Religion was always perceived as the threshold between two worlds. It is a space where individuals are supposed to be connected to a different reality through the mediating power of a particlular ritual, at a specific time and in a certain space. A new space of appearance is the expected outcome along with this relocation from profane to sacred. Religious broadcasting could be conceptualized as a visual and acoustic “altar”. The ritual, space and time are the (...) pillars of this audio-visual “cathedral” the very space that could build the bridge between sacred and profane, and the means for this mediated, symbolic transfer. This paper tries to outline the power of media representation in the context of religious broadcasting that uses ritual and imagination to maintain and negotiate the distinction between sacred and profane and to generate alternative narratives. In this regard, the religious broadcasting, presuming the sacerdotal role to represent, mediate and interpret the relationship between sacred and profane is being conditioned by a ritualized medium. As a result, the religious messages could end up as a ritualized mystification that would jeopardize the production of meaning. (shrink)

Most religious texts and practices warrant the exclusion of women from religious rituals and public spheres during the menstrual flow. This is seemingly at odds with the very idea of ‘Religion’ which binds the human beings with God without any gender and sexual discrimination. The present article attempts to problematize the ascription of negative values on menstruating women prevalent in both Hinduism and Christianity, two major world religions of the East and the West. After briefly stating the patriarchal (...) values that restrict women from participating in religious rituals and shaming them during menstruation as seen from both these religions, the article highlights the alternate feminist perspectives in beliefs that positively value the menstruating bodies. Thus, the notion of profanity is revalued as sacred in these alternate religious perspectives. Drawing from the writings of Mary Douglas, we then examine the connection between the notion of purity/impurity and menstruation and argue that what makes something pure or impure depends upon the archetype the society chooses to represent itself. In itself, nothing is either pure or impure in the sense of having a value or disvalue. This argument is exemplified through a feministic-hermeneutic approach to the religious practices in two major world religions. The article concludes by uncovering the patriarchal values held by religions as the cause of menstrual taboos in religious practices and argues that the notions of purity/impurity and sacred/profane are the results of the valuations made—from a patriarchal or feministic perspective. (shrink)

Recent studies have been increasingly interested in the connections between popular culture – cinema in particular – and religion, and most particularly in how traditional mythologies and religious frameworks and practices are recycled and reinterpreted within modern media. These interactions can be ranged from opposition to dialogue and move towards appropriation and even replacement, in terms of functions and impact. Departing from a series of theories – mainly that of “implicit religion”, coined by Bailey but also developed by theorists (...) like Lyden – the article examines the issue of recycled myth and religious pattern in contemporary cinema, focusing on the Russian “New Wave” and more specifically on discussing Zvyagintsev’s Vozvrashchenie [The Return]. The article aims to decode the religious layers and symbolism of the film, which can find a coherent explanation in Eliade’s theories on the pattern of initiation, but also in those on the sacred camouflaged into the profane and most particularly on the hierophanies and initiation religious patterns. The paper also focuses on the function of religious archetypes and rituals as employed by contemporary storytellers like cinema, especially when such religious scripts are as articulated, although implicit, as in Zvyagintsev’s narrative. The article concludes that this return to religion and the sacred as worldviews and manners of understanding of the world can be explained as employed for their persistent function of myth structures as meaning and coherence providers. (shrink)

This article explores the contrast of pilgrimage and tourism as sacred and profane journeys using Disney World and the Camino de Santiago as exemplars of such destinations. An entanglement of place structures reveals Disney World as a quasi-religious journey site for some whose tourist actions implicate a ritual centered on capitalist mythology. Disentangling sacred encounters and profane experiences demonstrates the role such places play in elevating community versus self-indulgence.

The advent of new media interactions has not only transformed the way museums curate and present cultural heritage but has also significantly influenced the reconstruction of religious memory and identity. Digital technologies enable immersive engagement with sacred artifacts, texts, and narratives, fostering deeper emotional and intellectual connections between visitors and religious traditions. By integrating interactive media into museum exhibitions, institutions can enhance the spiritual resonance of religious heritage, providing visitors with a participatory experience that strengthens their (...) connection to sacred history, theological concepts, and collective identity. This study explores the theoretical foundations of _collective religious memory_ and _spiritual identity formation_ in the context of digital museum design. By constructing an audience activity model and a hierarchical framework for narrative and interactive design, the research examines how digital storytelling, augmented reality (AR), and virtual reality (VR) enhance the experiential and educational value of religious exhibitions. Strategies for digital museum design are proposed, including immersive contextual atmospheres that allow visitors to engage with religious narratives in a deeply personal and contemplative manner. The integration of mirrored storytelling and interactive theological discourse fosters a heightened sense of spiritual connection and participation, reinforcing both individual and communal religious identity. Additionally, intelligent digital memory systems facilitate personalized engagement with religious texts, artifacts, and rituals, creating an adaptive learning environment that strengthens both cognitive and emotional understanding of religious traditions. By bridging the gap between traditional religious experience and modern technological advancements, this study highlights how digital museums serve as contemporary spaces for the preservation, reinterpretation, and transmission of sacred memory. It argues that new media interactions not only enhance the accessibility of religious heritage but also provide innovative pathways for engaging with theological discourse, fostering interfaith dialogue, and deepening spiritual reflection. Future research should further explore the role of digital museum spaces in shaping contemporary religious consciousness and their potential for sustaining and revitalizing sacred traditions in an increasingly digitalized world. (shrink)

We live in a material world. But what is matter? Can it point us towards meanings outside itself, or can any meaning it possesses only be invested in it by human beings? To what extent might these semantic activities overlap? How have our current understandings of matter and meaning developed from those of past thinkers, in both Western and non-Western contexts? These and many other questions were addressed at a conference held under the auspices of the Science and Religion Forum (...) at Liverpool Hope University in 2008. That conference brought together some leading figures in the disciplines of theology and the natural sciences, and a selection of the papers given at it is now presented in this book. They offer important new historical, scientific and theological insights from a variety of perspectives to those with an interest in the fast-developing area of the dialogue between these disciplines; and they will also be found valuable by anyone who wishes to explore the complexities of this dialogue, as it moves beyond the black-and-white histrionics of its presentation in the popular media. (shrink)

"Mobile Lifeworlds illustrates how the imaginaries and ideals of Western travellers, especially those of untouched nature and spiritual enlightenment, are consistent with media representations of the Himalayan region, romanticism and modernity at large. Blending tourism and pilgrimage, travel across Nepal, Tibet, Bhutan, and Northern India is often inspired and oriented by a search for authenticity, adventure and Otherness. Such valued ideals are shown, however, to be contested by the very forces and configurations that enable global mobility. The role ubiquitous media (...) and mobile technologies now play in framing travel experiences are explored, revealing a situation in which actors are neither here nor there, but increasingly are 'inter-placed' across planetary landscapes. Beyond institutionalised religious contexts and the visiting of sacred sites, the author shows how a secular religiosity manifests in practical, bodily encounters with foreign environments. This book is unique in that it draws on a dynamic and innovative set of disciplinary and theoretical perspectives, especially phenomenology, the mobilities paradigm and philosophical anthropology. The volume breaks fresh ground in pilgrimage, tourism and travel studies by unfolding the complex relationships between the virtual, imaginary and corporeal dynamics of contemporary mobile lifeworlds"--From publisher's website. (shrink)

This paper considers religion in relation to four recurrent traits: belief systems incorporating supernatural agents and counterintuitive concepts, communal ritual, separation of the sacred and the profane, and adolescence as a preferred developmental period for religious transmission. These co-occurring traits are viewed as an adaptive complex that offers clues to the evolution of religion from its nonhuman ritual roots. We consider the critical element differentiating religious from non-human ritual to be the conditioned association of (...) emotion and abstract symbols. We propose neurophysiological mechanisms underlying such associations and argue that the brain plasticity of human adolescence constitutes an “experience expectant” developmental period for ritual conditioning of sacred symbols. We suggest that such symbols evolved to solve an ecological problem by extending communication and coordination of social relations across time and space. (shrink)

