1-11 of 11 Results

  • Keywords: gender x
Clear all

Article

Melissa Raphael

Until the late 20th century, it was widely assumed that visual art could be of only negligible significance to a Jewish tradition that had been principally mediated through written texts. However, by the closing decades of the 20th century, Jewish cultural historians had demonstrated that, while Jewish worship and study is indubitably logocentric, the Second Commandment’s prohibition of the making and worshipping of graven images has not entailed a blanket ban on visual art. Jews have not been uniformly indifferent or hostile to visual art, a category that includes the architectural design and decoration of synagogues; funerary monuments; illuminated manuscripts; embroidery; liturgical seats, pulpits, and the other fittings and ornaments of religious Jewish life at home and at worship; as well as, since the 19th century, drawing, painting and sculpture. Most interpreters now read the biblical texts as prohibiting only the making and worshipping of images of the divine. The Bible forbids idolatry, but is aware that not all images are idolatrous. By around the 3rd century of the Common Era, rabbinical rulings recognized that the danger of Jews becoming idolaters, as they might have done under formerly pagan dispensations, had passed. In short, although in a number of Jewish historical periods and geographical regions there have been good reasons to be reluctant to accommodate visual art within the tradition, there is also ample evidence of visual art in settings that span the entire geography and history of Judaism. Jewish avoidance or neglect of visual art has usually been more historically contingent than theologically necessary. The religious culture of Jews resident in Islamic lands, for example, tended to conform to their hosts’ prevailing, though not historically or geographically comprehensive, tendency to aniconism. On grounds such as these, it has been argued that the notion of Judaism as an aniconic tradition is a modern one. Kant’s appreciation of the Second Commandment as one of Judaism’s few redeeming features, proscribing any crude urge to see that which exceeds the bounds of sensibility, encouraged western European Jews to advert to Judaism’s lack of art a sign of its pre-eminence as the first enlightened religion. The 19th and early 20th-century claim that Jewish tradition is aural and literary, but not visual, seems to have owed more to the modern German scientific study of Judaism’s use of the Second Commandment to highlight affinities between Jewish and Christian monotheism and to Jews’ desire to integrate into Protestant culture, than to restrictions within their own legal and cultural inheritance. Perceived violations of the Second Commandment no longer provoke much of a reaction in any but the most conservative Jewish communities. And even among the Haredim, artists have begun to paint semi-abstract pictures that are not considered a deviation from halakhic norms. Yet, while many Jews still regard abstraction as a more permissible form of Jewish visual art than others, it is evident that the art tradition that developed after Jewish civil emancipation in Western Europe has actually been predominantly figurative. A number of scholars have therefore proposed that the Second Commandment has not so much prevented figurative visual art as promoted a distinctive set of styles and techniques, especially those that allow Jewish artists to make images that fulfill their quintessentially Jewish obligation to criticize idolatrous images. Jewish art, it has been argued, exists because of the Second Commandment, not in spite of it. This essay does not cover Jewish approaches and contributions to film and architecture. It examines both the history and theorization of Jewish visual art and Jewish religious approaches to visual art. The essay uses the findings of this two-pronged enquiry to suggest that Jewish visual art, which is more than art by artists who happen to be Jews, is properly counter-idolatrous art, art that is far from hindered by the Second Commandment but is actively produced by it. Jewish art does more than build cultural, political, and national Jewish identities; it does more than the commemorative work of visually constructing Jewish memory. Visual art made by Jews becomes Jewish when it serves a constructive theological, prophetic purpose and when it uses idoloclastic techniques to produce images that both cancel and restore the glory of the human. This claim counters the prevailing view that there can be no unified or normative theory of Jewish art.

