Charles H. Long is one of the most influential and pioneering scholars in the study of religion from the past 50 years. This is the first comprehensive collection of his writings, edited by Long himself, and contains 38 pieces, including both published and previously unpublished articles, lectures, an interview, and two book reviews. The foreword is provided by Jennifer Reid, a former student of Long. The collection is divided into four thematic parts: America and the Study of Religion; Theory and Method in the Study of Religion; African American Religion in the United States; Kindling, Embers and Sparks. Long's introduction provides much-awaited insight into his reflections on his work, expanding on questions that remained unanswered in his classic and influential text, Significations: Signs, Symbols and Images in the Interpretation of Images (1986). In particular, the new introductory essay explores the significance of “ellipses”, that which is omitted, the projected spaces of the Other in the study of religion. Considered the preeminent founder and advocate of the study of Black Religion, Long was exploring religion and colonialism and the importance of Afro-American religion as early as the 1960s and early 1970s, and this collection of his thinking – which moves across the formations of religious studies, African diasporic studies, and social and cultural theory – is a must-have addition for any institutional or personal library.

"The Oxford Handbook of Humanism aims to cover the history, the philosophical development, and the influence humanist thought and culture. As a system of thought that values human needs and experiences over supernatural concerns, humanism has gained greater attention amid the rapidly shifting demographics of religious communities, especially in Europe and North America. This outlook on the world has taken on global dimensions as well, with activists, artists, and thinkers forming a humanistic response not only to traditional religion, but to the pressing social and political issues of the 21st century. To address these areas, the chapters in this volume discuss humanism as a global phenomenon-an approach that has often been neglected in more Western-focused works. The Handbook will also approach humanism as both an opponent to traditional religion as well as a philosophy that some religions have explicitly adopted. Sections are divided into regional studies, intellectual histories, humanist organizations and movements, the impact on culture, humanism in the public arena, and influence of humanism on social issues. Keywords: Humanism, atheism, unbelief, free-thought, secularism, philosophy, religious studies, sociology, history"--

Shortlisted for the 2021 Vine Awards Art, chess, and an $87,000 pipe frame an inside look at the relationship between Dadaist artist Marcel Duchamp and chess Grandmaster George Koltanowski Spanning three decades, two continents, two world wars, and the international art and chess scenes of the mid twentieth century, Duchamp's Pipe explores the remarkable friendship between art world enfant terrible Marcel Duchamp and blindfold chess champion George Koltanowski. Artist and cultural historian Celia Rabinovitch describes each man's rise to prominence, the chess matches that sparked their relationship, and the recently discovered pipe that Duchamp gave to Koltanowski. This tale of genius and resilience offers fresh insights into the essence of the gift in the bohemian underground. Rabinovitch invites us to discover the chess wizard and a Duchamp slightly off pedestal--and ultimately more human.

In The Anarchy of Black Religion, J. Kameron Carter examines the deeper philosophical, theological, and religious history that animates our times to advance a new approach to understanding religion. Drawing on the black radical tradition and black feminism, Carter explores the modern invention of religion as central to settler colonial racial technologies wherein antiblackness is a founding and guiding religious principle of the modern world. He therefore sets black religion apart from modern religion, even as it tries to include and enclose it. Carter calls this approach the black study of religion. Black religion emerges not as doctrinal, confessional, or denominational but as a set of poetic and artistic strategies for improvisatory living and gathering. Potentiating non-exclusionary belonging, black religion is anarchic, mystical, and experimental: it reveals alternative relationalities and visions of matter that can counter capitalism’s extractive, individualistic, and imperialist ideology. By enacting a black study of religion, Carter elucidates the violence of religion as the violence of modern life while also opening an alternate praxis of the sacred.

In 1964, Muhammad Ali said of his decision to join the Nation of Islam: “I know where I'm going and I know the truth and I don't have to be what you want me to be. I'm free to be what I want to be.” This sentiment, the brash assertion of individual freedom, informs and empowers each of the four personalities profiled in this book. Randal Maurice Jelks shows that to understand the Black American experience beyond the larger narratives of enslavement, emancipation, and Black Lives Matter, we need to hear the individual stories. Drawing on his own experiences growing up as a religious African American, he shows that the inner history of Black Americans in the 20th century is a story worthy of telling. This book explores the faith stories of four African Americans: Ethel Waters, Mary Lou Williams, Eldridge Cleaver, and Muhammad Ali. It examines their autobiographical writings, interviews, speeches, letters, and memorable performances to understand how each of these figures used religious faith publicly to reconcile deep personal struggles, voice their concerns for human dignity, and reinvent their public image. For them, liberation was not simply defined by material or legal wellbeing, but by a spiritual search for community and personal wholeness.