This study explores the religious dimensions of Thai Buddhism through the interplay between ritual and art, and its impact on Thai identity. It investigates how art underpins Thai Buddhist rituals by examining the nature and role of prominent ritual and religious practices. The research focuses on temple art and artistic elements such as murals, statues, and other features that transform ritual spaces into sacred zones during significant festivals like Visakha Bucha and Makha Bucha. Additionally, (...) it includes an analysis of sand mandalas, which symbolize temporality and engage participants in their creation and observation. The study also addresses the ethnoreligious aspects of Thai folk music (Luk Thung) and dance-drama (Khon), highlighting their roles in reinforcing Buddhist institutions and societal cohesion. By examining case studies such as Loy Krathong and the Phuket Vegetarian Festival, the study demonstrates how religious and cultural performances shape Thai identity. Ultimately, the research asserts that Thai Buddhist art functions as both a symbol of religious principles and an active medium for religious representation and performance, thereby affirming and enacting Thai national and sacred identity. (shrink)

Science and religion pervade the 1973 horror The Exorcist (1973), and the film exists, as the movie’s tagline suggests, ‘somewhere between science and superstition’. Archival materials show the depth of research conducted by writer/director William Friedkin in his commitment to presenting and exploring emerging scientific procedures and accurate Catholic ritual. Where clinical and barbaric science fails, faith and ritual save the possessed child Reagan MacNeil (Linda Blair) from her demons. The Exorcist created media frenzy in 1973, with increased (...) reports in the popular press of demon possessions, audience members convulsing and vomiting at screenings, and apparent religious and specifically Catholic moral outrage. However, the official Catholic response to The Exorcist was not as reactionary as the press claimed. The United States Conference of Catholic Bishops’ Office of Film and Broadcasting (USCCB-OFB) officially and publicly condemned the film as being unsuitable for a wide audience, but reviews produced for the office by priests and lay Catholics and correspondence between the Vatican and the USCCB-OFB show that the church at least notionally interpreted it as a positive response to the power of faith. Warner Bros. Studios, however, were keen to promote stories of religious outrage to boost sales and news coverage – a marketing strategy that actively contradicted Friedkin’s respectful and collaborative approach to working with both religious communities and medical professionals. Reports of Catholic outrage were a means of promoting The Exorcist rather than an accurate reflection of the Catholic Church’s nuanced response to the film and its scientific and religious content. (shrink)

This article uses paradigms developed in the ethics of war debate, primarily jus in bello (just actions in war), and academic theories developed for the study of religion: the dialectic of the sacred and profane, and ritual studies – primarily sacrifice, festivals, and rites of passage – to analyze the Bhagavad-Gita and the sections of the Mahabharata that tell the story of the Kurukshetra War.11 The historicity of this war is in doubt. However, Hindu tradition places it in (...) approximately 3100 BCE, with Indian scholars proposing dates ranging from approximately plus/minus 2000 years from the traditional date. The article focuses attention on the fact that along with Krishna preaching Hindu dharma (religious socio-ethical duties) in the Bhagavad-Gita, a militarist ethic is forcefully put forth within Kshatriya dharma. The objective is to bring out salient points on human behavior expressed by combatants in war through their religious ethics and religious rituals. While some commentary is offered on the meaning of the teachings presented in these texts, the main goal is examining human behavior not textual meaning. The article builds on studies that show religious ritual as a powerful force in inculcating ethics and behavior in the pursuit of war. The article comments on religion and war in general in order to advance the understanding of human religious expression and behavior in regard to war. (shrink)

Joining his monumental erudition in the phenomenology of religion with affinity and skill in the arts, Gerardus van der Leeuw has produced a really beautiful work. Tracing the genesis of the various arts from an original unity in expressive religious dance, through their assertions of independence as distinctive secular forms marked by the individualism of their practioners, he tries to show that each art form structurally expresses an aspect of the holy. His concern is to prepare for the reunification (...) of the arts based on a religious esthetics. The writing is somewhat diffuse but graceful, the presentation descriptive rather than argumentative. Throughout, one senses the quality of the author's cultivation and concern. The posthumous translation and publication of this work gives his many admirers in the English-speaking world a fitting memorial of a beloved master.—W. G. E. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A National Shrine to Scapegoating? The Vietnam Veterans Memorial Washington, D.C. Jon Pahl Valparaiso University In a recent survey I conducted of visitors to the Vietnam Veterans Memorial in Washington, D.C, 92 percent agreed that "the memorial is a sacred place, and should be treated as such."1 Clearly, this place, by some reports the most visited site in the U.S. capital, draws devotion. But how does a pilgrimage (...) to this memorial function?2 Does pilgrimage to "the wall" serve to "heal a nation," as its builders intended, or does pilgrimage to the memorial ironically legitimize structures of violence like those which led the United States into the Vietnamese conflict in the first place?3 My argument builds upon the work of René Girard to suggest that pilgrimage to the Vietnam Veterans Memorial can legitimize the violence of American culture by 'The survey was of 185 pilgrims attending ceremonies during Veterans Day, November 11, 1993 and 1994. Several recent works explore the interface between civil religion and violence, notably John E. Bodnar, Karal Ann Marling, and Edward T. Linenthal. On sacred places, the pioneering work of Mircea Eliade, The Sacred and the Profane, remains important but must be supplemented by Jonathan Z. Smith's Imagining Religion. 1 Victor and Edith Turner argue cogently that "if a tourist is half pilgrim, a pilgrim is half tourist" (20). Many visitors to the Vietnam Veterans Memorial understand themselves only as tourists, but their behavior appears to me to warrant treatment under the category of "pilgrimage." 3 I assume a "maximalist" definition of violence, which understands the word to refer not only to physical harm to individuals, but also to systemic, social structures of exclusion (such as racism), and ideological (or symbolic) justifications of violence (see Robert McAfee Brown; for a minimalist approach, see Gerald Runkle). 166Jon Pahi reinforcing scapegoating.4 At the same time, however, the established religious pluralism and voluntarism of American culture—evident in this pilgrimage process—diffuses violence. Furthermore, the democratic character of this pilgrimage empowers pilgrims to critique idolatrous worship of the nation, and to witness to authentic reverence for life. Mimesis on the mall A brief impressionistic portrait ofthe way visitors experience the Vietnam Veterans Memorial will demonstrate how the memorial draws pilgrims into a mimetic process—a key feature of Girard's theory. Many pilgrims stop at the memorial as part of a National Park Service 'Tourmobile' circuit of museums and memorials, or as part of another bus tour (school and senior citizens groups are especially common ). These busses disembark pilgrims at the base of the Lincoln Memorial, directly in front of the reflecting pool on the national mall, in sight of the Washington Monument and the Capitol. Pilgrims may, or may not, first climb the steps of the Lincoln Memorial (a powerful shrine with implications for understanding violence in its own right). Moving north, they eventually proceed along a sidewalk lined with Fig. 1 "Three Men Statue".,. several tents where veterans organizations sell T-shirts, medals, bumper-stickers, books, and other memorabilia. The first stop for many pilgrims is the "Three Men Statue" (Fig. 1) located in a grove just past the tents. 4 I summarize Girard's theory as follows: Beginning with mimetic desire, rivalry for an object escalates and threatens the social order. Religion—and notably sacrifice of the scapegoat—creates sufficient unanimity to restore a sense of social order, but does so through violence itself, masking through myth and ritual a vicious cycle of aggression we know as the history of human culture. A National Shrine to Scapegoating?167 This bronze statue (and the American flag which flies nearby) was not part ofthe original design for the memorial, and was dedicated in 1985, three years after the wall of names. It was the result of a compromise between founders of the Vietnam Veterans Memorial Fund led by veteran Jan Scruggs and a group led by 1992 Presidential candidate H. Ross Perot which was dissatisfied with the wall and felt the need for a more 'heroic' representation of the survivors ofthe war.5 Most pilgrims understand little of the history behind the statue, or its intent to create a more heroic... (shrink)

