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It is Re-Written: Lessons from Chester Brown's Mary Wept on Biblical Traditions and Biblical Scholarship in the Wild 《重写:从切斯特·布朗的《玛丽在荒野中哭泣的圣经传统和圣经学术》中学到的教训》
Pub Date : 2021-11-02 DOI: 10.3138/jrpc.2019-0004
A. Ricker
Abstract:Chester Brown's critically acclaimed 2016 graphic novel, Mary Wept Over the Feet of Jesus: Prostitution and Religious Obedience in the Bible, raises important questions about the right—and the right way—to interpret religious traditions outside sanctuary doors, and Religious Studies outside the Ivory Tower. With the help of generous notes and appendices, which take up a full third of the book, Mary Wept reworks Bible stories and biblical studies for a general audience to create a conspiracy-theory-based Christian apology for sex work. This article provides an introduction to Brown's book and its relevant book-and-Biblerelated contexts, and argues that Mary Wept represents neither Bible adaptation nor popularized biblical scholarship per se. Brown's book is instead, I argue, best understood as a new species of "rewritten Bible" claiming the authority of scholarship as surrogate religious authority. It is therefore a pop culture weather vane of great interest to Religious Studies scholars, not least as a reminder of our public image and our professional responsibilities.
摘要:切斯特·布朗(Chester Brown) 2016年出版的广受好评的漫画小说《玛丽在耶稣脚前哭泣:圣经中的卖淫与宗教服从》(Mary tears in the Jesus Feet:卖淫与宗教服从)提出了一个重要问题,即在圣殿门外解释宗教传统的权利和正确的方式,以及象牙塔外的宗教研究。在占据全书三分之一篇幅的大量注释和附录的帮助下,《玛丽哭泣》为普通读者改编了圣经故事和圣经研究,以阴谋论为基础为性工作辩护。这篇文章介绍了布朗的书及其相关的书和圣经相关的背景,并认为玛丽哭泣既不代表圣经改编,也不代表圣经学术本身的普及。相反,我认为,布朗的书最好被理解为一种新的“重写的圣经”,声称学术权威是宗教权威的替代品。因此,它是宗教研究学者非常感兴趣的流行文化风向标,不仅仅是提醒我们的公众形象和我们的专业责任。
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引用次数: 0
Transhumanism, Utopia, and the Problem of the Real in Ready Player One 《头号玩家》中的超人类主义、乌托邦和现实问题
Pub Date : 2021-10-16 DOI: 10.3138/jrpc.2018-0054
Andrew Monteith
Abstract:Ann Taves's argument about "special things" permits religion scholars to analyze secular texts fruitfully. Notably, Ernest Cline's Ready Player One speculates about humanity's possible future and how technological advancement could reshape it. Although the narrative assumes an atheistic stance, its central, conceptual tensions are categorically religious. Cline's imagined cyberworld sensorily immerses users into an alternative kind of space and allows them to inhabit bodies of their own choosing; this represents a kind of transhumanist, utopian impulse similar to shamanism. However, Ready Player One problematizes this created world ontologically and questions whether relationships formed in such a place can be authentically meaningful. Contrasting the book, the film adaptation, and fan fiction illustrates the controversial stakes at play.
摘要:安•塔维斯关于“特殊事物”的论述,使宗教学者得以对世俗文本进行富有成效的分析。值得注意的是,欧内斯特·克莱恩(Ernest Cline)的《头号玩家》(Ready Player One)推测了人类可能的未来,以及技术进步如何重塑它。尽管叙事采取了无神论的立场,但其核心的概念紧张关系绝对是宗教性的。克莱恩想象中的网络世界让用户沉浸在另一种空间中,让他们可以居住在自己选择的身体里;这代表了一种类似于萨满教的超人文主义乌托邦冲动。然而,Ready Player One在本体论上质疑这个创造的世界,并质疑在这样一个地方形成的关系是否真正有意义。将这本书、改编电影和粉丝小说进行对比,说明了其中存在争议的利害关系。
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引用次数: 0
The Poetics of Tajik Cinema 塔吉克电影的诗学
Pub Date : 2021-10-01 DOI: 10.3138/jrpc.2020-0015
Sharofat Arabova
Abstract:This study aims to examine the poetics of the representation of Muslim culture, and, more generally, the worldview portrayed in a number of prominent Tajik films of both the Soviet and post-Soviet periods, and thus to determine the trends affecting the development of Tajik cinema in the early twenty-first century. With examples from selected films, cultural practices, and theatrical forms and traditions, the author distinguishes the salient features of the cinema of Tajikistan, including social normativity, spiritual escapism, the edifying nature of the films, and the thematic restriction meant to preserve traditional Muslim values.
