Birgit Meyer – författare

This book examines the incorporation of newly accessible mass media into practices of religious mediation in a variety of settings including the Pentecostal Church and Islamic movements, as well as the use of religious forms and image in the sphere of radio and cinema.

This book examines the incorporation of newly accessible mass media into practices of religious mediation in a variety of settings including the Pentecostal Church and Islamic movements, as well as the use of religious forms and image in the sphere of radio and cinema.

". . . one of those rare edited volumes that advances social thought as it provides substantive religious and media ethnography that is good to think with." —Dale Eickelman, Dartmouth CollegeIncreasingly, Pentecostal, Buddhist, Muslim, Jewish, Hindu, and indigenous movements all over the world make use of a great variety of modern mass media, both print and electronic. Through religious booklets, radio broadcasts, cassette tapes, television talk-shows, soap operas, and documentary film these movements address multiple publics and offer alternative forms of belonging, often in competition with the postcolonial nation-state. How have new practices of religious mediation transformed the public sphere? How has the adoption of new media impinged on religious experiences and notions of religious authority? Has neo-liberalism engendered a blurring of the boundaries between religion and entertainment? The vivid essays in this interdisciplinary volume combine rich empirical detail with theoretical reflection, offering new perspectives on a variety of media, genres, and religions.

Questions surrounding modernity and its meanings weigh heavily on students and scholars who study Africa. Becoming modern carries a lot of different meanings and puts concepts of culture, tradition, and nation into uneasy use. Readings in Modernity in Africa brings together classic essays, old and new, to help assess the issues and problems of modernity in an African context. Questions include: How can we discuss modernity without lapsing into a Western-dominated view of history? How do we avoid losing sight of the diversity of local forms? How is it that modernity has such a powerful impact on African lives? This wide-ranging volume provides new perspectives and suggests alternatives for how a better future might be implemented in Africa and beyond.

Tracing the rise and development of the Ghanaian video film industry between 1985 and 2010, Sensational Movies examines video movies as seismographic devices recording a culture and society in turmoil. This book captures the dynamic process of popular film-making in Ghana as a new medium for the imagination and tracks the interlacing of the medium's technological, economic, social, cultural, and religious aspects. Stepping into the void left by the defunct state film industry, video movies negotiate the imaginaries deployed by state cinema on the one hand and Christianity on the other. Birgit Meyer analyzes Ghanaian video as a powerful, sensational form. Colliding with the state film industry's representations of culture, these movies are indebted to religious notions of divination and revelation. Exploring the format of "film as revelation," Meyer unpacks the affinity between cinematic and popular Christian modes of looking and showcases the transgressive potential haunting figurations of the occult. In this brilliant study, Meyer offers a deep, conceptually innovative analysis of the role of visual culture within the politics and aesthetics of religious world making.

Tracing the rise and development of the Ghanaian video film industry between 1985 and 2010, Sensational Movies examines video movies as seismographic devices recording a culture and society in turmoil. This book captures the dynamic process of popular film-making in Ghana as a new medium for the imagination and tracks the interlacing of the medium's technological, economic, social, cultural, and religious aspects. Stepping into the void left by the defunct state film industry, video movies negotiate the imaginaries deployed by state cinema on the one hand and Christianity on the other. Birgit Meyer analyzes Ghanaian video as a powerful, sensational form. Colliding with the state film industry's representations of culture, these movies are indebted to religious notions of divination and revelation. Exploring the format of "film as revelation," Meyer unpacks the affinity between cinematic and popular Christian modes of looking and showcases the transgressive potential haunting figurations of the occult. In this brilliant study, Meyer offers a deep, conceptually innovative analysis of the role of visual culture within the politics and aesthetics of religious world making.

Globalization and Identity: Dialectics of Flow and Closure"Globalization" and "Identity" are an explosive combination, demonstrated by recent outbursts of communalist violence in many parts of the world. Their varying articulations highlight the paradox that accelerating global flows of goods, persons and images go together with determined efforts towards closure, emphasis on cultural difference and fixing of identities. This collection explores this paradox of 'flow' and 'closure' through a series of detailed case studies in comparative perspective.