The designation of Diego Maradona’s ‘handball’ goal, that it was an intervention by God himself, brings the phenomena of sport and religion into an interrelationship. The basic thesis of this paper is that, despite many of their phenomenal similarities, explicit religion is not, and cannot be, substantially related to sport, as the two manifest themselves in different ways of being. This thesis is supported by arguments from three philosophical areas: 1. The ontological dimension of the manifestation of the sacred (...) in the profane through the process of hierophany in sport does not refer to a specific deity or God, and is therefore not a presentation but an indirect representation of the sacred; 2. The epistemological perspective of the intentional relation of consciousness to religious ritual justifies the necessity of situating them in an overall horizon of references and meanings to the horizon of the lifeworld; 3. The existential and experiential aspects of transformative sport experiences transform the horizon of meanings of empirical reality, but lack the sacramental perspective. Implicit religion as a possibility of transition on a continuum of complementary existential states is a suitable explicative framework for analyzing the phenomenal similarities and essential differences of religion and sport. (shrink)

Identity crafts for migration and citizenship purposes require the assistance of brokerage actors that help secure documents, advise on self-presentations, and vouch for relevant credentials. While recognizing the contradictory roles these intermediaries play in both facilitating and controlling migration and the porous boundary between for-profit and non-profit actors, scholars have yet to explore what challenges these characteristics pose to the organization of a particular brokerage transaction. How do these intermediaries reconcile their roles as migration facilitators and surrogate gatekeepers? Does it (...) matter to present the transaction as driven by financial rewards or other loftier goals? How are the boundaries between different types of intermediaries enacted and contested? I explore these questions through the case of a religious organization that helps migrants establish their religious identities for asylum claims-making on religious grounds. Combining insights from the “relational work” approach with ethnographic research in Korean evangelical congregations in the U.S., I show how the template of gift giving allows the church to focus on making the faithful as God’s intermediary, instead of screening them as the state’s private deputy, and avoid an accusation that its trade with asylum-seekers turns the Christian persona into a quasi-commodity. The boundary between the church and commercial brokers, between gift giving and market exchange, however, is constantly contested and renegotiated through the interaction between the transaction parties. In conclusion, I discuss how the relational work approach can advance our comparative inquiry into the brokerage transactions facilitating the “profane” exchange of “sacred” identities for migration and citizenship purposes. (shrink)

Abstractabstract:This essay proposes an unconventional approach to teaching "religion and medicine" to American medical students. Received frameworks for such teaching—articulated around faith denomination or "spirituality"—may imply that religiosities and their health effects are grounded in theology or transcendence, respectively. These frameworks may reify, or misrepresent relationships between, religion and science—for example, in supporting notions of conflict, or of an essentially secular character of technical progress. They can neglect ways in which biomedicine and its institutions are themselves engaged with and productive (...) of religious values. In order to move toward fuller student appreciation of diverse religious materialities and embodiments in health and biomedicine, the essay proposes "the sacred, in practice" as an organizing rubric. This pedagogical intervention pivots on notions of sacrality in anthropologies of religion and offers students a wide path to consider a spectrum of material, gestural conditions, and activities—transformative techniques, intensely valued objects, trusted texts, rituals—that mark and propagate religious valences and commitments within and around contemporary biomedicine. This sacred-in-practice approach meshes with standard theological and spiritual framings of the religion/health/medicine nexus, yet offers more capacious and flexible connections to work for which medical students are training, involving vulnerable bodies and material technologies of tremendous life- and world-shaping potency. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Sacred Game: The Role of the Sacred in the Genesis of Modern Literary FictionAndrew J. McKennaThe Sacred Game: The Role of the Sacred in the Genesis of Modern Literary Fiction, by Cesareo Bandera; 318 pp. University Park: Pennsylvania State University Press, 1994, $16.50.When we consider the early relations of philosophy and literature, we most often think of Republic X and about degrees of (...) separation between reality and its image. That is a mistake, according to Cesareo Bandera, who shows in his deft reading of Laws that Plato expelled the poets chiefly because of their threat to the difference between sacred and profane: their mournful harmoniae polluted sacred rites. In this Plato is closer to the religious world examined by Durkheim, where the absolute difference between sacred and profane alone guarantees all other differences. Aristotle is shown to be starkly misleading here, since his Poetics discuss tragedy as if it had nothing to do with the ritual practices in which it originates. His vaunted realism can only save poetry—and ontological appearances—by ignoring, by virtually expelling the sacred from its purview.This expulsion of the sacred from the horizon of our rationality is the thematic core of Bandera’s argument about modern literary fiction as it [End Page 189] emerges in the Renaissance. He does not bring the religious back to our attention to enthrall us with it anew, but to explain via formidable literary and historical scholarship how we stand with respect to it, and how we misunderstand our enlightened disrespect for it. Our modern scientific spirit, our really amazing freedom of inquiry, has a different genealogy than we commonly suppose.It is not primarily philosophy which grounds our humanist irreverence, but our Western religious tradition, which Bandera reads, along with René Girard, Roberto Calasso, and Marcel Gauchet, as a uniquely desacralizing agency in culture. His book’s central endeavor is to expand the implications of Girard’s sacrificial theory of social formation across close readings of ancient and Renaissance literature and criticism in order to show the constraints on rationality within a culture where the sacred veiled human violence. According to this view, that veil is rent irreparably with the revelation of the innocent victim as the vantage point from which to interpret the murderous fury of the crowd, however ritualized as awe for the god(s), or as art. A stunning analysis of Virgil (with an assist from Michel Serres’s reading of Lucretius) reveals a writer holding back from his appalled understanding of violent foundations. With the Renaissance, art is cannily deritualized; not pious Aeneas, born of a goddess, but Don Quixote, born in prison, sets the course for modern fiction.Bandera’s astute readings of Renaissance literature and criticism shed decisively new light on the significance of this axial period, poised at the fulcrum of his argument. His vast and probing research reminds us how modern literary fiction nourished its self-consciousness and freedom amidst lavish and vehement debate over mixing the human and divine. Stripped of the taboos limiting classical thought, the sacred’s monopoly on violence had eroded to reveal individual culpability—but also vast, new possibilities for thought and action. A clear ethical impulse accompanies these readings, in which Calderon and Cervantes are shown to deprive us of a sacred alibi for human violence, which is now a matter for me to resolve with my neighbor. Organically cultural imperatives lose ground to a sense of individual responsibility, which Bandera traces back to the historically documented ascendancy of devotio moderna in late medieval Europe.Despite and because of debates over its cultural role, Renaissance literature’s very marginality freed it to explore every dimension of human error. And we learn how those who unwittingly conspire to resacralize it, from Tasso and Shelley through Arnold and Frye, only continue to play the sacred game that caused shudders in Plato and inspires just plain silliness among our own critical anarchs and demystifyers.Bandera’s net is cast wide and deep, including a bracing debate with Milbank and Blumenberg, whose sweep he emulates successfully, and whose powerful analyses he corrects. Witty and adroit scrutiny of our “sacred allergy” extends... (shrink)

The biography and views of Oscar Goldberg (1885–1952), a Jewish-German philosopher, psychologist and religious thinker, have in recent years attracted increasing attention from specialists in the history of philosophy, religious and cultural studies. The interpre­tation of metaphysical problems, the nature of myth and ritual, and the concepts of the sa­cred and profane that he proposed had a significant influence on a number of thinkers and writers of the first half of the twentieth century. The article discusses one (...) of the most important sources of Goldberg’s views – the Jewish esoteric tradition (Kabbalah), with which he had a difficult relationship, while simultaneously criticizing its concepts and adapting some of them for his own system. It was in dialogue with the ideas of Kabbalah that Goldberg developed an original approach to the interpretation of the biblical text – the idea of the existence of a universal pre-biological force that manifests itself in both world and human history. (shrink)

Religion can have an important influence in moral decision-making, and religious reminders may deter people from unethical behavior. Previous research indicated that religious contexts may increase prosocial behavior and reduce cheating. However, the perceptual-behavioral link between religious contexts and decision-making lacks thorough scientific understanding. This study adds to the current literature by testing the effects of purely audial religious symbols (instrumental music) on moral behavior across three different sites: Mauritius, the Czech Republic, and the USA. Participants (...) were exposed to one of three kinds of auditory stimuli (religious, secular, or white noise), and subsequently were given a chance to dishonestly report on solved mathematical equations in order to increase their monetary reward. The results showed cross-cultural differences in the effects of religious music on moral behavior, as well as a significant interaction between condition and religiosity across all sites, suggesting that religious participants were more influenced by the auditory religious stimuli than non-religious participants. We propose that religious music can function as a subtle cue associated with moral standards via cultural socialization and ritual participation. Such associative learning can charge music with specific meanings and create sacred cues that influence normative behavior. Our findings provide preliminary support for this view, which we hope further research will investigate more closely. (shrink)

