By Birgit Meyer

The vital topic of this quantity is the incorporation of newly available mass media into practices of non secular mediation in a number of settings, together with Pentecostal-charismatic church buildings and Islamic activities, and using non secular kinds and pictures within the sphere of radio and cinema. in accordance with a long term cooperation, the participants learn the position of faith and media within the emergence and sustenance of latest ‘aesthetic formations’ that attract the physique and the senses, and generate new forms of binding and moods of belonging in our time.

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Additional info for Aesthetic Formations: Media, Religion, and the Senses (Religion Culture Critique)

Sample text

Due to the overwhelming interest in Candomblé, the cult has become the object of literary interpretation, artistic elaboration, philosophical meditation, and anthropological explanation (not to mention commercial and political exploitation). There is, in other words, a hyperproliferation of discursive knowledge about Candomblé, and ever more people (and prestigious ones at that) are involved in the production of this knowledge as to what is Candomblé. In the eyes of the priesthood, this development poses a serious threat to what they call the cult’s “deep truths”: its segredos (secrets), mistérios (mysteries), and fundamentos (fundaments).

6. 25 and ethnographic exploration in the framework of a comparative perspective. nl/media-religion. Next to a host of articles authored by the program participants, the program also yielded five dissertations: Guadeloupe 2006a, published in 2008; Oosterbaan 2006; de Witte 2008; Hoek 2008; and de Abreu 2009, as well as four publications derived from conferences we organized (Meyer and Moors 2006a; Hughes and Meyer 2005; Meyer 2008b; Hirschkind and Larkin 2008). In his groundbreaking book, Cohen pointed out that the recourse to fiction and symbolism occurs when geographic, natural boundaries become insecure.

9. 10. 11. 12. 13. Birgit Meyer to pay more attention to political aesthetics—understood in the broad sense advocated in Section II—so as to better understand how power works (see also Rancière 2006). Taking inspiration from Michel Foucault and Judith Butler (1999) on the process of subjectivation through which modern subjects are formed, Mahmood closely examines the formative power of the Islamic piety movement in the making of embodied female religious subjectivities. In so doing, she moves beyond a dualistic understanding of religious regimes and individual persons, and calls attention to the importance of formation in the double sense advocated here.

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Aesthetic Formations: Media, Religion, and the Senses by Birgit Meyer
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