Magic and Modernity is the first book to explore comparatively how magic—usually portrayed as the antithesis of the modern—is also something that is at home in modernity. "Magic" and "modernity" are rarely regarded as belonging together. Evolutionism regarded magic as quintessentially "unmodern." Although psychologists and romantic artists have sometimes declared magic to be a human universal, few modern scholars in the humanities and social sciences have studied how modern culture and institutions incorporated and even produced magic. This book is the first to adopt a comparative approach to the study of magic as something that has a place in modernity, and that helped to constitute modern society at local and global levels. The essays in this collection contribute to recent discussions in anthropology, cultural studies, comparative literature, history, and sociology that increasingly question the extent to which modern self-conceptions are accurate reflections of a state of affairs in the world rather than cultural interventions.

Magic and Modernity is the first book to explore comparatively how magic—usually portrayed as the antithesis of the modern—is also something that is at home in modernity. "Magic" and "modernity" are rarely regarded as belonging together. Evolutionism regarded magic as quintessentially "unmodern." Although psychologists and romantic artists have sometimes declared magic to be a human universal, few modern scholars in the humanities and social sciences have studied how modern culture and institutions incorporated and even produced magic. This book is the first to adopt a comparative approach to the study of magic as something that has a place in modernity, and that helped to constitute modern society at local and global levels. The essays in this collection contribute to recent discussions in anthropology, cultural studies, comparative literature, history, and sociology that increasingly question the extent to which modern self-conceptions are accurate reflections of a state of affairs in the world rather than cultural interventions.

This book is open access and available on www.bloomsburycollections.com. It is funded by the University of Oslo and Utrecht University.Judaism, Christianity and Islam are known to privilege words over images. This book shows, however, that the reality is more complex. Figurations and Sensations of the Unseen explores the complex procedures used to render the invisible as visible and the elusive as tangible in these three traditions. Working from different disciplinary angles, contributors reflect on figuration and sensation in biblical culture, medieval Jewish culture, the imagination of the unseen in Islamic settings, Christian assaults on 'idolatry' in Africa, baroque and modern Church art, contemporary Eastern Orthodox tradition, photography on the East African coast, European opera and literature, and more.The book shows that the three religious traditions have formed sensorial regimes: embodied habits, traditions and standards for seeing, sensing, displaying, and figuring that which could not, or should not, be seen. So, the desire for seeing the invisible and experiencing the beyond are paradoxically confirmed, contested and controlled, by the sensorial regimes in vogue. This carries over even into secularized use of religious figurations in arts and literature.Figurations and Sensations of the Unseen is important reading for scholars of anthropology, religious studies, Jewish studies, Christian studies, Islamic studies, art history, cultural studies, biblical studies and archaeology.

Understanding religion from a material and corporeal angle, this open access book addresses the ways in which refugees practice their religions and convert or develop new faiths. It also evaluates how secular institutions in Europe frame and determine what is classified as religion according to the law, and delineate the limits of religious authority, religious practice, and religious speech.The question of nationalism and migration has been shaping the political landscape in Europe for more than a decade, resulting in a nationalist upsurge. This volume places the current trajectories of people from Asia and Africa who flee from conditions such as oppression and conflict, and who are seeking refuge in Europe in a broader historical and comparative perspective. In so doing, it addresses past experiences in Europe with the role of religion in both producing and accommodating refugees, in the aftermath of the Peace of Westphalia, World War II, and in the context of the Cold War.The ebook editions of this book are available open access under a CC-BY-NC-ND 3.0 licence on www.bloomsburycollections.com. Open access was funded by Utrecht University and the Max Planck Society.