In the early 20th century anthropologists collected sounds, images and artifacts to represent traditional cultures. Under the direction of Franz Boas, anthropologists working for the American Museum of Natural History's JesupNorth Pacific Expedition documented a variety of northeastern Siberian shamanisms. Demonstrations staged for the phonograph and the camera served as models for museum representations. These ethnographic inscriptions, together with the collection of texts and sacred objects, documented shamanistic traditions; yet ceremonial traditions remained partially obscured, resisting full intelligibility. The complexity (...) of variations suggests that mystification and opacity are central to shamanic efficacy and the continued vitality of performative ritual, and that Siberian shamanic practices are inherently resistant to anthropological modes of interpretation. (shrink)

Nāgārjuna argues for the fundamental importance of causality, and dependence more generally, to our understanding of reality and of human life: his account of these matters is generally correct. First, his account of interdependence shows how we can clearly understand the nature of scientific explanation, the relationship between distinct levels of theoretical analysis in the sciences (with particular attention to cognitive science), and how we can sidestep difficulties in understanding the relations between apparently competing ontologies induced by levels of description (...) or explanation supervening on one another. Then rGyal tshab's exposition of Dharmakīrti's account, in the pramānasiddhi chapter of the "Pramāṇavarttika", of the necessity of a belief in rebirth for the cultivation of bodhicitta is examined. This account is accepted in the dGe lugs tradition both as an accurate representation of Dharmakīrti's views and as authoritative regarding bodhicitta and the mahākarunā that is its necessary condition. But Dharmakīrti, rGyal tshab, and their followers, by virtue of accepting this argument, neglect Nāgārjuna's account of dependent arising and in consequence are implicated in what might be seen from a proper Prāsaṅgika-Madhyamaka point of view as the very subtlest form of self-grasping. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:LITERAL AND METAPHORICAL USES OF DISCOURSE IN THE REPRESENTATION OF GOD IN HIS SEMINAL work on the theory of signs, Charles Morris affirms that human beings are " the dominant sign-using animals" and that" the human mind is inseparable from the functioning of signs-if indeed mentality is not to be identified with such functioning." 1 By means of acculturation we learn to use and interpret signs, both linguistic and (...) non-linguistic; and by virtue of these capacities we can appropriately designate the human animal as homo symbolicus, homo loquens, and homo sapiens. Indeed, all forms of human culture presuppose the ability to use and interpret signs, including that form of human culture which leads us to speak of ourselves as homo religious. Over the years I have come to understand and speak of religion as a community with its cultus. There is the community, be it triba1, national, or universal with its polity or structure and ongoing history; and there is the cultus with its organic system of linguistic and nonlinguistic signs, encompassing ·such elements as stories, creeds, scriptures, doctrines, theologies, confessions, prayers, chants, songs, rites, rituals, sacraments, artifacts, etc. Like any other cultural system, scheme or network of signs one can characterize a religious cultus as an inter -subjective set of signs whose usage is determined by the implicit or explicit rules that govern the relations of signs to each other; the relations of the signs to the objects which the signs designate or denote, or stand for in some way; and the relations of signs to the users or interpreters of these signs and to those who are affected by these signs in some way. 1 Charles W. Morris, FoundatioJi of the Theory of Signs, in International Encyclopedia of Unified Science, Vol. I, No. 2 (Chicago: University of Chicago Press, 1939), p. L 6~7 628 WILLIAM L. POWER: Given this understanding of community and cultus, one can describe a religion as an organized group of socially interdependent human beings which uses or employs ·a system of linguistic and nonlinguistic signs to represent reality in its various modalities and mixtures of good and evil and to affect human ways of life on the basis of that representation. Altering the terminology somewhat, one could say that a religious community uses its cultus to proclaim, enact, and display a comprehensive worldview.and to form and tr:msform the ethospathos of human beings in their solidarity and solitude. Expressed semiotically, there is the system of signs of a particular community, the intended signification of these signs, and the significance of these signs for those who use and are affected by them. What distinguishes a religion from other forms of human culture is that a rel·igious cultuml sy•stem or a religious community with its cultus is primarily concerned with ultimate or supreme reality or with that which is divine, holy, or sacred and that reality's bearing on and relevance for human life and well-being. In short, a religion is a cultural system which functions to map the whole of re.ality and to acculturate in desirable ways or to civilize. If a religion is a cultural system, then one can identify three distinct yet inseparably related dimensions of every religion. There is 1) the cultural dimension consisting of the interrelruted signs, symbols and expressions of a cultus; 2) the reality and value dimension consisting of the ontological and axiological purport of the cultus; and 3) the experiential dimension consisting of the existential import of the cultus. It is this thioo dimension which has led many in the past and in the present to speak of religion as piety, consciousness of things divine, ultimate concern, religiousness, etc. In the tradition of Peircian semiotics, one can speak of these three dimensions as the syntactic, semantic, and praigmatic dimensions of a religion; and they can be analyzed and studied with the aid of syntactics or syntax, semantics, and pr:agmatics, which as a unity LITERAL AND METAPHORICAL USES OF DISCOURSE 629 constitute the discipline of semiotics. As Peirce recognized, modem semiotics is continuous with the Medieval trivium of grammar, logic, and rhetoric-the semiotics of almost a millennium a;go... (shrink)

With the advancement of digital technology in contemporary art, new hybrid forms of interaction emerge that invite viewers to make images present in physical space as events that claim a life of their own. In breaking away from representational and performance art theories that have dominated the critique of new media artwork since the 1980s, this article analyses an iconic vision of mobile touchscreens based on the medieval Byzantine chorographic inscription of the sacred in profane spaces. As defined in (...) recent art historical studies on Byzantine icons, chorography ( chôra/space + chorós/movement) builds on a multisensory spatial interaction between the beholders of icons that results in feeling the presence of a divine, invisible image. In light of postmodern critique of digital images’ capacity to manipulate notions of reality, new media aesthetic theory hardly addresses this Byzantine iconic vision that is fundamental to western visual culture. Jeffrey Shaw’s installation, The Golden Calf, is discussed to offer an alternative in understanding how digital and physical spaces function together to evoke something essentially real. (shrink)

From the comparative framework of writing on the meaning of ritual in the field of the history of religions, this essay argues that one of the major problems in Benjamin’s thinking is how to make certain forms of materiality stand out against other forms. In his early work, the way that Benjamin deals with this problem is to call degraded forms “symbolic”, and those forms of materiality with positive value, “allegorical”. The article shows how there is more than an (...) incidental connection with the recent approach to ritual in the field of history of religions, seeing that Benjamin too wants to set out the significance of certain material forms against those that are “ritualistic” and hence false. It is argued that he treats the latter in his essay on Elective Affinities and the former in his Trauerspiel. The key claim is that the way material forms stand out as meaningful is akin to the Kantian description of the aesthetic attitude, which identifies how certain formations warrant and attract reflective attention and underpin moral orientation. The point is significant since Kantian aesthetics is an object of polemical attention across Benjamin’s heterogeneous corpus. Moreover, the approach shows the main difficulty in Benjamin’s treatment of sensible forms: what are the criteria he uses to distinguish the “bad” way a sensible form has of being meaningful from the “good”? (shrink)