摘要:本研究旨在研究穆斯林文化表现的诗学,以及更广泛地说,苏联和后苏联时期一些著名塔吉克电影所描绘的世界观,从而确定影响21世纪初塔吉克电影发展的趋势。作者以精选的电影、文化习俗、戏剧形式和传统为例,区分了塔吉克斯坦电影的显著特征,包括社会规范性、精神逃避主义、电影的教化性质以及旨在保护传统穆斯林价值观的主题限制。
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引用次数: 0
Locating the Tawa'if Courtesan-Dancer: Cinematic Constructions of Religion and Nation 塔瓦伊夫交际花舞者的定位:宗教与民族的电影建构
Pub Date : 2021-09-22 DOI: 10.3138/jrpc.2020-0014
Sitara Thobani
Abstract:The development of the Hindi/Urdu cinema is intimately connected to the history of artistic performance in India in two important ways. Not only did hereditary music and dance practitioners play key roles in building this cinema, representations of these performers and their practices have been, and continue to be, the subject of Indian film narratives, genres, and tropes. I begin with this history in order to explore the Muslim religio-cultural and artistic inheritance that informs Hindi/Urdu cinema, as well as examine how this heritage has been incorporated into the cinematic narratives that help construct distinct gendered, religious, and national identities. My specific focus is on the figure of the tawa'if dancer, often equated with North Indian culture and nautch dance performance. Analyzing the ways in which traces of the tawa'if appear in two recent films, Dedh Ishqiya and Begum Jaan, I show how this figure is placed in a larger representational regime that sustains nationalist formations of contemporary Indian identity. As I demonstrate, even in the most blatant attempts to define the Indian nation as "Hindu," the "Muslimness" of the tawa'if—and by extension the cinema she informed in ways both real and representational—is far from relinquished.
摘要:印地语/乌尔都语电影的发展在两个重要方面与印度艺术表演史密切相关。世袭的音乐和舞蹈从业者不仅在建立这部电影中发挥了关键作用,这些表演者及其实践的表现一直是,并将继续是印度电影叙事、流派和比喻的主题。我从这段历史开始,是为了探索印地语/乌尔都语电影中的穆斯林宗教文化和艺术遗产,并研究这种遗产是如何被纳入电影叙事中的,从而帮助构建不同的性别、宗教和民族身份。我特别关注的是塔瓦伊夫舞者的形象,通常被等同于北印度文化和nautch舞蹈表演。通过分析最近两部电影《Dedh Ishkiya》和《Begum Jaan》中塔瓦伊夫的痕迹,我展示了这个人物是如何被置于一个更大的代表性政权中的,这个政权维持着当代印度身份的民族主义形态。正如我所证明的,即使在最公然地试图将印度民族定义为“印度教”的情况下,塔瓦伊夫的“穆斯林性”——以及她以真实和代表性的方式讲述的电影——也远未被放弃。
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引用次数: 0
Defa'-e Moghaddas (The Sacred Defense), Hamdeli va Mehrvarzi (Camaraderie and Love from Knowing the Other), and the Making of Social Cinema in Post-Revolutionary Islamic Iran Defa’-e Moghaddas(《神圣的防御》)、Hamdeli va Mehrvarzi
Pub Date : 2021-09-20 DOI: 10.3138/jrpc.2021-0031
Fakhri Haghani
Abstract:A publicity tool during the Iran–Iraq war (1980–1988), the cinema of the postwar period in Iran was expected to uphold Islamic, ethical, and symbolic values idealized by the government as defa'-e moghaddas (the sacred defense). The war film genre, which was launched during this period to promote these values, exclusively addressed the presence of men on the front lines. It barely made on-screen references to the role of women. Focusing on the gender dynamics of self-sacrifice and drawing on genres such as drama and melodrama, certain filmmakers used cinemay-e ejtema'i (the social cinema) to translate this ideal to the struggles back home. These films turned the gaze of the camera toward the hidden life of mazlooman (the oppressed). They thus shifted the meaning of defa'-e moghaddas and addressed socio-psychological suffering, oppressive cultural practices ('orf), and unjust sanction of legal codes of qisas (retaliation) as contradictory to Islam's teachings on and cultivation of love, justice, and righteousness among ommat (the Islamic community). Focusing on the Iranian poetic vision of hamdeli va mehrvarzi (camaraderie and love from knowing the other), this essay traces affective states including affinity in struggle, rage, anger, and resistance. Linking instances of these states with Western feminist scholarship on the theory of affect, I discuss the cinematic process of claiming "the right to look" (Mirzoeff, Nicholas, The Right to Look: A Counterhistory of Visuality. Durham, NC: Duke University Press, 2011).