Article

Phillip Gordon Mackintosh

American Freemasonry is as much a spatial as sacred practice. Emerging from arcane Enlightenment origins, Masonic theology and practice brim with a spatiality representative of Masonry’s compulsion to make men moral. Moral masculinity reflects in Freemasonry’s “sacred space,” Masonic geography fixed with symbols vital to the moral, social, and spiritual growth of potential and actual Freemasons. Masons have routinely embedded sacred geography in architecture from stylish Georgian, Victorian, and Edwardian “temples,” to humble lodges occupying multi-use back rooms or above street-level shops. Masonic historical preoccupation with spatiality evokes Victorian faith in moral environmentalism: the impulse to effect virtuous and civil behavior through orderly manipulations of environment. Indeed, the dedicated employment in the lodge of Masonic furniture and furnishings loosely mimics the Victorian middle-class parlor’s preoccupation with order, design, and moral aesthetics. Masons call this ritual and allegorical décor the lodge’s form, support, covering, furniture, ornaments, lights, and jewels. Such furnishings figure in Masonry’s performance of rituals, and, together, they both produce sacred space in the lodge and substantiate the rites’ moral masculine transformation of Masonic candidate and Mason alike. Masonic spatiality includes a waning penchant for racial and sexual apartheid, originating in early modern American misapprehensions of biology, anthropology, and gender. Accordingly, “black” Masons have attended separate lodges. Prince Hall Freemasonry has existed since the late 18th century and is named for its eponymous founder, although “black” Masons join “white” lodges today. Women Masons or “matrons” are initiated in an appendant Christian rite: the Order of the Eastern Star, which includes a Prince Hall form, was developed for evangelical Protestant women followers of Jesus intentionally to distract them from the deism of the men’s rituals in a milieu of 19th century Christian anti-Masonry. Recognizing the lodge as sacred space contributes to its existence as sacred “place.” Thus, the lodge-as-place becomes a “sacred retreat” for Masons who dwell outside its precincts.

Article

Throughout American history, religious people and groups have developed, sustained, or challenged cultural norms around gender, marriage, and sexual purity. Beginning with the earliest English Protestant settlers in the 17th century, American Christians have devoted consistent attention to the proper roles of men and women, and to the proper functioning of families. Throughout American history, religious leaders have assigned men as spiritual leaders of their families. Assessments of women’s piety—and its importance in maintaining social order—have grown more positive over time. Prophetic radicals and political activists have frequently challenged American Christianity by attacking its traditionalism on issues related to gender and sexuality. The ideal of a “traditional family” has, however, proven quite robust. Even as cultural attitudes around gender and sexuality have shifted dramatically in recent years, the presumption that typical American families are heterosexual, middle-class, and Christian has persisted. This presumption developed over time and has remained dominant owing in part to the contributions of American religious groups.

Article

Evangelism, mission, and crusade are terms related to spreading a religious message. Although all three words are primarily used in relation to Christianity, evangelism and mission have been applied to activities by traditions other than Christianity and, indeed, to secular actors, including nations. In the context of American religion, evangelism, mission, and crusade are activities through which people have contested and defined national identity and distinguished between the “foreign” and “domestic” and “us” and “them.” These delineations, even when done through activities ostensibly concerned with religious difference, have often been made on the basis of ethnicity and race. Thus, exploring evangelism, mission, and crusade illumines how notions of religious, racial, ethnic, and national difference have been constructed in relationship to each other. Considering these terms in their U.S. context, then, reveals relationships between religious and national identity, the role of religion in nation-building, and how religious beliefs and practices can both reify and challenge notions of what the nation is and who belongs to it.