The rituals practiced by the initiated and learned by the “chosen ones” so that they can be perpetuated, have generated the existence of two worlds. The first is that of immediate impact, on the first level of perception, amendable in its circumstantial data. The second world is the treasurer of recognizable factors in many similar situations, in stages different from manifestation and elements of the unique, the unusual. The second level has established itself as a human need to periodically immerse (...) in the sacred time. The initiation into the mysteries held by the world of the sacred is made by those who know how to practice it. They are the perfomers of narrative sequences, which are intended to reinstate the practices, rituals, customs, traditions and beliefs in today’s world. To support our claim, we are going to refer to four surveys, conducted on different, but conjunct topics which have confirmed the hypothesis formulated by us in the early 1990s: folk beliefs, ignored during the communist period and banned within the audiovisual, have merged with religious beliefs and have survived as a second level of perceiving the ritual sequence. The study highlights the syncretism of the two fields, religious faith and folk beliefs, and the role of mass media in promoting them in order to revitalize the collective memory and to contribute to the literacy of the younger generation. The principles of the Orthodox Christian catechesis explain the presence of the priest in the existential ceremonies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Transcendence and Violence: The Encounter of Buddhist, Christian, and Primal TraditionsSarah K. PinnockTranscendence and Violence: The Encounter of Buddhist, Christian, and Primal Traditions. By John D'Arcy May. New York: Continuum, 2003. 225 + xi pp.In popular media, religion appears as a dangerous social phenomenon with explosive potential. The investigation of transcendence as a source of violence is particularly timely in light of America's war on terrorism targeting extremist (...) Islam. However, this negative dimension of religion is nothing new. Over the course of history, hostility [End Page 231] and killing are intimately connected with religious divisions. The irony of religious violence as a betrayal of religious ethical ideals is both obvious and inescapable.Approaching this hot topic from the perspective of religious imperialism, John D'Arcy May examines violence perpetrated by the Christian and Buddhist traditions against indigenous religions. His investigation covers damaging evidence against these two universalizing traditions using geographically specific case studies in Asia and the Pacific Rim. Situating Christianity and Buddhism in parallel as religions of transcendence, he compares how indigenous localized religions were overpowered by expansionist universalizing religions, although not eradicated. Into his historical narrative, he weaves his personal encounters with otherness growing up in Australia while virtually oblivious to the oppression of Aboriginals by white settlers, and as a Roman Catholic doing ecumenical work in Papua New Guinea for four years.May opens the book with bold admission of the failures of European Christianity, evidenced in anti-Judaism and Holocaust genocide, and Theravada Buddhism's violent involvement in Sri Lanka's civil conflict between Singhalese nationalists and Hindu Tamils. The reader is led to expect elaboration on the moral failings of Christianity, and this proves true; however, May's examination of the Buddhism's expansion and endorsement of violence tempers the tendency to single out Christianity as uniquely imperialist. He suggests that transcendence itself can cause hierarchy and oppression.Part I of the book focuses on Christianity and violence. Chapter 1 studies how European Protestant and Catholic settlers to Australia treated the Aboriginal peoples. The story is grim. Using a psychoanalytic framework, May interprets the European vilification of Aboriginals as stemming from the repression of the primal other, and the repression of bio-cosmic religion in favor of transcendence. Constructively, he proposes that Aboriginal peoples can offer theological insights about the ontology of sacred space. Christians should not only seek reconciliation in society, but also consider new perspectives on the sacred in nature drawn from the dreaming of Aboriginal religious lore.In chapter 2, May deals with colonization in the Melanesian Islands of the Pacific Ocean, concentrating on Papua New Guinea. In the indigenous religions of Melanesia, the prosperous community is the measure of religious rectitude, while misfortune is explained by the breaking of taboos and the revenge of enemies or evil spirits. After European colonization, "cargo cults" arose among the islands that promised abundant material goods possessed by European settlers by means of religious rituals and magic. Surprisingly, May points out the positive impulses at the root of these cargo cults that are typically viewed as detrimental and even outlawed outright by local governments for their harmful social impact. At bottom, he argues, cargo cults reflect a positive religious aspiration for wholeness and healing in this life that is a counterpoint to the spiritualization of salvation by European Christianity.May tries to avoid idealizing these primal cultures and their religious insights; nevertheless, he finds them instructive for Christian theology. Native religions in both Australia and Papua New Guinea offer models of immanence that emphasize the religious value of nature and just relationships. It should be mentioned that [End Page 232] there is some nuance to this conclusion. For instance, Melanesian religion is portrayed as less exemplary than Australian aboriginal religion. But May's main point is that violence on a global scale is validated by Christian notions of transcendence that deny the material aspirations of the indigenous community, and promote a superiority that wreaks violence among indigenous peoples. Hopefully, intercultural theology will allow Christians to appreciate the Aboriginal respect for sacred geography and the Melanesian quest for the flourishing of one's local community.Christianity and Buddhism are treated... (shrink)

Religious experiences of the human spirit are implemented, in an inevitable way, due to body-soul connection, at the level of the dynamics of corporeality. Gestures in religious rites are a key issue for the believer who sits in front of the Deity to supplicate and adore. Among the most common religious gestures are kneeling and putting the hands together in a vertical position. Far from being simple positioning and posture without any symbolical meaning, they express intense inner (...) feelings of the human emotionally and mentally directed from the profane dimension towards the endless extensions of the sacredness in a total approach of worship and mystical confession. (shrink)

During the communist era, Radio Free Europe (RFE) was Romania's favorite radio station. This paper analyzes the role of RFE in everyday life in the strictly controlled Romanian communist state by looking at the broadcasts of RFE's Romanian Department, their audience, and their impact. Drawing largely on the RFE archives at the Vera and Donald Blinken Open Society Archives (OSA) and the former secret police files at the National Council for the Study of the Securitate Archives (CNSAS), it investigates how (...) radio waves mediated and channeled information while preparing people to embrace political and cultural change. The paper focuses on the circulation of knowledge, media confluences, and human agency. The rituals that developed around the secrecy which governed the listening process, the personal requests, attitudes, and opinions expressed in letters to RFE, and oral and written testimonies, coupled with the disproportionate and, at times, extreme reactions of the communist state, together reveal the carving out of individual spaces that allowed for the preservation of the “self” during Nicolae Ceausescu's dictatorship. At such critical historical moments, the connection became visible. Through an analysis of recent media representations in which RFE figures, such as Cold Waves, this study also looks at how RFE shaped personal memories of communist times. (shrink)

No altar da Igreja de Santa Maria della Vittoria, encontramos a bela escultura de Bernini, denominada “O êxtase de Santa Teresa”. Símbolo da entrega ao gozo espiritual, a escultura do artista italiano representa Santa Teresa de Ávila recebendo do anjo a seta do amor divino, reprodução perfeita do êxtase místico e religioso. Esse trabalho tem como objetivo analisar a ocorrência de Teresas na literatura brasileira, como heroínas divididas entre o sacro e o profano. Propomos o estudo do romance Tereza Batista: (...) cansada de guerra, de Jorge Amado, a partir da intertextualidade com a tradição literária baiana, de Gregório de Matos e Castro Alves, e em contraponto ao pensamento religioso da obra lírica de Santa Teresa de Ávila, em diálogo com a escultura extática da santa, criada por Gian Lorenzo Bernini.Palavras-chaves: Santa Teresa de Ávila. Jorge Amado. Castro Alves. Gregório de Matos. Sagrado. Profano.At the altar of the Church of Santa Maria della Vittoria, is located the Bernini’s sculpture, called "The Ecstasy of St. Teresa." Symbol of surrender to spiritual joy, the sculpture by the Italian artist represents St. Teresa of Avila affected by the arrow of the Angel, perfect reproduction of the religious and mystical ecstasy. This article aims to analyze the occurrence of Teresas in Brazilian literature, as heroines divided between the sacred and the profane. We propose to study of the novel Tereza Batista: cansada de guerra, by Jorge Amado, from the intertextuality with the literary tradition of Bahia, of Gregorio de Mattos and Castro Alves, and in opposition to the religious thought of the lyrical work of St. Teresa de Ávila, in dialogue with the ecstatic sculpture of St. Tereza, by Gian Lorenzo Bernini.Keywords: St. Teresa of Ávila. Jorge Amado. Castro Alves. Gregório de Mattos. Sacred. Profane. (shrink)