摘要:作为两伊战争(1980-1988)期间的宣传工具,伊朗战后时期的电影被期望维护伊斯兰、伦理和象征价值,这些价值被政府理想化为“神圣的防御”。在这一时期推出的战争电影类型是为了宣传这些价值观,专门讲述前线男性的存在。它几乎没有在屏幕上提到女性的角色。一些电影人关注自我牺牲的性别动态,并借鉴戏剧和情节剧等类型,使用cinemay-e ejtema'i(社会电影)将这种理想转化为家庭斗争。这些电影将镜头的目光转向了被压迫者的隐秘生活。因此,他们改变了defa'-e moghaddas的含义,并将社会心理痛苦、压迫性的文化习俗('orf)和对qisas(报复)法律法规的不公正制裁视为与伊斯兰教关于在ommat(伊斯兰社区)中培养爱、正义和正义的教义相矛盾。这篇文章聚焦于伊朗诗歌对“hamdeli va mehrvarzi”(来自了解对方的友情和爱)的看法,追溯了包括斗争、愤怒、愤怒和抵抗中的亲密关系在内的情感状态。将这些国家的实例与西方情感理论的女权主义学术联系起来,我讨论了主张“观看权”的电影过程(尼古拉斯·米尔佐夫,《观看权:视觉性的反历史》)。达勒姆,北卡罗来纳州:杜克大学出版社,2011)。
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引用次数: 1
Locating Muslim Cinema(s) 定位穆斯林电影院
Pub Date : 2021-09-20 DOI: 10.3138/jrpc.2020-0002
Kaveh Askari, M. Bernstein
Abstract:The four essays collected here raise a series of questions that unsettle and reconfigure some of the most persistent boundaries in studies of world cinema. In "Hollywood's Bad Muslims: Misrepresentations and the Channeling of Racial Violence," Imed Ben Labidi highlights the potential pitfalls of such an attempted mapping, focusing on Hollywood's essentialized and essentializing portrayal of Muslims and Arabs. Conversely, while remaining within the confines of a small national industry, in "The Poetics of Tajik Cinema," Sharofat Arabova transcends the implicit distortions of schematic periodization, tracing evolving traditions of film poetics across the major historical transformations of the Soviet and sovereign periods. Similarly, while feminist theory has been at the core of film studies since its inception, the two pieces in this collection complicate understandings of the construction of gender in Muslim cinemas. Sitara Thobani's "Locating the Tawa'if Courtesan–Dancer: Cinematic Constructions of Religion and Nation" resists the impulse to understand tawa'if solely in terms of gendered spectacle, instead exploring the less examined question of this figure's Muslim identity. In the final piece, "Defa'-e Moghaddas (The Sacred Defense), Hamdeli va Mehrvarzi (Camaraderie and Love from Knowing the Other), and the Making of Social Cinema in Post-Revolutionary Islamic Iran," Fakhri Haghani contrasts the front-line masculinist cinema of the Iranian "sacred defense" with social dramas that reveal undertheorized gender dynamics of sacrifice and justice. Each of these pieces, then, invigorates core questions within the field of religion and popular culture by positing Muslim cinema as a point of intersection at which Muslim participation in the creation and viewing of film may productively be explored, while simultaneously offering a broader, more universal alternative perspective by attending to cinema's functions in the quotidian lives of members of religious communities.
摘要:这里收集的四篇文章提出了一系列问题,这些问题扰乱并重新配置了世界电影研究中一些最持久的界限。Imed Ben Labidi在《好莱坞的坏穆斯林:虚假陈述和种族暴力的渠道》中强调了这种尝试性映射的潜在陷阱,重点关注好莱坞对穆斯林和阿拉伯人的本质化和本质化刻画。相反,在《塔吉克电影的诗学》中,Sharofat Arabova虽然仍停留在一个小的民族产业的范围内,但他超越了示意性分期的隐含扭曲,追踪了苏联和主权时期重大历史变革中不断演变的电影诗学传统。同样,尽管女权主义理论自成立以来一直是电影研究的核心,但本集中的两篇文章使人们对穆斯林电影院性别建构的理解变得复杂。西塔拉·托巴尼(Sitara Thobani)的《定位塔瓦伊夫宫廷——舞者:宗教和民族的电影建构》(Locating the Tawa'if Courtesan–Dancer:Cinematic Constructions of Religion and Nation)抵制了仅仅从性别奇观的角度来理解塔瓦伊芙的冲动,而是探索了这个人物的穆斯林身份这一不太受关注的问题。在最后一部作品《Defa’-e Moghaddas》(《神圣的防御》)、《Hamdeli va Mehrvarzi》(《Camaraderie》和《来自了解他人的爱》)以及后革命伊斯兰伊朗社会电影的制作中,Fakhri Haghani将伊朗“神圣防御”的一线男子主义电影与揭示牺牲和正义的社会戏剧进行了对比。因此,每一部作品都通过将穆斯林电影定位为一个交叉点,在这个交叉点上,穆斯林可以有效地参与电影的创作和观看,同时提供更广泛的、,通过关注电影在宗教团体成员日常生活中的作用,获得更普遍的替代视角。
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引用次数: 0
Kierkegaard’s Three Spheres and Cinematic Fairy Tale Pedagogy in Frozen, Moana, and Tangled 克尔凯郭尔的“三个球体”与电影童话教育学
Pub Date : 2021-07-01 DOI: 10.3138/JRPC.2018-0027
A. G. Holdier
Abstract:Although Disney films are sometimes denigrated as popular or “low” art forms, this article argues that they often engage deeply with, and thereby communicate, significant moral truths. The capitalistic enterprise of contemporary modern cinema demands that cinematic moral pedagogy be sublimated into non-partisan forms, often by substituting secular proxies for otherwise divine or spiritual components. By adapting Søren Kierkegaard’s tripartite existential anthropology of the self, I analyze the subjective experiences of the protagonists in three recent animated fairy tales—Disney’s Frozen, Moana, and Tangled—to demonstrate how these princess movies bridge the imaginative gap between the mundane and the divine.