Article

The foundational materiality in Christian worship is the bodily presence of worshippers. Gender differences—and the manifold ways in which they are embodied and performed in different cultural contexts—are therefore inscribed into the very fabric of liturgical practices, past and present. In Christian worship today, the workings of gender are evident across a broad spectrum of ecclesial traditions. Some churches have authorized rituals for the blessing of same-sex unions; some are ordaining openly transgender priests. Other churches continue to struggle with the ordination of women, while a few aim for explicitly “masculine” worship experiences. Feminist concerns over liturgical language mark some communities, while churches rooted in more traditional contexts maintain seating arrangements that separate women and men. Clearly, the workings of gender in Christian worship today span a broad spectrum of quite dissimilar concerns. At the root of all these concerns, however, lies the same vital reality, namely that worship is an embodied practice and therefore never gender-free. What often goes unnoticed in contemporary discussions is the fact that gender differences have marked liturgical practices in Christian communities since earliest times. The workings of gender, in other words, have a genealogy in Christian worship. Scholars have only recently begun to map this terrain, by bringing the interpretive tools of gender theory to bear on liturgical historiography. Paramount among these interpretive tools is an understanding of gender as attending to all gendered particularities and sexualities (e.g., eunuchs in Byzantium, ascetic virgins in Merovingian Gaul, transgender people in contemporary North America, etc.). Gender, in other words, is understood to encompass much more than the traditional binary of “women” and “men.” The emerging gender-attentive insights into liturgical history have been intriguing and at times quite surprising. These insights span the whole of liturgy’s past, from ways in which gender shaped early baptismal practices (e.g., in the choreography of the rite, in questions surrounding the minister of baptism, in the bodily proprieties considered appropriate at the font) to the workings of gender in the 20th-century Liturgical Movement (e.g., its first important text, Tra le Sollecitudine (1903)—usually hailed for its evocation of an “active participation” of the faithful in worship—also sought to discontinue the presence of castrati singers in the Sistine Chapel choir while ensuring that women would not take their place). In between earliest glimpses of the workings of gender in Christian worship and our own times lie approximately a thousand years of a complex history. Tracing this history of the interplay between gender differences and Christian worship not only constitutes an important task for historians of liturgy, but also provides rich resources for addressing contemporary issues.

Article

J. Blake Couey

The book of Isaiah is a compilation of prophetic poetry and narratives, named for an 8th-century bce Judahite prophet. As depicted in chapters 1–39, Isaiah declared that Yhwh intended to punish Judah for social and cultic infractions; at the same time, he expressed support for the Davidic monarchy and proclaimed that Jerusalem would not be conquered by the Assyrians. Chapters 40–55 are addressed to a later audience following the conquest of Jerusalem by Babylon in 587 bce. These texts offer reassurance that Jerusalem will be restored and its exiled citizens will return. The final chapters, 56–66, reflect growing disillusionment and conflict in Judah under Persian rule, and the book ends by describing Yhwh’s eschatological destruction of the wicked and vindication of a righteous remnant. The book grew and developed over a period of four to five centuries. Despite its sometimes conflicting perspectives, it is broadly unified by its focus on the fate of Jerusalem, and later editors worked to impose some coherence upon its varied content, as seen by the repeated thematic echoes in Isaiah 1 and 65–66. Isaiah is a sophisticated work of biblical Hebrew poetry, characterized by intricate combinations of imagery and wordplay. It features a high view of divine sovereignty, emphasizing Yhwh’s control over world nations and superiority over all human and divine powers; these ideas contributed to the emergence of monotheism in ancient Judah. The book also articulates diverse responses to imperial domination, even as it chronicles the ebb and flow of Judah’s own imperial aspirations. Striking portrayals of women and gender appear throughout Isaiah, including the extensive personification of Jerusalem as a woman and the comparison of Yhwh to a mother. Isaiah is also notable for its discourse about disability, which serves a variety of rhetorical functions in the book. The impact of Isaiah was felt immediately, as evidenced by the number of copies of the book among the Dead Sea scrolls and citations of it in the New Testament. It greatly impacted the development of important religious ideas, including apocalypticism and belief in resurrection. In Christianity, Isaiah played an important role in reflection upon the nature of Jesus and the inclusion of Gentiles, even as it informed Christian anti-Judaism. The book has had a more complicated reception in Judaism, where it significantly influenced the growth of Zionism. Scholarly study of Isaiah continues to clarify the shape of its final form and history of composition. Current research on the book is increasingly interdisciplinary, engaging metaphor theory, disability studies, and postcolonial thought. The history of the book’s interpretation and reception is another area of growing interest.