During the 2020 COVID-19 epidemic a variety of social activities migrated online, including religious ceremonies and rituals. One such instance is the case of Santo Daime, a Brazilian rainforest religion that utilizes the hallucinogenic brew ayahuasca in its rituals. During the pandemic, multiple Santo Daime rituals involving the consumption of ayahuasca took place online, mediated through Zoom and other online platforms. The phenomenon is notable since the effects of hallucinogens are defined by context (set and setting) and Santo Daime (...) rituals are habitually governed by punctilious regulations aimed at directing the experience of participants. The abrupt move to online space thus augurs significant implications in the context of hallucinogenic rituals. This paper looks at this development and its repercussions for entheogenic rituals, as it asks how do psychedelic rituals change when they move online? Building on the author’s previous work on set and setting in the Santo Daime religion, the paper introduces accounts from 12 semi-structured interviews with daimistas participating in online daime rituals, approached through the prism of set and setting, and the study of online religiosity. The analysis points at several key dynamics emerging in the context of virtual rituals. The migration online allowed for the continuation of Santo Daime entheogenic rituals at a time of social distancing, fostered a sense of global brotherhood and opened new possibility for religious participation and learning. Concurrently, online ritual produced an impoverished ritual experience and novel types of challenges including a higher potential for distractions, technical difficulties, and low sensory fidelity. Other novel challenges included social anxiety and an in-built tension between the social and spiritual dimensions of ritual. Finally, some participants were concerned by the cultural context of online rituals: technological mediation, consumerism, commodification, and digital divide. The limitations of digital technology appear amplified by the highly immersive, body oriented, experientially intensified context of the psychedelic experience. This paper contributes to the literature on the extra-pharmacological factors shaping experiences with psychedelics, as well as to the literature on the consequences of the adoption of digital media technologies during the COVID-19 pandemic. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Sacred and the Myth: Havel's Greengrocer and the Transformation of Ideology in Communist Czechoslovakia Marci Shore University ofToronto There is nothing a free man is so anxious to do as to find something to worship. But it must be something unquestionable, that all men can agree to worship communally. For the great concern ofthese miserable creatures is not that every individual should find something to worship that (...) he personally considers worthy ofworship, but that they should find someming in which they can all believe and which they can all worship in common; it is essential that it should be in common. And it is precisely that requirement ofshared worship that has been the principal source of suffering for individual man and the human race since the beginning of history. In their efforts to impose universal worship, men have unsheathed their swords and killed one another.Fyodor Dostoevsky (306) Thus the conflict between the aims of life and the aims of the system is not a conflict between two socially defined and separate communities; and only a very generalized view (and even that only approximative) permits us to divide society into the rulers and the ruled. Here, by the way, is one of the most important differences between the post-totalitarian system and classical dictatorships, in which this line of conflict can still be drawn according to social class. In the post-totalitarian system, 1 64Marci Shore this line runs defacto through each person, for everyone in his or her own way is both a victim and a supporter ofthe system. Vaclav Havel (37) The Velvet Revolution in Czechoslovakia arrived as a symbolically gentle conclusion to a half-century long era ofharrowing violence and totalitarianism in Eastern Europe. It was an era that saw the emergence ofNazism, Stalinism, and various indigenous fascisms, effecting a startling demonstration of the potency of ideology to co-opt minds and to wreak violence. The existence of communist ideology as a myth cohering communist totalitarian societies has been widely enough asserted. Yet this analysis can be taken to a further level through the aid oftwo paradigms. The first is a theory of human relationships developed by René Girard, which blends the disciplines ofliterary criticism, anthropology, philosophy, and political science. The second is a model arising from Vaclav Havel's parable of the greengrocer, told in "The Power ofthe Powerless" (1979). Girard's model posits the existence ofthe sacred, that locus of power that was once the pole of primitive religions. The core of the sacred is transfigured human violence. Girardian scholar Robert Hamerton-Kelly explains the process by which the sacred comes into being: Girard tells us that [the sacred] is a mendacious representation of human violence; "it is the sum ofhuman assumptions resulting from collective transferences focused on a reconciliatory victim at the conclusion of a mimetic crisis." The element of "the overwhelming" defines the Sacred...but its primary content is violence understood as being...outside ofnormal human control. (142) The sacred is established as the result of a crisis, one which finds resolution in the purging ofa relatively arbitrary scapegoat. Following this catharsis, three expressions sustain the sacred: myth, ritual, and prohibition. An examination ofthe evolution ofthese expressions in Czechoslovakia from the Stalinist period through normalization (the so-termed "posttotalitarian " period described by Havel in his essay) reveals much about the paradoxical dynamics ofideologically-based totalitarianism—which Havel defines most poignantly by suggesting that at the essence of ideological totalitarianism is the collapsing of the traditional dichotomy between victim and oppressor. The Sacred and the Myth: Havel's Greengrocer165 A Girardian deconstruction of Stalinism A political space for Stalinism developed in Czechoslovakia through the tumultuous period of Nazi occupation and the communist nature of anti-Nazi resistance. By the eve ofthe 1948 communist coup, the communists had claimed thirty-eight percent ofthe popular vote in free elections. Milan Kundera describes the coup as a usurpation of power "not in bloodshed and violence, but to the cheers of about half the population" (1986, 8). Defining this initial fanaticism was its honesty, especially among the younger generation. A young Stalinist later to become a reformist, and still later a dissident, Zdenek Mlynár, explains... (shrink)

Pretende-se, neste artigo, inserir o leitor no universo do catolicismo popular do povo goiano a partir de suas três dimensões: o culto popular à figura de Deus Pai, que em Goiás ganha o nome de Divino Pai Eterno, na cidade de Trindade; a devoção popular à figura de Deus Filho, no culto ao Senhor Bom Jesus dos Passos, na Cidade de Goiás; e por último, no culto ao Espírito Santo, na Festa das Cavalhadas, na cidade de Pirenópolis. Na religiosidade popular (...) sagrado e profano se mesclam no cenário do cerrado goiano do Brasil Central. Na pesquisa realizada percebe-se que o povo goiano não separa sua experiência de fé das experiências do cotidiano em suas devoções populares. O povo do cerrado sabe suspender momentaneamente a dureza do dia-a-dia, mergulhar num estado de graça e dele sair revigorado para enfrentar as vicissitudes que a vida impõe a todos. O panorama religioso goiano é marcado pelas festas apresentadas nesse artigo e por outras que floreiam o calendário secular e religioso local. Palavras chave: Religiosidade popular, Divino Pai Eterno, Senhor Bom Jesus dos Passos, Festa do DivinoThis article intends to insert the reader within the universe of popular Catholicism in the state of Goiás in Brazil through three dimensions: the popular cult of God as father which is called in Goiás the Divino Pai Eterno in the city of Trindade; the devotion of the Son called Bom Jesus dos Passos in the city of Goiás and at last, the cult of Holy Spirit as it is shown in the city of Pirinópolis during a festivity known as Festa das Cavalhadas. In central region of Brazil the popular religiosity, the sacred and the profane appear mixed. This research clarifies that people does not separate their faith from their everyday experiences. People from Cerrado land knows both how to suspend temporarily the hardness of daily life and to dive into the state of grace. They come out from that experience fulfilled with the necessary energy to deal with the vicissitudes their lives impose upon them. In Goiás the religious scene is marked by the festivities described in this article along with other ones that brighten secular and religious calendar. Keywords: Popular religiosity, Divino Pai Eterno, Senhor Bom Jesus dos Passos, Festa do Divino. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Opening a Mountain: Kōans of the Zen Masters, and: The Kōan: Texts and Contexts in Zen BuddhismEric Sean NelsonOpening a Mountain: Kōans of the Zen Masters. By Steven Heine. Oxford: Oxford University Press, 2002. 200 pp.The Kōan: Texts and Contexts in Zen Buddhism. Edited by Steven Heine and Dale S. Wright. Oxford: Oxford University Press, 2000. 322 pp.The Zen koan is mysterious to many and its significance remains (...) disputed by scholars. Is it a challenging therapeutic device, to be left behind like a raft after crossing the river, or a self-transparent statement of the liberated mind? Is it a logic-defying paradox or does it have its own performative rationality? Is it a spontaneous and often irreverent oral expression or a complex and staged literary form understandable within its context? Is it a narrative with multiple levels of meaning or something that potentially interrupts the work of meaning, narrative coherence, and conventional understanding?Although paradoxical and even shocking language occurs in other traditions, these two provocative volumes illustrate the uniqueness, significance, and interpretive difficulty of one of Zen's primary practices. Both works are valuable contributions to understanding the context, development, and meaning of the koan from its origins and growth in T'ang and Sung China to later Japanese developments.Steven Heine's Opening a Mountain: Kōans of the Zen Masters includes translations of sixty koan cases, selected traditional commentary, and his account of each case. This rich work gathers significant koans about Zen's encounter with its "other" from a variety of koan collections compiled in Sung China and Kamakura Japan.The volume is organized around the theme of "opening a mountain." Masters opened up mountains for Zen by confronting and converting local spirits, hermits, and other forces that would prevent or endanger its practice. It refers more broadly to the confrontation and contest between Zen masters and figures representing supernatural forces, indigenous and popular religiosity, and rival forms of practice such as that of the isolated hermit without vows and outside the Buddhist community.The koans are presented and discussed in five sections concerning: (1) supernatural mountain landscapes; (2) irregular rivals such as hermits, wizards, and dangerous women; (3) supernatural experiences in which bodhisattvas, demons, and magical animals are encountered in dreams and visions; (4) the use of symbols of authority and transmission such as the flywhisk; and (5) experiences of confession, repentance, self-mutilation, death, and the afterlife.Heine argues that emphasizing the ritual, symbolic, and cultural dimensions of the koan complements understanding it as using paradoxical language to free one from the reification of language through aporia and double-binds. He insightfully shows through his translations and discussions the often ignored mythological and religious dimension of many koans. Even when koans use mythic or supernatural elements ironically, it is still in reference to such a context of belief. Since the outcomes [End Page 284] of these confrontations between Zen iconoclasm and irregular practices and unconventional beings are often uncertain, the koan embodies these tensions between supernaturalism and iconoclasm, ritual and meditative clarity, devotion and enlightenment. Zen masters are not always unambiguously victorious in their confrontations and competition with popular religion in these stories of opening mountains and taming and converting spirits, shamans, hermits, unconventional and rival women (such as the "Zen grannies" and the nuns of cases 23-26), and other irregular practitioners and dangerous forces.Zen iconoclasm is best exemplified by Lin-chi (J.:Rinzai), known for his advice to kill the Buddha and the patriarchs, who forbade travel to Mount Wu-t'ai, where popular devotional Buddhists believed Mañjus´rī appeared (see cases 13-15). Lin-chi's Mañjus´rī cannot be seen on sacred mountains but is manifested in your own activity. However, even some koans involving Lin-chi focus on his ambiguous success in dealing with P'u-hua (cases 16, 57), an irregular practitioner attributed with magical powers. Despite such warnings, the bodhisattva of compassion's sacred mountain continued to appeal to ordinary Buddhists and even Zen practitioners. In these koans, Zen is not simply demythologizing. It is playing a dangerous game of ironic ambiguity and... (shrink)

