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Speak of the Devil: How the Satanic Temple is Changing the Way We Talk About Religion 谈论魔鬼:撒旦圣殿如何改变我们谈论宗教的方式
Pub Date : 2022-02-16 DOI: 10.3138/jrpc.2021-0020
W. Simpson
From horror movies and death metal to moral panics and conspiracy theories, Satan holds a powerful place in the cultural imagination. Despite Satan ’ s prevalence in pop culture, real Sata-nists are often relegated to the margins of cultural and religious studies. Over the past half-decade, a new form of socially-engaged Satanism has blossomed in the US and beyond. Founded in 2013, The Satanic Temple (TST) is a “ political and religious movement that advocates pro-gressive values and the separation of church and state ” (1). This fascinating organization is the focus of Joseph Laycock ’ s new book, Speak of the Devil . . ’ s rebellion Milton ” narrative, aspects Devil the largest Satanic community
从恐怖电影和死亡金属到道德恐慌和阴谋论,撒旦在文化想象中占有强大的地位。尽管撒旦在流行文化中很盛行,但真正的撒旦崇拜者往往被放在文化和宗教研究的边缘。在过去的五年里,一种新形式的参与社会的撒旦教在美国和其他地方蓬勃发展。撒旦圣殿(TST)成立于2013年,是一场“倡导进步价值观和政教分离的政治和宗教运动”(1)。这个迷人的组织是Joseph Laycock新书《谈论魔鬼》的重点“反抗米尔顿”的叙述,侧面魔鬼最大的撒旦团体
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引用次数: 0
The Altars Where We Worship: The Religious Significance of Popular Culture by Juan M. Floyd-Thomas, Stacey M. Floyd-Thomas, and Mark G. Toulouse (review) 《我们崇拜的祭坛:大众文化的宗教意义》,作者:胡安·M·弗洛伊德·托马斯、斯泰西·M·弗洛伊德·托马斯和马克·G·图卢兹(评论)
Pub Date : 2022-02-16 DOI: 10.3138/jrpc.2021-0011
Benjamin Crace
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引用次数: 0
Superman and the Bible: How the Idea of Superheroes Affects the Reading of Scripture by Nicholaus Pumphrey (review) 《超人与圣经:超人的观念如何影响读经》,作者:Nicholaus Pumphrey(书评)
Pub Date : 2022-02-16 DOI: 10.3138/jrpc.2021-0010
Robert Revington
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引用次数: 0
Of Animatronic Praise Bands and Worship-Leading Chickens: The Serious Business of Evangelical Christian Worship Parody Videos 动画赞美乐队和崇拜领军人物:福音派基督教崇拜模仿视频的严肃业务
Pub Date : 2022-02-15 DOI: 10.3138/jrpc.2021-0023
Monique M. Ingalls
Worship music parody videos are one of the key elements within evangelical Christian “joking culture.” The musically facilitated “worship experience” is among evangelicalism’s most sacred rituals, and worship parody creators must carefully negotiate the line between humor and profanity. Drawing from textual analysis of selected blogs, forums, and YouTube comments, this article demonstrates the comedic and serious roles these videos serve. Worship parodies demonstrate how evangelicals employ humor around one of their most sacred practices to question the boundaries of what is sacred, engage in discourse about power and morality, mediate internal disagreements, and shore up a shared religious identity.
崇拜音乐恶搞视频是福音派基督教“开玩笑文化”的关键元素之一。音乐促进的“敬拜体验”是福音派最神圣的仪式之一,敬拜模仿的创作者必须小心地在幽默和亵渎之间的界限进行谈判。本文通过对选定的博客、论坛和YouTube评论的文本分析,展示了这些视频所扮演的喜剧和严肃角色。崇拜模仿展示了福音派如何在他们最神圣的做法之一周围运用幽默来质疑神圣的界限,参与关于权力和道德的讨论,调解内部分歧,并支持共同的宗教身份。
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引用次数: 0
The Celebrity Imprint: Fan-Celebrity Attachments and Religious Work Among Fans of John Lennon and Johnny Cash 名人印记:约翰·列侬和约翰尼·卡什粉丝的名人依恋和宗教工作
Pub Date : 2022-01-10 DOI: 10.3138/jrpc.2021-0012
K. Riddell
Based on in-depth interviews, this article examines the relationships fans develop with John Lennon and Johnny Cash. Fan attachments consist of an initial curiosity, to a more profound emotional bond or relationship with “religious” underpinnings. An externalized sense of self and the concept of a product of popular culture doing the work of religion highlight how fans develop relationships because they see more of themselves in the celebrity than do other fans. The notion of gradual development of an interpretive lens helps explain how these shifts happen over time. I conclude by considering what degrees of fan attachment say about the relationship between celebrity fandom and religion.
