A response to Susan Palmer on “Children in New Religious Movements”
by Patricia ‘Iolana
A Response to George Chryssides on “Changing Your Story: Assessing Ex-Member Narratives”
By Aled Thomas
A response to Melissa Crouch on “Muslims, NGOs, and the future of democratic space in Myanmar”
By Paul Fuller
A Response to David G. Robertson’s Interview of Bjørn Ola Tafjord and Arkotong Longkumer
Claire S. Scheid
A Response to Erica Bornstein on “Beyond ‘Faith-Based Organizations’: Religion and NGOs in Comparative Perspective”
By Chika Watanabe
A Response to James Spickard on “Alternative Sociologies of Religion: Through Non-Western Eyes”
by Jonathan Tuckett
A conference report by Hans Van Eyghen
Visiting your Alma Mater is always accompanied by mixed emotions. On the one hand you see familiar things you missed but on the other hand you’re confronted with downsides you hoped were a thing of the past. My visit to the KULeuven
A response to “Muslim NGOs and Civil Society in Indonesia: An Interview with Robert Hefner”
By John Thibdeau
A Response to Wesley J. Wildman on “Modelling Religion and the Integration of the Sciences and the Humanities in the Bio-cultural Study of Religion”
By Leonardo Ambasciano
A response to “What do we mean by Indigenous Religion(s)” with Bjorn Ola Tafjord and Arkotong Longkumer
by Liudmila Nikanorova
A Response to “Hindu Traditions in Contemporary British Communities” with Theodora Wildcroft and Stephen Jacobs
by Race MoChridhe
It’s the start of a new season (semester?) of podcasts for the Religious Studies Project and we have a new responses editor in the form of me – Jonathan Tuckett!
You may remember me from back in the very early days of the podcasts when I interviewed Timothy Fitzgerald.
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If Candy Gunther Brown’s work is so divergent with her peers in academia, how does one contextualize her understanding of yoga and her approach to it? In keeping with Bender’s assessment that Brown “exemplifies the ‘caveat emptor’ genre of popular writing about CAM,” I would argue that Brown’s writings on yoga are most similar to the genre of Christian-based criticism of yoga.
Most scholars examining invisibility in Ellison’s novel consider it a social metaphor: the novel’s protagonist is made invisible by people’s refusal to really see him. Yet Harriss claims invisibility is also a theological trope, with roots in biblical materials, Protestantism, and Kongo traditions, antecedents that establish it as an unmarked religious category. More than the social marginalization of black bodies, Harriss contends invisibility is metaphysical, too.