This collection of essays offers a series of rigorously focused art-historical, historical, and philosophical studies that examine ways in which materiality has posed and still poses a religious and cultural problem. The volume examines the material agency of objects, artifacts, and environments: art, ritual, pilgrimage, food, and philosophy. It studies the variable "senses” of materiality, the place of materiality in the formation of modern Western religion, and its role in Christianity’s dialogue with non-Western religions. The essays present new interpretations of religious rites and outlooks through the focus on their material components. They also suggest how material engagement theory - a new movement in cultural anthropology and archeology - may shed light on the cultural history of Christianity in medieval and early modern Europe and the Americas. It thus fills an important lacuna in the study of western religion by highlighting the longue durée, from the Middles Ages to the Modern Period, of a current dilemma, namely the divide between materialistic and what might broadly be called hermeneutical or cultural-critical approaches to religion and human subjectivity.

Winner of the 2022 Gustave O. Arlt Award in the Humanities, award by by the Council of Graduate Schools Explores the role of jazz celebrities like Ella Fitzgerald, Cab Calloway, Duke Ellington, and Mary Lou Williams as representatives of African American religion in the twentieth century Beginning in the 1920s, the Jazz Age propelled Black swing artists into national celebrity. Many took on the role of race representatives, and were able to leverage their popularity toward achieving social progress for other African Americans. In Lift Every Voice and Swing, Vaughn A. Booker argues that with the emergence of these popular jazz figures, who came from a culture shaped by Black Protestantism, religious authority for African Americans found a place and spokespeople outside of traditional Afro-Protestant institutions and religious life. Popular Black jazz professionals—such as Ella Fitzgerald, Cab Calloway, Duke Ellington, and Mary Lou Williams—inherited religious authority though they were not official religious leaders. Some of these artists put forward a religious culture in the mid-twentieth century by releasing religious recordings and putting on religious concerts, and their work came to be seen as integral to the Black religious ethos. Booker documents this transformative era in religious expression, in which jazz musicians embodied religious beliefs and practices that echoed and diverged from the predominant African American religious culture. He draws on the heretofore unexamined private religious writings of Duke Ellington and Mary Lou Williams, and showcases the careers of female jazz artists alongside those of men, expanding our understanding of African American religious expression and decentering the Black church as the sole concept for understanding Black Protestant religiosity. Featuring gorgeous prose and insightful research, Lift Every Voice and Swing will change the way we understand the connections between jazz music and faith.

This is the first book to provide an introduction to contemporary cultural approaches to the study of religion. This book makes sophisticated ideas accessible at an introductory level, and examines the analytic tools of scholars in religious studies, as well as in related disciplines that have shaped the field including anthropology, history, literature, and critical studies in race, sexuality, and gender. Each chapter is written by a leading scholar and includes: · the biographical and historical context of each theorist · their approaches and key writings · analysis and evaluation of each theory · suggested further reading. Part One: Comparative Approaches considers how major features such as taboo, texts, myths and ritual work across religious traditions by exploring the work of Mary Douglas, Phyllis Trible, Wendy Doniger and Catherine Bell. Part Two: Examining Particularities analyzes the comparative approach through the work of Alice Walker, Charles Long and Caroline Walker Bynum, who all suggest that the specifics of race, body, place and time must be considered. Part Three: Expanding Boundaries examines Gloria Anzaldúa's language of religion, as well as the work of Judith Butler on performative, queer theories of religion, and concludes with Saba Mahmood, whose work considers postcolonial religious encounters, secularism, and the relationship between “East” and “West.” Reflecting the cultural turn and challenging the existing canon, this is the anthology instructors have been waiting for. For primary texts by the theorists discussed, please consult The Bloomsbury Reader in Cultural Approaches to the Study of Religion, edited by Sarah J. Bloesch and Meredith Minister.

"A captivating exploration of the radical grassroots performance community, the Stop Shopping Church, that bridges the critique of postindustrial North American consumer capitalism and theories and methods in the Study of Religion"--

This book argues that the meaning of "secular" in the West and in Islam differ fundamentally. Though the Islamic secular is a "liberation" from Islam's sacred law, shari'ah, it is neither outside "religion" nor a rival to it; it seeks neither to discipline nor displace religion nor expand its own jurisdiction at religion's expense. The Islamic Secular is, in Sherman Jackson's view, a complement to religion-in effect, a "religious secular." In this book, Jackson makes the case for the Islamic Secular on the basis of Islam's own pre-modern juristic tradition and shows how the Islamic Secular impacts the relationship between Islam and the modern state, including the Islamic State.