Deuteronomy – Feminism and Religion

An excerpt from SpiritualiTEA with Chasity Podcast Episode 3: Why are we afraid of Divination??? What is divination?

Divination is from Latin divinare “to foresee, to be inspired by a god”. (Goleman, David. The Varieties of the Meditative Experience. London: Rider, 1975.)

“DIVINATION IS A SACRAMENT!!” – Chastity S. Jones

This is beautiful to me because it reminds me of how when the prophets would begin to prophesy in the bible or even the explosive forward movement of the spread of the gospel- driven by the Holy Spirit, as well as those who documented the gospel are all described as being inspired by God.

The most popular form of divination right now is tarot cards but we will discuss how there are many other forms- including forms that are acceptable in the church RIGHT NOW.

There are many bible verses cursing those who divine but I want to reiterate that one bible verse cannot be a comprehensive ethic or set of ethics, especially when there are other verses that contradict that verse.

I am a Protestant in large part because I like to read. Even after grappling with feminist critiques of patriarchal religions, a spirituality rooted in the Word (capital “W”) is very deep-seated in me. One reason I think of my faith as biblical is that a scriptural religion engages me in my favorite activity. At the same time, there are real connections between exclusive dependence on written records and the erasure of women’s history, as well as various ways in which women have been excluded from literary production. The opposition between text and world often becomes a manifestation of the hierarchy of mind and body that many feminists have seen as damaging. It’s like the question of “why are there no great women composers?” The problem with this question is not only that it ignores great women composers such as Hildegard of Bingen, Barbara Strozzi, Louise Farrenc, or Thea Musgrave. As feminist musicologists Marcia Citron and Suzanne Cusick have shown, the question reinforces a hierarchy in which composers, those who create musical texts, have precedence over those who perform and listen. It also relegates places where women’s contribution has been essential to the production of music – educating children, for example – to irrelevance. Continue reading “Textual Religion and the Marginalization of Two Huldas by Dirk von der Horst”