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.
One link between yogic practice and museums may come from viewing yogis, yoga teachers, and yoga promoters as performing work comparable to museums in the nearly century and a half history of modern yoga’s global spread. As museums curate, exhibit, frame, spotlight, and annotate their works to an anticipated audience, yoga has similarly been consciously displayed and promoted. Modern yoga’s history can be emplotted through the way it has exhibited itself.
Finbarr Curtis’s recent book, The Production of American Religious Freedom (2016), defies easy categorization. Melding social theory, interpretive biography, revisionist intellectual history, literary analysis, film analysis, and the study of discourse and rhetoric, the book issues a much needed social constructionist inquiry into the largely taken-for-granted concept of “freedom” that
Discussion starts with the entanglement of the concepts ‘religion’ and ‘secularism’, a brief discussion of the problems associated with the World Religions Paradigm, and then moves to the pedagogical merits and challenges of teaching ‘secularism/s’ within a World Religions model. We hope you enjoy this experiment!