Article

Gender and spirituality are both terms that signify alterity, especially a critique of established social conventions, including conventions of disciplining personhood on the basis of gender classifications and according to doctrinal and ritual patterns of organized religion. To be aware of gender as a hierarchical system is a modern phenomenon; “spirituality” has a much longer history of use and was generated from within organized religion, though its evolution increasingly marked it as a perspective distinct from, and necessitating the evaluative intervention of, official religious channels. Developing through a confluence of interest in Western esotericism, Transcendentalism, Theosophy, the German Romantics, and Asian traditions in the early 20th century, spirituality as a cultural concept and practice was poised to respond to widespread late modern questioning of received social modes, especially in terms of defining oneself. Contesting theoretical predictions of society’s secularization but supporting those of the “subjective turn,” late modern spirituality groups, especially those inspired by feminism, civil rights, and gay rights, valorized marginalized bodies and their distinctive experiences, creating new paths of spiritual expression in which personal experience in the context of group affirmation was foregrounded. Postmodern ideas on the fluidity of gender further contributed to the voices of LGBTQ (lesbian, gay, bisexual, transgendered, and queer) people who critiqued residual gender binaries operative in some New Age spiritualities and provided new arguments for social inclusivity in spirituality groups and in the wider society. What characterizes spirituality into the 21st century is the “turn to holism,” in which a wide variety of methods are promoted as leading to a holistic sense of the well-being of body and spirit. Diverse practices include Kirlian aura photography, Johrei Fellowship healing, tarot cards, shiatsu massage, acupressure, aromatherapy, kinesiology, and yoga, leading some scholars to critique the spirituality climate as a neoliberal capitalist “spiritual marketplace.” Others view it as a generative opportunity for seeking and bricolage construction of the self that has transformative potential for both self and society.

Article

The history of religion in the United States cannot be understood without attending to histories of race, gender, and sexuality. Since the 1960s, social and political movements for civil rights have ignited interest in the politics of identity, especially those tied to movements for racial justice, women’s rights, and LGBT rights. These movements have in turn informed scholarly practice, not least by prompting the formation of new academic fields, such as Women’s Studies and African American studies, and new forms of analysis, such as intersectionality, critical race theory, and feminist and queer theory. These movements have transformed how scholars of religion in colonial North America and the United States approach intersections of race, gender, and sexuality. From the colonial period to the present, these discourses of difference have shaped religious practice and belief. Religion has likewise shaped how people understand race, gender, and sexuality. The way that most people in the United States think about identity, especially in terms of race, gender, or sexuality, has a longer history forged out of encounters among European Christians, Native Americans, and people of African descent in the colonial world. European Christians brought with them a number of assumptions about the connection between civilization and Christian ideals of gender and sexuality. Many saw their role in the Americas as one of Christianization, a process that included not only religious but also sexual and cultural conversion, as these went hand in hand. Assumptions about religion and sexuality proved central to how European colonists understood the people they encountered as “heathens” or “pagans.” Religion likewise informed how they interpreted the enslavement of Africans, which was often justified through theological readings of the Bible. Native Americans and African Americans also drew upon religion to understand and to resist the violence of European colonialism and enslavement. In the modern United States, languages of religion, race, gender, and sexuality continue to inform one another as they define the boundaries of normative “modernity,” including the role of religion in politics and the relationship between religious versus secular arguments about race, gender, and sexuality.

