Robert Glenn Howard – författare

A fascinating exposition of Christian online communication networks and the Internet's power to build a movementIn the 1990s, Marilyn Agee developed one of the most well-known amateur evangelical websites focused on the "End Times", The Bible Prophecy Corner. Around the same time, Lambert Dolphin, a retired Stanford physicist, started the website Lambert's Library to discuss with others online how to experience the divine. While Marilyn and Lambert did not initially correspond directly, they have shared several correspondents in common. Even as early as 1999 it was clear that they were members of the same online network of Christians, a virtual church built around those who embraced a common ideology.Digital Jesus documents how such like-minded individuals created a large web of religious communication on the Internet, in essence developing a new type of new religious movement—one without a central leader or institution. Based on over a decade of interaction with figures both large and small within this community, Robert Glenn Howard offers the first sustained ethnographic account of the movement as well as a realistic and pragmatic view of how new communication technologies can both empower and disempower the individuals who use them. By tracing the group's origins back to the email lists and "Usenet" groups of the 1980s up to the online forums of today, Digital Jesus also serves as a succinct history of the development of online group communications.

A fascinating exposition of Christian online communication networks and the Internet's power to build a movementIn the 1990s, Marilyn Agee developed one of the most well-known amateur evangelical websites focused on the "End Times", The Bible Prophecy Corner. Around the same time, Lambert Dolphin, a retired Stanford physicist, started the website Lambert's Library to discuss with others online how to experience the divine. While Marilyn and Lambert did not initially correspond directly, they have shared several correspondents in common. Even as early as 1999 it was clear that they were members of the same online network of Christians, a virtual church built around those who embraced a common ideology.Digital Jesus documents how such like-minded individuals created a large web of religious communication on the Internet, in essence developing a new type of new religious movement—one without a central leader or institution. Based on over a decade of interaction with figures both large and small within this community, Robert Glenn Howard offers the first sustained ethnographic account of the movement as well as a realistic and pragmatic view of how new communication technologies can both empower and disempower the individuals who use them. By tracing the group's origins back to the email lists and "Usenet" groups of the 1980s up to the online forums of today, Digital Jesus also serves as a succinct history of the development of online group communications.

Contributions by Sandra Bartlett Atwood, Nathan E. Bender, London Brickley, Eric A. Eliason, Noah D. Eliason, Tim Frandy, Robert Glenn Howard, Jay Mechling, Annamarie O'Brien Morel, Raymond Summerville, Tok Thompson, and Megan L. ZahayGuns are a ubiquitous part of life in the United States. Arguably more pervasive than physical guns is ""gunlore,"" which refers to the many folklore genres related to firearms. Gunlore: Firearms, Folkways, and Communities is the first book to engage with the many narratives, rituals, folk-speech, customs, art, and handicraft encompassed by gunlore.Like most expressive cultures, gunlore emerges from specific communities. Groups with a shared interest around firearms may form for many reasons—self-protection, hunting, crime, work, political or social identity signaling, the desire to creatively modify guns, and even the resolve to oppose gun use and ownership. This collection explores a range of gunlore genres and the ""gunfolk"" groups that give rise to them. Contributors examine topics that include the fetishization of firearms, ""Moms Who Carry,"" online discussion boards, alternative history cosplay, survivalist communities, gunsmiths and gun craft, and more. Gun owners and gun enthusiasts, in all their varieties, are one of the largest avocational groups in America. The essays in Gunlore seek to expand our understanding of these communities by looking at the various roles firearms play, have played, and can play in our world.Gunlore, for better or worse, is a powerful and pervasive method of self-expression. In examining the folklore around these controversial and politically charged tools, weapons, and symbols, we can begin to understand aspects of American culture that will remain prominent for the foreseeable future.