The article refers to the beginning of the religious-political distinction of the semantics of ,secular' and ,sacred'. Already in the 5th century Pope Gelasius I. developed this distinction in the framework of Christology. Occidental Christianity later turned to then developed motives, explanatory schemes and legitimation patterns to find an approach for disentangling religion and politics, state and religion. The thesis of the article states that it is typical for modernity to base all explanations of moral and legal orders (...) on the autonomy of a profane reason. With this the traditional Christian master narrative of ,two swords' or ,two powers' is leading to a dead end both for justifying the constitutional guaranteed separation of state and religion and for structuring their correlation. (shrink)

The disruptions of coronavirus disease 2019 in the year 2020 reshaped all aspects of life, including religious practices and rituals. As more religious activities shifted to digital space during the lockdown periods, there was a growing need to examine the link between religion and digital media. Using the model of the Uniting Presbyterian Church in Southern Africa, this article draws on the notion of transversal rationality and concepts of rationality, cognitive, evaluative and pragmatic to posit that COVID-19 has (...) configured traditional missional and liturgical spaces in ways that locate the agency of the marginalised at the centre. The article highlights how COVID-19 configured Christian mission as it disrupted power dynamics through religious digital spaces, which emerged as a new way of reimaging a missional church. These new digital spaces mediate between interaction and ‘telepresence’, embodied in the representations of the sacred available through online religious systems in practices where users are no longer ordinary believers – but religious participants who have power and freedom to choose. Although this is not a new phenomenon, the article concludes that such spaces created by COVID-19 shifts in power dynamics present opportunities for ordinary members to reinvent new meanings on what it means to be present or absent, to name, narrate and reinterpret the divine and forge new meanings towards participating in the mission of God.Contribution: Although this is not a new phenomenon, this article represents a systematic and practical reflection within a paradigm in which the intersection of philosophy, religious studies, social sciences, humanities and natural sciences generate an interdisciplinary, multidisciplinary and transdisciplinary contested discourse. (shrink)

This book develops a theory of existential security. It demonstrates that the publics of virtually all advanced industrial societies have been moving toward more secular orientations during the past half century, but also that the world as a whole now has more people with traditional religious views than ever before. This second edition expands the theory and provides new and updated evidence from a broad perspective and in a wide range of countries. This confirms that religiosity persists most strongly (...) among vulnerable populations, especially in poorer nations and in failed states. Conversely, a systematic erosion of religious practices, values and beliefs has occurred among the more prosperous strata in rich nations. (shrink)

This article examines the relationship between piety, social pressure, and riya’ among urban Muslim youth in Yogyakarta who use social media to express religiousity, and the way the youth negotiate to deal with the contradiction between displayed piousness and religious norms. Employing a phenomenological approach this article explore the negotiation of ambiguity among urban Muslim youth, in particular the urban students actively involved in lecture series branded Ngaji Filsafat conducted by Dr. Fahruddin Faiz. This article argue that not only (...) digital media provide space for youth to express their piety, it also offer bigger social pressure to gain social validation for their (digital) existence, in the form of likes and followers, for instance. The social pressure increases ethical ambiguity, where expressions of online piety can be considered as violating a moral principle of religiosity, namely riya’. Finally, this article contributes to debates on the intersection of religion and media, especially on the aspect of individual negotiation space in responding to biases and dilemmas arising from the hybridity of the two. (shrink)

The paper examines changing media representations of Jacinda Ardern, former Aotearoa New Zealand Prime Minister, from the global broadcaster, BBC News Online, across three key milestones in the politician’s career: her appointment, re-election and resignation. Our socio-semantic analysis of this representation demonstrates how the media intersect her professional identity with age, gender, social class, and later, her identity as a mother. Whilst earlier coverage of Ardern’s career praises her successfully reconciling these aspects of her personal, social and professional identities, later (...) coverage implies that ‘having it all’ was never really possible longer term. We argue that the visibility of this discourse, and the focus on intersectional aspects of Ardern’s personal and social identities, leads to her resignation being positively evaluated as her ‘finally’ succumbing and committing to the ‘natural’ inevitabilities of heterosexual family life. The article considers what such representation means for Ardern and women politicians and leaders more broadly, and contextualises these findings in relation to existing research on media representations of women in politics and leadership. Finally, we also consider the value of a more longitudinal approach to tracking the cumulative effects of the representation of social actors and groups. (shrink)

The momentum of globalization and universalism, operating through the media, information technology and politics, has steadily diminished the importance of cultural diversity. It has even threatened to erase many of our cultural traditions, or extinguish our diverse experiences of the sacred. Yet the sacred which seems to be lost is often still encased in our cultural objects, stories and religious rituals. This paper will discuss how the memories of the sacred can be both preserved and reawakened. (...) This paper will focus on three scholars who develop alternative approaches to the universal. Franz Rosenzweig saw universal historical progress as oppressive. He believed that the practice of his Jewish religion offered a resistance and a possible correction to the general movement of history. Walter Benjamin saw the forgotten 'ruins' of history encase memories of the sacred and the silenced voices within history. For Benjamin, the role of interpretation is to awaken these hidden memories and voices which are encoded within our objects, images and commodities. This led him to a particular idea of a momentary messianic redemption in relation to greater flow of time. And finally, Jacob Taubes read St. Paul as offering a revolutionary model on how to live one's particular faith within a wider political order. In general, each writer developed an idea of redemption which involves a kind of remembrance of what has been obscured by the more general universal movement of history itself. This is especially relevant for the various religious and cultural communities within Cambodia. The paper will begin and end by discussing the origin story of Cambodia – the marriage between Preah Thong, the Indian prince, and Neag Neak, the Naga princess. I will additionally try to demonstrate that the story and its various reenactments is important because it represents a regenerative process rooted in the eclectic character of South East Asian culture in general. Various forms of memory within the syncretic or eclectic context of Southeast Asia can operate to preserve the sacred in an age of universalization and globalization. It also illustrates how the performance of memory can also offer an antidote to the "trauma" of Cambodia's past. (shrink)

