

Playing with Scripture: Reading Contested Biblical Texts with Gadamer and Genre Theory (Routledge Interdisciplinary Perspectives on Biblical Criticism)

This book puts a creative new reading of Hans-Georg Gadamer’s philosophical hermeneutics and literary genre theory to work on the problem of Scripture. Reading texts as Scripture brings two hermeneutical assumptions into tension: that the text will continually say something new and relevant to the present situation, and that the text has stability and authority over readers. Given how contested the Bible’s meaning is, how is it possible to ‘read Scripture’ as authoritative and relevant? Rather than anchor meaning in author, text or reader, Gadamer’s phenomenological model of hermeneutical experience as Spiel (‘play’) offers a dynamic, intersubjective account of how understanding happens, avoiding the dead end of the subjective–objective dichotomy. Modern genre theory addresses some of the criticisms of Gadamer, accounting for the different roles played by readers in different genres using the new term Lesespiel (‘reading game’). This is tested in three case studies of contested texts: the recontextualization of psalms in the book of Acts, the use of Hagar’s story (Genesis 16) in nineteenth-century debates over slavery and the troubling reception history of the rape and murder in Gibeah (Judges 19). In each study, the application of ancient text to contemporary situation is neither arbitrary, nor slavishly bound to tradition, but playful.

The Pleasure Of Discernment: Marguerite De Navarre As Theologian

The Pleasure of Discernment: Marguerite de Navarre as Theologian (Oxford Studies in Historical Theology)

In this innovative study, Carol Thysell provides an in-depth examination of Marguerite de Navarre's Heptameron. While this collection of tales is traditionally considered to be secular in nature, Thysell argues that Marguerite de Navarre used it as a vehicle for a constructive theological program.

Pledges of Jewish Allegiance: Conversion, Law, and Policymaking in Nineteenth- and Twentieth-Century Orthodox Responsa (Stanford Studies in Jewish History and Culture)

Since the late 1700s, when the Jewish community ceased to be a semiautonomous political unit in Western Europe and the United States and individual Jews became integrated—culturally, socially, and politically—into broader society, questions surrounding Jewish status and identity have occupied a prominent and contentious place in Jewish legal discourse. This book examines a wide array of legal opinions written by nineteenth- and twentieth-century orthodox rabbis in Europe, the United States, and Israel. It argues that these rabbis' divergent positions—based on the same legal precedents—demonstrate that they were doing more than delivering legal opinions. Instead, they were crafting public policy for Jewish society in response to Jews' social and political interactions as equals with the non-Jewish persons in whose midst they dwelled. Pledges of Jewish Allegiance prefaces its analysis of modern opinions with a discussion of the classical Jewish sources upon which they draw.

Plenty Good Room

Tamara's attention was riveted on Minister Walker. She felt a bit dazed by the magnitude of the sacrifice that Jesus made, giving up His life for people just like her. "Now, let's go back to our description of love, church. Could you love like that? Could you sacrifice anything that you really cared about?" Tamara couldn't help but think of how often she was resentful about Sienna's intrusion in her life. It wasn't as if she even loved the girl or anything like that, yet she felt ashamed of being so selfish at this moment. Reverend Walker, preaching in earnest, said, "Church, your sadness can't keep you cryin' when you walkin' in love, and your problems can't make you lose your joy when you walkin' in love." Tamara closed her eyes and held her Bible close as she found her feelings again going awry in the sanctuary. The lyrics to the old Negro spiritual touched her heart, and her eyes were wet with unshed tears...All Tamara could do was hug herself as she gently rocked back and forth, listening to the singing that seemed to fill her...