This book is open access and available on www.bloomsburycollections.com. It is funded by the University of Oslo and Utrecht University.Judaism, Christianity and Islam are known to privilege words over images. This book shows, however, that the reality is more complex. Figurations and Sensations of the Unseen explores the complex procedures used to render the invisible as visible and the elusive as tangible in these three traditions. Working from different disciplinary angles, contributors reflect on figuration and sensation in biblical culture, medieval Jewish culture, the imagination of the unseen in Islamic settings, Christian assaults on 'idolatry' in Africa, baroque and modern Church art, contemporary Eastern Orthodox tradition, photography on the East African coast, European opera and literature, and more.The book shows that the three religious traditions have formed sensorial regimes: embodied habits, traditions and standards for seeing, sensing, displaying, and figuring that which could not, or should not, be seen. So, the desire for seeing the invisible and experiencing the beyond are paradoxically confirmed, contested and controlled, by the sensorial regimes in vogue. This carries over even into secularized use of religious figurations in arts and literature.Figurations and Sensations of the Unseen is important reading for scholars of anthropology, religious studies, Jewish studies, Christian studies, Islamic studies, art history, cultural studies, biblical studies and archaeology.

Understanding religion from a material and corporeal angle, this open access book addresses the ways in which refugees practice their religions and convert or develop new faiths. It also evaluates how secular institutions in Europe frame and determine what is classified as religion according to the law, and delineate the limits of religious authority, religious practice, and religious speech.The question of nationalism and migration has been shaping the political landscape in Europe for more than a decade, resulting in a nationalist upsurge. This volume places the current trajectories of people from Asia and Africa who flee from conditions such as oppression and conflict, and who are seeking refuge in Europe in a broader historical and comparative perspective. In so doing, it addresses past experiences in Europe with the role of religion in both producing and accommodating refugees, in the aftermath of the Peace of Westphalia, World War II, and in the context of the Cold War.The ebook editions of this book are available open access under a CC-BY-NC-ND 3.0 licence on www.bloomsburycollections.com. Open access was funded by Utrecht University and the Max Planck Society.

In an era of intensifying globalization and transnational connectivity, the dynamics of cultural production and the very notion of creativity are in transition. Exploring creative practices in various settings, the book does not only call attention to the spread of modernist discourses of creativity, from the colonial era to the current obsession with ‘innovation’ in neo-liberal capitalist cultural politics, but also to the less visible practices of copying, recycling and reproduction that occur as part and parcel of creative improvization.

In an era of intensifying globalization and transnational connectivity, the dynamics of cultural production and the very notion of creativity are in transition. Exploring creative practices in various settings, the book does not only call attention to the spread of modernist discourses of creativity, from the colonial era to the current obsession with ‘innovation’ in neo-liberal capitalist cultural politics, but also to the less visible practices of copying, recycling and reproduction that occur as part and parcel of creative improvization.

Contrary to popular perceptions, cultural heritage is not given, but constantly in the making: a construction subject to dynamic processes of (re)inventing culture within particular social formations and bound to particular forms of mediation. Yet the appeal of cultural heritage often rests on its denial of being a fabrication, its promise to provide an essential ground to social-cultural identities. Taking this paradoxical feature as a point of departure, and anchoring the discussion to two heuristic concepts—the "politics of authentication" and "aesthetics of persuasion"—the chapters herein explore how this tension is central to the dynamics of heritage formation worldwide.

Contrary to popular perceptions, cultural heritage is not given, but constantly in the making: a construction subject to dynamic processes of (re)inventing culture within particular social formations and bound to particular forms of mediation. Yet the appeal of cultural heritage often rests on its denial of being a fabrication, its promise to provide an essential ground to social-cultural identities. Taking this paradoxical feature as a point of departure, and anchoring the discussion to the two heuristic concepts of the `politics of authentication' and `aesthetics of persuasion,' the chapters herein explore how this tension is central to the dynamics of heritage formation worldwide.

It presents innovative strategies for achieving cross-cultural complementarity, highlighting the role of metacognitive cultural intelligence in enhancing knowledge sharing within global PBO. mso-ansi-language: EN-US;">Explore how cultural differences impact collaboration in mega projects while valuing cultural diversity as vital resource.