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。
{"title":"It is Re-Written: Lessons from Chester Brown's Mary Wept on Biblical Traditions and Biblical Scholarship in the Wild","authors":"A. Ricker","doi":"10.3138/jrpc.2019-0004","DOIUrl":"https://doi.org/10.3138/jrpc.2019-0004","url":null,"abstract":"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.","PeriodicalId":38290,"journal":{"name":"Journal of Religion and Popular Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46436070","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}
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。
{"title":"Transhumanism, Utopia, and the Problem of the Real in Ready Player One","authors":"Andrew Monteith","doi":"10.3138/jrpc.2018-0054","DOIUrl":"https://doi.org/10.3138/jrpc.2018-0054","url":null,"abstract":"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.","PeriodicalId":38290,"journal":{"name":"Journal of Religion and Popular Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44303023","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}
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.
{"title":"The Poetics of Tajik Cinema","authors":"Sharofat Arabova","doi":"10.3138/jrpc.2020-0015","DOIUrl":"https://doi.org/10.3138/jrpc.2020-0015","url":null,"abstract":"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.","PeriodicalId":38290,"journal":{"name":"Journal of Religion and Popular Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41956353","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}
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.
{"title":"Locating the Tawa'if Courtesan-Dancer: Cinematic Constructions of Religion and Nation","authors":"Sitara Thobani","doi":"10.3138/jrpc.2020-0014","DOIUrl":"https://doi.org/10.3138/jrpc.2020-0014","url":null,"abstract":"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.","PeriodicalId":38290,"journal":{"name":"Journal of Religion and Popular Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43387626","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}
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)。
{"title":"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","authors":"Fakhri Haghani","doi":"10.3138/jrpc.2021-0031","DOIUrl":"https://doi.org/10.3138/jrpc.2021-0031","url":null,"abstract":"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).","PeriodicalId":38290,"journal":{"name":"Journal of Religion and Popular Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42978499","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}
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。
{"title":"Locating Muslim Cinema(s)","authors":"Kaveh Askari, M. Bernstein","doi":"10.3138/jrpc.2020-0002","DOIUrl":"https://doi.org/10.3138/jrpc.2020-0002","url":null,"abstract":"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.","PeriodicalId":38290,"journal":{"name":"Journal of Religion and Popular Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41777796","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}
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.
{"title":"Kierkegaard’s Three Spheres and Cinematic Fairy Tale Pedagogy in Frozen, Moana, and Tangled","authors":"A. G. Holdier","doi":"10.3138/JRPC.2018-0027","DOIUrl":"https://doi.org/10.3138/JRPC.2018-0027","url":null,"abstract":"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.","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":"46077657","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}
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.
{"title":"Paganism, Goddess Spirituality, and Elsa in Disney’s Frozen 2","authors":"Katherine B. Low","doi":"10.3138/jrpc.2020-0020","DOIUrl":"https://doi.org/10.3138/jrpc.2020-0020","url":null,"abstract":"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.","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":"48872201","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}
{"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}
{"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}
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