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By Logsdon M.I.

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73. See Timothy Husband and Jane Hayward, Tlie Secular Spirit: Life and Art at the End of the Middle Ages (New York: E. P. Dutton, 1975), 11. 74. See Wagar, "Introduction," 6. 75. , 5. See also p. 12. 76. David Nash, Secular ism, Art and Freedom (Leicester: Leicester University Press, 1992), 8-27. 77. Carter, The Culture of'Disbelief] 7. 78. Ibid. 38 SECULAR STEEPLES 79. Meland, Secularization of Modern Cultures, 15, 58fF. See also Arnold Toynbee, An Historian's Approach to Religion (New York: Oxford University Press, 1956).

Sense of place, text, and image participate in a culture's storytelling and represent three and only three of the various ways 34 SECULARSTEEPLES humans seek and express truths. At some times and in some places, one or another may tend to dominate, but all three are present in the cultural sacred and secular myths that help define what cultures hold to be true. In the following pages, I look at each portal and examine the secularsacred dialogue taking place in contemporary America. The dialogue illustrates the claim in this chapter that secularization should be seen as taking place in two directions: secularization equals secularizing the sacred as well as sacralizing the secular.

80. Wagar, "Introduction," 9. See also Pratt, Religion and Secularization, 11-20. 81. Pratt, Religion and Secularization, 13. 82. See Bernard Eugene Meland, The Realities oj Faith: The Revolution in Cultural Forms (New York: Oxford University Press, 1962), preface. 83. Drane, The Possibility of God, 87-89. 84. Stark and Bainbridge, The Future of Religion, 430—4. 85. , 432-33. 86. Wagar, "Introduction," 8. 87. See Meland, The Secularization of Modern Cultures, 35; Smart, Beyond Ideology, 209-11.

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A Mathematician Explains by Logsdon M.I.


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