摘要:尽管迪士尼电影有时被诋毁为流行或“低级”的艺术形式,但本文认为,它们经常深入参与并传播重要的道德真理。当代现代电影的资本主义事业要求将电影道德教育升华为无党派的形式,通常是通过用世俗的代理人代替神圣或精神的组成部分。通过改编瑟伦·克尔凯郭尔关于自我的三重存在主义人类学,我分析了最近三部动画童话——迪士尼的《冰雪奇缘》、《莫阿纳》和《探戈》——中主人公的主观经历,以展示这些公主电影是如何弥合世俗与神圣之间的想象鸿沟的。
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引用次数: 0
Paganism, Goddess Spirituality, and Elsa in Disney’s Frozen 2 迪士尼《冰雪奇缘2》中的异教、灵性女神和艾尔莎
Pub Date : 2021-07-01 DOI: 10.3138/jrpc.2020-0020
Katherine B. Low
Abstract:Audiences in the United States recognize Pagan elements like the use of magic and animism in the Disney film Frozen 2. This article discusses such Pagan ideas in the Frozen films and then applies two archetypal themes from Goddess spirituality to Elsa’s characterization. Scholars like Carol Christ and Starhawk of nature-based Pagan Goddess movements in the United States are employed to compare Elsa in Frozen 2 with notions about the fifth element and rebirth. The article engages neo-Pagan religious ideas about female independence, balance, and transformation, providing a comparison to Elsa’s heroic journey. A discussion about Elsa’s deification in popular culture and body image conclude the article.
摘要:美国观众认可异教徒的元素,比如迪士尼电影《冰雪奇缘2》中使用的魔法和万物有灵论。本文探讨了《冰雪奇缘》电影中的异教徒思想,并将女神精神这两个原型主题运用到艾尔莎的人物塑造中。像卡罗尔·基督和美国基于自然的异教徒女神运动的星鹰这样的学者被用来将《冰雪奇缘2》中的艾尔莎与关于第五元素和重生的概念进行比较。这篇文章运用了新异教徒关于女性独立、平衡和转变的宗教思想,并与艾尔莎的英雄之旅进行了比较。文章最后对艾尔莎在大众文化中的神化和身体意象进行了探讨。
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引用次数: 0
Israel in the Making: Stickers, Stitches, and Other Critical Practices by Hagar Salamon (review) 《正在形成的以色列:贴纸、缝线和其他关键做法》作者:夏格·萨拉蒙(Hagar Salamon)
Pub Date : 2021-07-01 DOI: 10.3138/JRPC.2019-0052
D. Levy
{"title":"Israel in the Making: Stickers, Stitches, and Other Critical Practices by Hagar Salamon (review)","authors":"D. Levy","doi":"10.3138/JRPC.2019-0052","DOIUrl":"https://doi.org/10.3138/JRPC.2019-0052","url":null,"abstract":"","PeriodicalId":38290,"journal":{"name":"Journal of Religion and Popular Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49238088","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
An Analysis of the Response Factors to COVID-19 of the Korean-Taiwanese Catholic Churches: The Conditions for a Public Role of Religions in the Post-COVID-19 Era 韩台天主教会应对新冠疫情的因素分析——后新冠时代宗教公共角色的条件
Pub Date : 2021-06-30 DOI: 10.46263/rc.40.3.
Seon-pil Kim
{"title":"An Analysis of the Response Factors to COVID-19 of the Korean-Taiwanese Catholic Churches: The Conditions for a Public Role of Religions in the Post-COVID-19 Era","authors":"Seon-pil Kim","doi":"10.46263/rc.40.3.","DOIUrl":"https://doi.org/10.46263/rc.40.3.","url":null,"abstract":"","PeriodicalId":38290,"journal":{"name":"Journal of Religion and Popular Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77590177","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
期刊
Journal of Religion and Popular Culture
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