基于深度访谈,本文探讨了粉丝们与约翰·列侬和约翰尼·卡什之间的关系。粉丝的依恋包括最初的好奇,到更深刻的情感纽带或与“宗教”基础的关系。一种外化的自我意识和流行文化的产物的概念,做着宗教的工作,突出了粉丝是如何发展关系的,因为他们在名人身上看到了比其他粉丝更多的自己。解释性透镜逐渐发展的概念有助于解释这些变化是如何随时间发生的。最后,我考虑了粉丝的依恋程度说明了名人狂热与宗教之间的关系。
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引用次数: 0
Reimagining Delilah’s Afterlives as Femme Fatale: The Lost Seduction by Caroline Blyth (review) 把黛利拉的来生重新想象成蛇蝎美人:失落的诱惑卡罗琳·布莱斯(书评)
Pub Date : 2022-01-06 DOI: 10.3138/jrpc.2021-0052
Matthew H. Brittingham
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引用次数: 0
Built Women in Men’s Paradises: A Critical Analysis of the Garden of Eden Narrative and Alex Garland’s Ex Machina 男性范式中的女性构建——伊甸园叙事与加兰德的《前玛奇娜》的批判性分析
Pub Date : 2022-01-06 DOI: 10.3138/jrpc.2020-0064
C. Chapman
Abstract:Bringing the biblical story of the Garden of Eden (Genesis 2-3) into conversation with Alex Garland’s 2014 film Ex Machina, this paper examines and compares the malescribed nature of paradise stories that describe the “building” of woman-creatures. From ancient Judean scribes to modern film-makers and computer coders, male-guarded forms of literacy enabled and continue to enable storytelling and world-building. A comparison of the accounts of the creation of Eve of the Garden with Ava of Ex Machina highlights that male control over literacy more generally and creation accounts more specifically yields diminished woman-creatures designed to serve the specific needs of men in male-imagined paradise settings. Although separated by millennia, ancient Judean scribes and modern computer programmers have imagined and built woman-creatures with a limited set of functions and programmed routines that include providing help, serving as a companion, and heterosexual receptivity.
摘要:本文将《圣经》中的伊甸园故事(《创世纪》2-3)与亚历克斯·加兰德2014年的电影《前Machina》进行了对话,考察并比较了描述女性生物“建筑”的天堂故事的男性化性质。从古代犹太抄写员到现代电影制作人和计算机程序员,男性保护的识字形式使讲故事和建设世界成为可能,并将继续成为可能。将《花园之夜》的创作与《前Machina的Ava》的创作进行比较,突显出男性对识字的控制更为普遍,而创作的描述更为具体,产生了被削弱的女性生物,旨在满足男性想象中的天堂环境中男性的特定需求。尽管相隔数千年,但古代犹太抄写员和现代计算机程序员一直在想象和构建具有有限功能和程序的女性生物,包括提供帮助、充当伴侣和异性恋接受能力。
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引用次数: 0
Holy Grounds: The Surprising Connection Between Coffee and Faith by Tim Schenck (review) 蒂姆·申克的《圣地:咖啡与信仰之间的惊人联系》(评论)
Pub Date : 2022-01-06 DOI: 10.3138/jrpc.2021-0053
Joshua R. Farris
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引用次数: 0
Theology and Horror: Explorations of the Dark Religious Imagination ed. by Brand R. Grafius and John W. Morehead (review) 《神学与恐怖:黑暗宗教想象的探索》布兰德·r·格拉菲乌斯、约翰·w·莫尔黑德主编(书评)
Pub Date : 2022-01-06 DOI: 10.3138/jrpc.2021-0051
M. Beavis
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引用次数: 0
God Rock, Inc.: The Business of Niche Music by Andrew Mall (review) 《上帝摇滚公司:小众音乐的商业》作者:安德鲁·梅尔(书评)
Pub Date : 2022-01-06 DOI: 10.3138/jrpc.2021-0050
Paul A. Anthony
In the summer of 1983, the rock band Petra was riding high, selling out larger venues than ever on the concert tour supporting their blockbuster LP, More Power to Ya. With its catchy guitar licks, soaring vocals, and slick concert performances, Petra—the Greek word for “rock”—fit comfortably within the musical milieu pioneered by such contemporary giants as Kansas and Foreigner. However, unlike those better-known bands, that summer Petra also released the first issue of a newsletter with the headline, “Arming Ourselves for Spiritual Battle,” printed below an illustration of a teen boy in a futuristic space suit, holding a sword and shield as he blocked a laser blast. As the masthead proclaimed, the