Article

Home Missions in the United States was a white Protestant missionary movement within the geopolitical borders of the U.S. empire—both its contiguous states as well as its colonial territories—as they developed and shifted through a long history of U.S. imperial expansion, settlement, and conquest. From the beginning of the 19th century, Anglo-Protestants in the United States became invested in the home missionary movement to secure Christian supremacy on the land that made up their newly forming white settler nation. Home Missions was occupied with both the formation of a sacred homeland and the homes within that homeland. As a dual-homemaking endeavor, home missionary projects functioned as settler colonial technologies of space-making and race-making. They not only sought to transform the land into an Anglo-Protestant possession but also racialized people as foreign to maintain Anglo-Protestant sovereignty over the spaces mapped as a home through colonial conquest. Centering settler colonialism within an analysis of Home Missions denaturalizes home and foreign as taken-for-granted spatial categories by considering them colonial significations. Home Missions sought to remake conquered territory habitable for Anglo-Protestant settlement, using the concepts home and foreign to govern people differently within that conquered territory. Gaining prominence in the postbellum United States, women’s societies for Home Missions cooperated across multiple Protestant denominations and between multiple missionary sites across the U.S. empire in forming a transcolonial network aimed at uplifting the homes of the nation. These colonial sites included missions to “Indians,” “Negroes,” “City Immigrants,” “Orientals,” “Mountaineers,” “Loggers,” “Porto Rico,” “Alaska,” and more. White women entered new public spheres by making the racial uplift of homes across the nation a practice of imperial domesticity. Women in Home Missions sought to create subject citizens of the U.S. nation by shaping the habits, tendencies, and racial constitution of people through the cultivation and management of Christian homes. Homes were spaces of both racial uplift and the maintenance of racial purity. Thus, missionaries were not only preoccupied with making Christian citizens for the nation but were also concerned with maintaining racial distinctions characteristic of the anxieties of U.S. colonial governance at the turn of the 20th century. Through Home Missions, Anglo-Protestants participated in an imperial process that sought to transform the land and its inhabitants while also forming racializations, gender systems, and political economies that mapped onto an imaginary in which a particular vision of settled homes/homeland occupied a central analytic. By treating “home” in Home Missions as a critical category, one is able to reconsider the maneuverings of religion, empire, nation, race and gender/sexuality within the context of settler colonial conquest, possession, and settlement.

Article

Diane Apostolos-Cappadona

Like religion, art has been a fundamental component of human experience since the beginning of time. Often working in partnership, occasionally at odds, art and religion form a combination that has been a source of inspiration, pedagogy, contemplation, and celebration of the relationship between the human and the divine. However, each individual religion and its culture have encountered the arts differently; these encounters are reflected in distinctive attitudes toward the human, sex, gender, sexuality, race, ethnicity, and class, as well as configuration of the holy. The human figure has been a common denominator in the arts envisioning transformations in cultural and societal attitudes, economic and political perceptions, and religious doctrines. Traditional wisdom suggests that the majority of world cultures and religions are established upon a patriarchal structure so that representations of the male body project attitudes of power while the female body projects negative attributes. More recent scholarship by feminist art historians, critics, cultural historians, and religious historians provides new ways of looking at the female figure and the role of women in religious art including the history of women artists, patrons, collectors, and, most recently, as critics and curators. Further surveying the iconography of specific women, whether deities, historical personages, or legendary beings, in the history of a religion affords the opportunity not simply to analyze variations in artistic styles but also to witness how religion shapes and informs cultural, societal, and even legal definitions of women. While the majority of scholarly investigations have focused on Western religions, the possibilities of both comparative analyses and innovative studies of non-Western iconographies of women in religious art can both inform and expand global recognition of the categories of gender, race, and ethnicity as well as research methodologies. The Western model of iconography may be found wanting and open to enrichment through engagement with new categories and models of analysis.

Article

Sharon A. Suh

Film serves as one of the most recent contributions to the variety of Buddhist visual forms that can offer a perspectival shift in interpretation for its viewers akin to other meditative devices such as mandalas. As a relatively recent subject of study, Buddhist films present innovative opportunities to visualize the Buddha, Buddhism, and the self in nuanced ways. Buddhist film can be understood as a spiritual technology that reshapes vision, and the act of viewing becomes a ritual process and contemplative practice. Ranging from films with an explicitly Buddhist theme and content to more abstract films without obvious Buddhist references, Buddhist films have become the subject of scholarly studies of Buddhism as well as occasions to reimagine Buddhism on and off screen. Buddhist films found in Asia and the West have proliferated globally through the rise of international Buddhist film festivals over the past fifteen years that have increased both the interest in Buddhism and the field of Buddhism and film itself. Most studies of Buddhism in film indicate that what constitutes a Buddhist film continually evolves and, as such, can be seen as a contemporary instantiation of the skillful means of the Buddha.