{"title":"蓝调之王:新加坡监狱的亲身宗教体验","authors":"Rory O’Neill","doi":"10.3138/jrpc.2022-0021","DOIUrl":null,"url":null,"abstract":"William James’s category of “first-hand religion” allows us to arrive at the religious from an internal and individual perspective, including in those activities and phenomena usually considered secular. B. B. King’s 1972 performance at Sing Sing Prison, documented by David Hoffman, brings both the prisoner audience and the performers to an “additional dimension” distinct from the hollowness of everyday (prison) life. In addition, the presence of this intense experience on the YouTube platform creates a fluid community of second-order observers, bound not by any overarching belief but by observation of the experience itself. King’s performance is in the genre of blues music, which, in turn, has associations with African religious traditions. While the study of diverse religious traditions helps inform our understanding of the kinds of activities that might constitute the religious, this study takes individual experience as primary rather than as a manifestation of a particular tradition.","PeriodicalId":38290,"journal":{"name":"Journal of Religion and Popular Culture","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2023-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The King of the Blues: First-Hand Religious Experience at Sing Sing Prison\",\"authors\":\"Rory O’Neill\",\"doi\":\"10.3138/jrpc.2022-0021\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"William James’s category of “first-hand religion” allows us to arrive at the religious from an internal and individual perspective, including in those activities and phenomena usually considered secular. B. B. King’s 1972 performance at Sing Sing Prison, documented by David Hoffman, brings both the prisoner audience and the performers to an “additional dimension” distinct from the hollowness of everyday (prison) life. In addition, the presence of this intense experience on the YouTube platform creates a fluid community of second-order observers, bound not by any overarching belief but by observation of the experience itself. King’s performance is in the genre of blues music, which, in turn, has associations with African religious traditions. While the study of diverse religious traditions helps inform our understanding of the kinds of activities that might constitute the religious, this study takes individual experience as primary rather than as a manifestation of a particular tradition.\",\"PeriodicalId\":38290,\"journal\":{\"name\":\"Journal of Religion and Popular Culture\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2023-05-30\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of Religion and Popular Culture\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.3138/jrpc.2022-0021\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"RELIGION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Religion and Popular Culture","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3138/jrpc.2022-0021","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"RELIGION","Score":null,"Total":0}
引用次数: 0
摘要
威廉·詹姆斯的“第一手宗教”范畴允许我们从内部和个人的角度来看待宗教,包括那些通常被认为是世俗的活动和现象。由大卫·霍夫曼(David Hoffman)记录的b.b. King 1972年在Sing Sing监狱的表演,将囚犯观众和表演者带入了一个不同于日常(监狱)生活空虚的“额外维度”。此外,YouTube平台上这种强烈体验的存在创造了一个流动的二阶观察者社区,不受任何首要信念的约束,而是由对体验本身的观察所约束。金的表演属于蓝调音乐,而这种音乐又与非洲的宗教传统有关。虽然对不同宗教传统的研究有助于我们理解可能构成宗教的各种活动,但这项研究将个人经验作为主要内容,而不是作为特定传统的表现。
The King of the Blues: First-Hand Religious Experience at Sing Sing Prison
William James’s category of “first-hand religion” allows us to arrive at the religious from an internal and individual perspective, including in those activities and phenomena usually considered secular. B. B. King’s 1972 performance at Sing Sing Prison, documented by David Hoffman, brings both the prisoner audience and the performers to an “additional dimension” distinct from the hollowness of everyday (prison) life. In addition, the presence of this intense experience on the YouTube platform creates a fluid community of second-order observers, bound not by any overarching belief but by observation of the experience itself. King’s performance is in the genre of blues music, which, in turn, has associations with African religious traditions. While the study of diverse religious traditions helps inform our understanding of the kinds of activities that might constitute the religious, this study takes individual experience as primary rather than as a manifestation of a particular tradition.