Introduction: From Imagined Communities to Aesthetic Formations: Religious Mediations, Sensational Forms, and Styles of Binding
Introduction: From Imagined Communities to Aesthetic Formations: Religious Mediations, Sensational Forms, and Styles of Binding
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简介：从想象的共同体到审美的形成：宗教中介、煽情形式和束缚风格
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发表时间：
2009
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通讯作者：
B. Meyer
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作者：
B. Meyer
在过去的十年里，一系列探讨宗教与媒体关系的研究出现在人类学、社会学、媒体研究、宗教研究、哲学和艺术的界面上。超越了宗教和媒体的一个令人困惑的对立，其中两个本体论上不同的领域-精神和技术-碰撞的观点，学者们现在开发新的方法，认为媒体是宗教的内在。与其将宗教团体有时对新媒体的壮观宣传解释为一种全新的现象，不如提出一个新媒体如何干扰长期以来一直是宗教实践一部分的旧媒体的问题。这种理解使我们的探究走出了二元对立的限制性领域，在二元对立中，宗教的特征是现代性和技术的他者，他们最终的消失是被假定的。转向一个新的后世俗主义的Vantage位置，从这个角度来探讨宗教在特定的当代环境中的重新表达（Asad 2003; Taylor 2007），被证明比关于宗教衰落或从世俗化范式中退出公共领域的辩论更有成效。它使我们能够重新审视当代宗教表现力的各种形式的突出吸引力和公众存在（De弗里斯2008）。
Over the past decade, a host of studies probing into the relation between religion and media emerged in the interface of anthropology, sociology, media studies, religious studies, philosophy, and the arts. Moving beyond a view of religion and media in terms of a puzzling antagonism, in which two ontologically distinct spheres-the spiritual and the technological-collide, scholars now develop new approaches that regard media as intrinsic to religion. Rather than interpreting the at times spectacular incorporations of new media by religious groups as an entirely new phenomenon, the question raised is that of how a new medium interferes with older media that have long been part of religious practice. This understanding moves our inquiry out of the limiting field of binary oppositions, in which religion features as the Other of modernity and technology, whose eventual disappearance is presumed. The shift toward a new postsecularist vantage point from which to explore the rearticulation of religion in specific contemporary settings (Asad 2003; Taylor 2007) proves to be far more productive than debates about the decline of religion or its withdrawal from the public sphere undertaken from the paradigm of secularization. It allows us to take a fresh look at the salient appeal and public presence of diverse forms of contemporary religious expressivity (De Vries 2008).