Contributions by Sandra Bartlett Atwood, Nathan E. Bender, London Brickley, Eric A. Eliason, Noah D. Eliason, Tim Frandy, Robert Glenn Howard, Jay Mechling, Annamarie O'Brien Morel, Raymond Summerville, Tok Thompson, and Megan L. ZahayGuns are a ubiquitous part of life in the United States. Arguably more pervasive than physical guns is ""gunlore,"" which refers to the many folklore genres related to firearms. Gunlore: Firearms, Folkways, and Communities is the first book to engage with the many narratives, rituals, folk-speech, customs, art, and handicraft encompassed by gunlore.Like most expressive cultures, gunlore emerges from specific communities. Groups with a shared interest around firearms may form for many reasons—self-protection, hunting, crime, work, political or social identity signaling, the desire to creatively modify guns, and even the resolve to oppose gun use and ownership. This collection explores a range of gunlore genres and the ""gunfolk"" groups that give rise to them. Contributors examine topics that include the fetishization of firearms, ""Moms Who Carry,"" online discussion boards, alternative history cosplay, survivalist communities, gunsmiths and gun craft, and more. Gun owners and gun enthusiasts, in all their varieties, are one of the largest avocational groups in America. The essays in Gunlore seek to expand our understanding of these communities by looking at the various roles firearms play, have played, and can play in our world.Gunlore, for better or worse, is a powerful and pervasive method of self-expression. In examining the folklore around these controversial and politically charged tools, weapons, and symbols, we can begin to understand aspects of American culture that will remain prominent for the foreseeable future.

Contributions by Sandra Bartlett Atwood, Nathan E. Bender, London Brickley, Eric A. Eliason, Noah D. Eliason, Tim Frandy, Robert Glenn Howard, Jay Mechling, Annamarie O''Brien Morel, Raymond Summerville, Tok Thompson, and Megan L. ZahayGuns are a ubiquitous part of life in the United States. Arguably more pervasive than physical guns is “gunlore,” which refers to the many folklore genres related to firearms. Gunlore: Firearms, Folkways, and Communities is the first book to engage with the many narratives, rituals, folk-speech, customs, art, and handicraft encompassed by gunlore. Like most expressive cultures, gunlore emerges from specific communities. Groups with a shared interest around firearms may form for many reasons—self-protection, hunting, crime, work, political or social identity signaling, the desire to creatively modify guns, and even the resolve to oppose gun use and ownership. This collection explores a range of gunlore genres and the “gunfolk” groups that give rise to them. Contributors examine topics that include the fetishization of firearms, “Moms Who Carry,” online discussion boards, alternative history cosplay, survivalist communities, gunsmiths and gun craft, and more. Gun owners and gun enthusiasts, in all their varieties, are one of the largest avocational groups in America. The essays in Gunlore seek to expand our understanding of these communities by looking at the various roles firearms play, have played, and can play in our world. Gunlore, for better or worse, is a powerful and pervasive method of self-expression. In examining the folklore around these controversial and politically charged tools, weapons, and symbols, we can begin to understand aspects of American culture that will remain prominent for the foreseeable future.

Contributions by Sandra Bartlett Atwood, Nathan E. Bender, London Brickley, Eric A. Eliason, Noah D. Eliason, Tim Frandy, Robert Glenn Howard, Jay Mechling, Annamarie O''Brien Morel, Raymond Summerville, Tok Thompson, and Megan L. ZahayGuns are a ubiquitous part of life in the United States. Arguably more pervasive than physical guns is “gunlore,” which refers to the many folklore genres related to firearms. Gunlore: Firearms, Folkways, and Communities is the first book to engage with the many narratives, rituals, folk-speech, customs, art, and handicraft encompassed by gunlore. Like most expressive cultures, gunlore emerges from specific communities. Groups with a shared interest around firearms may form for many reasons—self-protection, hunting, crime, work, political or social identity signaling, the desire to creatively modify guns, and even the resolve to oppose gun use and ownership. This collection explores a range of gunlore genres and the “gunfolk” groups that give rise to them. Contributors examine topics that include the fetishization of firearms, “Moms Who Carry,” online discussion boards, alternative history cosplay, survivalist communities, gunsmiths and gun craft, and more. Gun owners and gun enthusiasts, in all their varieties, are one of the largest avocational groups in America. The essays in Gunlore seek to expand our understanding of these communities by looking at the various roles firearms play, have played, and can play in our world. Gunlore, for better or worse, is a powerful and pervasive method of self-expression. In examining the folklore around these controversial and politically charged tools, weapons, and symbols, we can begin to understand aspects of American culture that will remain prominent for the foreseeable future.