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Since the introduction of photography by commercial studio photographers and the colonial state in Kenya, this global medium has been intensely debated and contested among Muslims on the cosmopolitan East African coast. This book does not only explore the making, circulation, and consumption of popular photographs, but also the other side, their rejection and obliteration, an essential aspect of a medium's history that should not be neglected. It deals with various »social spaces of refusal« in the local Muslim milieu and in that of »traditional« spirit mediums in which (gendered) visibility was (and is) contested in various and creative ways. It focuses on the »aesthetics of withdrawal«: the various ways and techniques that process the photographic act as well as the photographic image to theatricalize the surface of the image in new ways by veiling, masking, and concealing. In a fragmented historical perspective, Heike Behrend seeks to complement, decenter, and counter the history of photography as it has been told by the West and to narrate another history beginning with preceding local media such as textiles and spirit possession.
This is the third volume in a trilogy on identity, memory and subjectivity. Contributors to the book share an ambition to combine personal, political and existential dimensions in detailed evocations of the ambitions and vulnerabilities of contemporary Africans. Their essays aim to forge alliances between patient local scholarship and adventurous theoretical speculation that should inspire new research and caution against bland generalizations about African marginality.
Verbal imagery and visual images as well as the intricate relationships between verbal and visual representations have long shaped the imagination and the practice of intercultural relationships. The contributions to this volume take a fresh look at the ideology of form, especially the gendered and racial implications of the gaze and the voice in various media and intermedial transformations. Analyses of how culturally specific forms of visual and verbal expression are individually understood and manipulated complement reflections on the potential and limitations of representation. The juxtaposition of visual and verbal signifiers explores the gap between them as a space beyond cultural boun...
Ongoing debates about the “return of religion” have paid little attention to the orgiastic and enthusiastic qualities of religiosity, despite a significant increase in the use of techniques of trance and possession around the globe. Likewise, research on religion and media has neglected the fact that historically the rise of mediumship and spirit possession was closely linked to the development of new media of communication. This innovative volume brings together a wide range of ethnographic studies on local spiritual and media practices. Recognizing that processes of globalization are shaped by mass mediation, the volume raises questions such as: How are media like photography, cinema, video, the telephone, or television integrated in seances and healing rituals? How do spirit mediums connect with these media? Why are certain technical media shunned in these contexts?
Christianity Today 2013 Book Award Winner Winner of The Foundation for Pentecostal Scholarship's 2012 Award of Excellence 2011 Book of the Year, Christianbook.com's Academic Blog Most modern prejudice against biblical miracle reports depends on David Hume's argument that uniform human experience precluded miracles. Yet current research shows that human experience is far from uniform. In fact, hundreds of millions of people today claim to have experienced miracles. New Testament scholar Craig Keener argues that it is time to rethink Hume's argument in light of the contemporary evidence available to us. This wide-ranging and meticulously researched two-volume study presents the most thorough current defense of the credibility of the miracle reports in the Gospels and Acts. Drawing on claims from a range of global cultures and taking a multidisciplinary approach to the topic, Keener suggests that many miracle accounts throughout history and from contemporary times are best explained as genuine divine acts, lending credence to the biblical miracle reports.
Accompanying DVD is entitled: "Satan crucified : a crusade of the Catholic Church in western Uganda / a video by Armin Linke and Heike Behrend.
Richly illustrated with over 100 images, this volume explores the role of photography in raising historical consciousness from a variety of geographic, cultural, and historical perspectives. 128 photos.
Globalisation has provided tools for religious actors and organisations to thrive in migrant communities, as fluid transnational networks help project messages across borders and from a local to a global audience. This volume addresses several under-examined questions of religious practices within migrant communities and transnational religious networks.
In August 1986, Alice Auma, a young Acholi woman in northern Uganda, proclaiming herself under the orders of a Christian spirit named Lakwena, raised an army called the “Holy Spirit Mobile Forces.” With it she waged a war against perceived evil, not only an external enemy represented by the National Resistance Army of the government, but internal enemies in the form of “impure” soldiers, witches, and sorcerers. She came very close to her goal of overthrowing the government but was defeated and fled to Kenya. This book provides a unique view of Alice’s movement, based on interviews with its members and including their own writings, examining their perceptions of the threat of external and internal evil. It concludes with an account of the successor movements into which Alice’s forces fragmented and which still are active in the civil wars of the Sudan and Uganda.