This article aims to analyze the manifestation of the universal axiological cultural category of sinfulness in the media space. The study's subject was this category's properties and functions, which are actualized when represented in digital media. In accordance with this goal, we used such methods as continuous sampling and observation of the facts of the representation of cultural categories, which allowed us to determine the linguistic material for analysis and a statistical method for quantitative analysis. The content analysis of the (...) units selected for the study was used to identify the role, properties, and main functions of the universal axiological category of sinfulness. The novelty of the research lies in the fact that, for the first time, the universal nature of the category of sinfulness, its functions and properties, represented in media publications, were considered. Main conclusions: the study of the facts of actualization of the category of sinfulness in the media space allowed us to assert that the phenomenon under study is associated with topics such as politics, crime (in news media), and the assessment of citizens' behavior and morality (in religious media). These facts indicate that the primary function of the category of sinfulness is regulatory, aimed at evaluating and correcting the actions of members of society, as well as creating public opinion. In addition, the article proves that the category of sinfulness has transcultural properties, penetrating and being realized in all cultural layers, from local to global. In these cultural layers, the nature of the category acquires a different shade. In particular, at the global level, the category of sinfulness acquires the meaning of guilt, which is a consequence of the significant influence of Western culture on the global culture. It seems that the revealed properties of the category indicate its high importance for modern Russian society. The established regulatory function will make it possible to apply this category, including within the framework of regulating and managing public opinion and promoting basic values. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

Graffiti, as a form of artistic and social expression, has long been entangled in debates concerning its legitimacy, ethics, and cultural significance. Initially serving as a medium for creative expression and social communication, graffiti has evolved from an act of defiance to a widely recognized form of urban artistry. However, this transformation raises deeper philosophical and theological questions about the nature of artistic legitimacy, the moral implications of public space utilization, and the tension between transgression and sacred expression. Is (...) graffiti an act of rebellion against authority, or does it serve as a reflection of deeper existential and spiritual inquiries? Rooted in historical traditions of visual storytelling, from prehistoric cave paintings to religious iconography, graffiti occupies a unique space between vandalism and sacred art. Its presence in urban landscapes often symbolizes dissent and marginalized voices, yet it also engages with the broader philosophical discourse on freedom, moral agency, and the sanctity of public expression. The increasing acceptance of graffiti as a legitimate art form further complicates the boundary between crime and creative expression, raising ethical concerns about ownership, space, and cultural identity. This study explores graffiti’s evolution through a lens of religious and philosophical reflection, analyzing its role in shaping public consciousness, its intersection with ethical discourse on transgression and creativity, and its potential as a medium for spiritual and social transformation. By tracing graffiti’s historical roots, examining the debates surrounding its moral and aesthetic value, and considering its future trajectory in the democratization of public space, this paper argues that graffiti should not be viewed solely through the dichotomy of legality and illegality. Instead, it should be examined as an evolving cultural and philosophical phenomenon that challenges conventional notions of art, morality, and the human search for meaning in public expression. Future research should further explore graffiti as a contemporary manifestation of sacred and profane spaces, its parallels with religious artistic traditions, and its role in redefining ethical and spiritual engagement with the urban environment. (shrink)

The vague idea of likening soccer to religion, specifically in watching soccer as a fan, is widespread spread in both everyday life media and academia. The slightly muddled discourse can be clarified by focusing on two variations, differentiating between sport in religion and sport as religion. Concentrating on sport as a form of religious activity and experience, it seems obvious that one’s theoretical framework here connects Durkheim’s elevation of formerly profane objects to a Sacred with concepts of individualization (...) and secularization. Yet, taking a critical look from the perspective of Luckmann’s theory of invisible or private religion, religion ought to be more narrowly conceived as a specific experience of transcendency. Employing Berger, it is plausible to employ a different rationale, leading to the conclusion that fandom constitutes a mimicry-religion. Mimicry-religion adheres to the inclination of the Self to understand his or her experience as religious for the need of a nomos, a legitimization of social institutionalizations. (shrink)

Contextualising the seemingly esoteric and exotic aspects of Tibetan Buddhist culture within the everyday, embodied and sensual sphere of religious praxis, this book centres on the social and religious lives of deceased Tibetan Buddhist lamas. It explores how posterior forms - corpses, relics, reincarnations and hagiographical representations - extend a lama's trajectory of lives and manipulate biological imperatives of birth, aging and death. The book looks closely at previously unexamined figures whose history is relevant to a better understanding (...) of how Tibetan culture navigates its own understanding of reincarnation, the veneration of relics, and different social roles of different types of practitioners. It analyses both the minutiae of everyday interrelations between lamas and their devotees, specifically noted in ritual performances and the enactment of lived tradition, as well as the sacred hagiographical conventions that underpin local knowledge. A phenomenology of Tibetan Buddhist life, the book provides an ethnography and insight of the embodiment of Tibetan Buddhism in everyday life. This unusual approach offers a valuable and a genuine new perspective on Tibetan Buddhist culture, and is of interest to researchers in the fields of social/cultural anthropology, religious, Buddhist and Tibetan studies. (shrink)

The publication takes the example of one of the native faith religious movements of modern Ukraine. It highlights the peculiarities of its spontaneous emergence, development, self-identification, and guidelines for religious activity. The article also briefly examines the origins of this community, the sources of its doctrine and name, the peculiarities of searching for its own religious identity, the main points of reflection on the sphere of the sacred, understanding the “idea of God”, the representation of (...) class='Hi'>religious symbols and art, the organization of ritual and cult practice, and the directions of religious activity. At the same time, the peculiarities of forming such a religious community are considered not in isolation, but in the context of interaction and mutual influence with other native faith confessions of Ukraine. (shrink)

This study focuses on how Israeli Arab citizens perceive their media representations on Israeli television and why they consume television broadcasts even though they are marked mostly by negative representations. A new concept – “Communication Boundary Situation” – a development of Jaspers’ “Boundary Situation” theory, is the theoretical framework for the article. The empirical data was collected by conducting semi-structured in-depth interviews. The findings point to different attitudes among the interviewees towards their representation in various television genres, in particular, in (...) advertising as compared to satire and drama. The suggested theoretical framework and its empirical implementation might be useful in examining how various minorities perceive their media representations in other countries. (shrink)

All ethics codes serve an argumentativefunction to improve public opinion, avoid government regulation, and produce ethical behavior among members. The National Religious Broadcasters' increased eforts to enforce its code illustrates the potential for three dificnlties to surface when organizations use codes to justify their activities. Organizations tend to limit public discussions to the code 's existence, and shorthand descriptions of it, fail to address enforceability problems, and assume that the code will change corporate culture. To overcome these problems, ongoing (...) maintenance of the code in relationship to its public context is required. (shrink)

Sacred Rituals and Humane Death critically analyzes the civilizing nature of the underlying fundamental concept of "humaneness" in contemporary discourses around modern meat and animal ethics. As religious methods of animal slaughter, such as the halal method in Islam, as well as the practice of religious animal sacrifice, are sometimes categorized as barbaric in recent debates, the civilizing narrative of progress leads supposedly to more humane adaptation of methods and practices of animal curation and slaughter. This volume (...) argues that the shift toward modern meat does not constitute a shift toward less pain and suffering as purported by supporters of contemporary methods, particularly mass agriculture. Rather, it is a shift in what is considered as acceptable versus unacceptable pain and suffering. In this work, the author analyzes the concealment and distancing that characterize modern meat production, uncovering the "acceptable" pain and suffering involved in these procedures heralded as "progress" and advocating for a retrieval of earlier, tradition-bound practices rooted in religious, cultural, and ethical respect of animals and their important and sacred roles in sacrifice. (shrink)