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    Summary of Karen Armstrong's The Case for God
    Summary of Karen Armstrong's The Case for God
    Summary of Karen Armstrong's The Case for God
    Ebook64 pages40 minutes

    Summary of Karen Armstrong's The Case for God

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    #1 The guide turns his flashlight on the ceiling of the underground caverns of Lascaux, and the painted animals seem to emerge from the depths of the rock. The artwork is far more clear than it was to the Palaeolithic artists, since they had to work by the light of small flickering lamps.

    #2 The caves were probably sanctuaries, and their iconography reflected a radically different worldview than the outside world. The cave paintings depict men confronting animals in a state of trance with upraised arms.

    #3 The Palaeolithic caves may have been the scene of similar rites. The paintings include dancing men dressed as animals. The Bushmen say that their own rock paintings depict the world behind this one that we see with our eyes, which the shamans visit during their mystical flights.

    #4 The caves were used for the initiation ceremonies that marked the adolescent boy’s rite of passage from childhood to maturity. The purpose of the ritual was to train the boy to kill in the sacred manner. He was introduced to the more esoteric mythology of his tribe during the initiation.

    LanguageEnglish
    PublisherIRB Media
    Release dateMay 18, 2022
    ISBN9798822520417
    Summary of Karen Armstrong's The Case for God
    Author

    IRB Media

    With IRB books, you can get the key takeaways and analysis of a book in 15 minutes. We read every chapter, identify the key takeaways and analyze them for your convenience.

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      Book preview

      Summary of Karen Armstrong's The Case for God - IRB Media

      Insights on Karen Armstrong's The Case for God

      Contents

      Insights from Chapter 1

      Insights from Chapter 2

      Insights from Chapter 1

      #1

      The guide turns his flashlight on the ceiling of the underground caverns of Lascaux, and the painted animals seem to emerge from the depths of the rock. The artwork is far more clear than it was to the Palaeolithic artists, since they had to work by the light of small flickering lamps.

      #2

      The caves were probably sanctuaries, and their iconography reflected a radically different worldview than the outside world. The cave paintings depict men confronting animals in a state of trance with upraised arms.

      #3

      The Palaeolithic caves may have been the scene of similar rites. The paintings include dancing men dressed as animals. The Bushmen say that their own rock paintings depict the world behind this one that we see with our eyes, which the shamans visit during their mystical flights.

      #4

      The caves were used for the initiation ceremonies that marked the adolescent boy’s rite of passage from childhood to maturity. The purpose of the ritual was to train the boy to kill in the sacred manner. He was introduced to the more esoteric mythology of his tribe during the initiation.

      #5

      Religion is hard work, and it is difficult to maintain a sense of meaning in the face of the relentless pain and injustice of life. Men and women have created religions and works of art to help them find value in their lives, despite all the dispiriting evidence.

      #6

      Religion was not something tacked on to the human condition. It was something that was inherent in human beings, and they were naturally inclined to it. Humans have a tendency to seek out ekstasis, a stepping outside the norm, which is what religion provides.

      #7

      The first principle is the nature of the ultimate reality. In the rock overhang at Laussel near Lascaux, there is a small stone relief that is seventeen thousand years old and was created at about the same time as the cave paintings. It depicts a woman holding a curved bison’s horn above her head.

      #8

      The ancient Aryan tribes, who had lived on the Caucasian steppes since about 4500 BCE, revered an invisible, impersonal force within themselves and all other natural phenomena. They called this force the shining one.

      #9

      The Aryan priests developed the Brahmodya competition, which became a model of authentic religious discourse. The contestants began by going on a retreat in the forest, where they performed spiritual exercises that concentrated their minds. Then they could begin.

      #10

      The ultimate reality was not a personalized god, but a transcendent mystery that could never be plumbed. The Chinese called it the Dao, and it existed at a point where all the distinctions that characterize our normal modes of thought became irrelevant.

      #11

      The first principle of premodern religion was that people felt a yearning for the absolute, and they went to great lengths to cultivate their sense of it. But they also felt estranged from it. The lost paradise was a myth that expressed an inchoate conviction that life was not meant to be so fragmented and full of pain.

      #12

      The High God was a contradiction in terms. How could a mere being be responsible for being itself. People tried to elevate the High God to a special plane, but he

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