publisher was Petra Ministries. The very phrase “Petra Ministries” reads like a non sequitur outside the world of Christian Contemporary Music (CCM), but within it, the marriage of music and ministry is assumed, even if the appropriate balance between the two is contested. Although most rock bands will never publish a Bible study on spiritual warfare, musicologist Andrew Mall argues in God Rock, Inc.: The Business of Niche Music that the underlying tension between subcultural ethics and musical aesthetics among CCM artists can serve as a useful case study for niche markets generally. Markets, according to Mall, are those “spaces in which the interactions of musicians, listeners, and cultural intermediaries . . . are grounded in the production and consumption of music” (3). While scholars in religious studies, cultural studies, and music history increasingly have found CCM a worthy area of research, none thus far has focused so strongly on the market itself and its influence on the artists who seek to conquer or transcend it. God Rock, Inc. pursues this argument in two main parts: The first four chapters focus on the CCM industry and its history, and the final three chapters analyze the tension between ministry and industry. The book also includes illustrations and four appendices that provide crucial contextual detail, as well as—in a fun twist—Spotify playlists of the songs and albums Mall discusses. God Rock, Inc. begins its story with the 1960s Jesus People movement that eventually birthed CCM. As Mall shows, artists almost immediately struggled to balance sacrificial ministry with seeking the profits that would allow their ministry’s expansion, sometimes adjusting lyrical content to reach audiences outside of the Christian market, adjusting musical styles to enhance radio airplay opportunities, or both. This “double marginalization,” in Mall’s words— too Christian for the mainstream, too mainstream for the Christians (16)—was unique to the formative decades of CCM. A prime example of attempting to overcome this dynamic, which Mall analyzes in Chapter 4, “Find a Way,” is Amy Grant’s infamous crossover into the general pop market from 1985–91. Grant, who for a decade had been touted as the Christian alternative to mainstream pop artists such as Madon
1983年夏天,摇滚乐队佩特拉(Petra)在巡回演唱会上大放异彩,演唱会场地比以往任何时候都大,为他们的大片LP《More Power to Ya》提供支持。Petra——希腊语中“摇滚”的意思——凭借其朗朗上口的吉他声、高亢的人声和流畅的音乐会表演,非常适合堪萨斯州和外国人等当代巨头开创的音乐环境。然而,与那些更知名的乐队不同的是,那年夏天,佩特拉还发布了第一期时事通讯,标题是“为精神之战武装我们自己”,下面印着一幅插图,画的是一个穿着未来主义太空服的十几岁男孩,手里拿着剑和盾牌,挡住了激光爆炸。正如刊头宣称的那样,出版商是佩特拉部委。在基督教当代音乐(CCM)之外,“Petra Ministrys”这个短语读起来就像是一个不合逻辑的推论,但在它内部,音乐和牧师的结合是假定的,即使两者之间的适当平衡存在争议。尽管大多数摇滚乐队永远不会发表关于精神战的圣经研究,但音乐学家Andrew Mall在《上帝摇滚,股份有限公司:利基音乐的商业》一书中认为,CCM艺术家中亚文化伦理和音乐美学之间的潜在紧张关系可以作为利基市场的有用案例研究。根据Mall的说法,市场是指“音乐家、听众和文化中介的互动……以音乐的生产和消费为基础的空间”(3)。尽管宗教研究、文化研究和音乐史的学者越来越多地发现CCM是一个值得研究的领域,但迄今为止,没有人如此强烈地关注市场本身及其对寻求征服或超越市场的艺术家的影响。God Rock,股份有限公司将这一论点分为两个主要部分:前四章关注CCM行业及其历史,最后三章分析了工信部之间的紧张关系。这本书还包括插图和四个附录,提供了关键的上下文细节,以及Spotify播放列表中Mall讨论的歌曲和专辑。God Rock,股份有限公司的故事始于20世纪60年代的耶稣运动,该运动最终诞生了CCM。正如Mall所展示的那样,艺术家们几乎立刻就在努力平衡牺牲牧师与寻求利润之间的关系,这将使他们的牧师得以扩张,有时会调整抒情内容以接触基督教市场以外的观众,调整音乐风格以增加广播播放机会,或者两者兼而有之。用Mall的话来说,这种“双重边缘化”——对主流来说太基督教了,对基督徒来说太主流了(16)——是CCM形成的几十年所独有的。Mall在第4章“找到一条路”中分析了试图克服这种动态的一个典型例子,那就是Amy Grant在1985-91年间臭名昭著的跨界进入普通流行市场。十年来,格兰特一直被吹捧为麦当娜等主流流行艺术家的基督教替代者,1991年的《心在动》让CCM行业感到惊讶,这张流行专辑更多地关注爱情和生活的一般情感,而不是对耶稣的明确提及;这本书卖出了500多万册,尽管她的许多老粉丝指责她为了追求利润而出卖了自己的牧师。“利基市场边界”购物中心
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