If religion is continually in a state of flux how can the study of religion critically examine contemporary religious beliefs and values? 'Representing Religion' critically examines this "crisis of representation". The volume traces the history of religious studies, critiquing the concept that "experience" is central to understanding religion. The views of influential semioticians and philosophers - notably Nietzsche, Saussure, Foucault, Barthes, and Bakhtin - are used to construct a new methodology for the critical study of religion. Representing Religion will be of interest to students and scholars of semiotics as well as theory and method in religious studies.
Examining religious representation at the state, transnational and institutional levels, this volume demonstrates that religion is becoming an increasingly important element of the decision-making process. It provides a comprehensive analysis of religious representation in the European Union that will be of great interest to students and scholars of European politics, sociology of religion and international relations.
Religious traditions have provided a seemingly endless supply of subject matter for film, from the Ten Commandments to the Mahabharata . At the same time, film production has engendered new religious practices and has altered existing ones, from the cult following of The Rocky Horror Picture Show to the 2001 Australian census in which 70,000 people indicated their religion to be 'Jedi Knight'. Representing Religion in World Cinema begins with these mutual transformations as the contributors query the two-way interrelations between film and religion across cinemas of the world. Cross-cultural and interdisciplinary by nature, this collection by an international group of scholars draws on work from religious studies, film studies, and anthropology, as well as theoretical impulses in performance, gender, ethnicity, colonialism, and postcolonialism.
In this groundbreaking collection, Edward L. Cleary and Allen D. Hertzke bring together nine new essays that provide the first systematic, comparative view of religion and politics at the state level. These essays take an in-depth look at the pressing issues facing states across the nation and how religious lobbies and organizations are addressing them. By examining the responses of different denominations and their rationales for involvement, the contributors explore the enormous diversity of interests being represented at the state level.
This is the first full-length exploration of the relationship between religion, film, and ideology. It shows how religion is imagined, constructed, and interpreted in film and film criticism. The films analyzed include The Last Jedi, Terminator, Cloud Atlas, Darjeeling Limited, Hellboy, The Revenant, Religulous, and The Secret of my Success. Each chapter offers: - an explanation of the particular representation of religion that appears in film - a discussion of how this representation has been interpreted in film criticism and religious studies scholarship - an in-depth study of a Hollywood or popular film to highlight the rhetorical, social, and political functions this representation accomplishes on the silver screen - a discussion about how such analysis might be applied to other films of a similar genre Written in an accessible style, and focusing on Hollywood and popular cinema, this book will be of interest to both movie lovers and experts alike.
The Power of Religion in the Public Sphere represents a rare opportunity to experience a diverse group of preeminent philosophers confronting one pervasive contemporary concern: what role does or should religion play in our public lives? Reflecting on her recent work concerning state violence in Israel-Palestine, Judith Butler explores the potential of religious perspectives for renewing cultural and political criticism, while Jürgen Habermas, best known for his seminal conception of the public sphere, thinks through the ambiguous legacy of the concept of "the political" in contemporary theory. Charles Taylor argues for a radical redefinition of secularism, and Cornel West defends civil disobedience and emancipatory theology. Eduardo Mendieta and Jonathan VanAntwerpen detail the immense contribution of these philosophers to contemporary social and political theory, and an afterword by Craig Calhoun places these attempts to reconceive the significance of both religion and the secular in the context of contemporary national and international politics.
Comics traffic in stereotypes, which can translate into real danger, as was the case when, in 2015, two Muslim gunmen opened fire at the offices of Charlie Hebdo, which had published depictions of Islam and Muhammad perceived by many to be blasphemous. As a response to that tragedy, Ken Koltun-Fromm calls for us to expand our moral imaginations through readings of graphic religious narratives. Utilizing a range of comic books and graphic novels, including R. Crumb’s Book of Genesis Illustrated, Craig Thompson’s Blankets, the Vakil brothers’ 40 Sufi Comics, and Ms. Marvel, Koltun-Fromm argues that representing religion in these formats is an ethical issue. By focusing on the representation of Christian, Jewish, Muslim, and Hindu religious traditions, the comics discussed in this book bear witness to the ethical imagination, the possibilities of traversing religious landscapes, and the problematic status of racial, classed, and gendered characterizations of religious persons. Koltun-Fromm explores what religious stereotypes do and how they function in comics in ways that might expand or diminish our imaginative worlds. The pedagogical challenge, he argues, is to linger in that space and see those worlds well, with both ethical sensitivity and moral imagination. Accessibly written and vibrantly illustrated, this book sheds new light on the ways in which comic arts depict religious faith and culture. It will appeal to students and scholars of religion, literature, and comic studies.
Increasingly, as the production, distribution and audience of films cross national boundaries, film scholars have begun to think in terms of ‘transnational’ rather than national cinema. This book is positioned within the emerging field of transnational cinema, and offers a groundbreaking study of the relationship between transnational cinema and ideology. The book focuses in particular on the complex ways in which religion, identity and cultural myths interact in specific cinematic representations of ideology. Author Milja Radovic approaches the selected films as national, regional products, and then moves on to comparative analysis and discussion of their transnational aspects. This book also addresses the question of whether transnationalism reinforces the nation or not; one of the possible answers to this question may be given through the exploration of the cinema of national states and its transnational aspects. Radovic illustrates the ways in which these issues, represented and framed by films, are transmitted beyond their nation-state borders and local ideologies in which they originated – and questions whether therefore one can have an understanding of transnational cinema as a platform for political dialogue.
Is religion the same as culture? How does it fit with life in the modern world? Do you have to 'believe' to be part of one? From televangelism in the American South to the wearing of hijab in Britain and Egypt; from the rise of paganism to the aftermath of September 11th, this accessible guide looks at the ways in which religion interacts with the everyday world in which we live. A comprehensive introduction to the world of religion, it includes: * religion and culture * how power operates in religion * gender issues * the role of belief, rituals, and religious texts * religion in the contemporary world Religion: The Basics offers an invaluable and up-to-date overview for anyone wanting to find out more about this fascinating subject.
