MODERN TIMES: RELIGION,CONSECRATION AND THE STATE IN BOURDIEU

Bourdieu held that the state in modernity has become the primary agent of consecration, ‘the legitimation and naturalization of social difference’, a function formerly performed largely by religion. After clarifying the role of ‘religion’ in Bourdieu's work, this paper brings two empirical issues into dialogue with his ideas: social fragmentation in late-modernity, and the relation between temporalization and social structures in medieval and early-modern charity. His view that religion is anachronistic, that it was left behind by modernization misses its continuing, even increasing, importance. He overemphasized the centrality and authority of the state in modernity and distinguished too sharply between pre-modern gifting and modern market relations. Once these limitations are mitigated, Bourdieu's analysis can be redirected to account for the importance of religion as an agent of consecration globally today.     

The next enlightenment: aesthetic reason in modern art and mass culture

Taking as its point of departure the contested claim that Horkheimer and Adorno's Dialectic of Enlightenment conceptualizes a differentiated form of aesthetic reason, this essay explicates key properties of aesthetic rationality as it later was elaborated in Adorno's Aesthetic Theory. With these properties in view, it next compares modern artworks and film and discovers that aesthetic reason has taken up residence in mass culture. Adorno's confinement of aesthetic reason to modern art, and his insistence with Horkheimer that modern art and the rationality it entails are emasculated by mass culture, appear premature. As the host for aesthetic rationality, mass culture secures the rational content of modernity against the hegemony of instrumental reason. Through the increasing universalization of mass culture aesthetic reason achieves universality, placing us on the threshold of another enlightenment, an aesthetic enlightenment that would be the completion of modernity's as yet unfinished project.     

The Rosenberg video: testimonio,theatricality and baroque politics in contemporary Guatemala

This article focuses on the assassination of Guatemalan lawyer, Rodrigo Rosenberg, on 10 May 2009 and his videotaped accusation of the Colom administration, broadcast after his death. Rosenberg’s self-produced video testimony, and the ‘staging’ of his own death, opens up questions about the role of testimonio and theatricality as modes of political address. I argue that the spectacular politics of the Rosenberg video, while drawing from the testimonio genre and incorporating electronic media, mark a return to a baroque conception of politics.     

Secularisation is an ecclesiastical regime of truth not a sociological event: a practical definition of religion re-visited

In a previous article, in this Journal (2011, 21.1) Steve Bruce put forward a practical definition of religion which he held out as offering considerable explanatory scope: religion consists of beliefs, actions and institutions which assume the existence of supernatural entities with powers of action, or impersonal powers or processes possessed of moral purpose. This article proposes that this definition holds dramatic explanatory scope that has yet to be realised by sociology. The element ‘moral purpose’ in that definition represents a not clearly acknowledged, but nevertheless substantial, agreement amongst sociologists that religion is a life-meaning-making enterprise defined by the imposition of moral order on a universe that is incomprehensible and indifferent to human existence. The full implication of that definition is the reversal of the conventional perspective on secularisation. If the placement of life within a meaningful sense of existence is the domain of religion, it follows that today's secular placing is just as much a religious enterprise of world building. The use of supernatural entities is only one method to anchor that placement: they are a dispensable adjunct to religion. The Gods are representatives of the truly sacred fact, which stands independent of them, that human existence has to make meaning for itself. To treat the supernatural entities as essential to the definition of religion is to adopt an ecclesiastical conceit from which a sociological perspective needs to free itself. The way forward for sociology is to deconstruct the present regime of truth through the recovery of the secular religion that comprises today's life-meaning-making enterprise. The article falls into two parts. The first identifies elements of consensus among sociological theorists that religion is defined by life-meaning-making and seeks to reinforce that consensus with a range of working examples that illustrate different ways in which religious life-meaning is constructed. The second part develops theory and a selection of research avenues in the new task to characterise today's secular religion.     

The Dark Side of Art’s Social Turn: Towards a Discourse on the Impact of Art’s Use of Social Forms Upon the Social

The recent “social turn” in art, in which art favours using forms from social life above its own, has been extensively discussed. Relational Aesthetics by Nicolas Bourriaud, Conversation Pieces and The One and the Many by Grant Kester, essays by Claire Bishop who supplies the term “the Social Turn,” and her recent publication Artificial Hells, are now as important to the field as the art they scrutinise. Ironically, however, when this discussion regards the implications of the “turn”, it habitually addresses the effects of this development from – and for – art’s point of view, overlooking the way in which artists’ inroads into social life may be differently regarded in the social realm. As much as this represents a failure to illuminate a particular area for knowledge, it also signifies a failure to take art’s revalorised commitment to the social to its ethical conclusion: such, from two perspectives, is the “dark side” of art’s social turn. This article seeks to mitigate these oversights. In particular, it looks at art in which an artist undertakes another person’s professional work. Considering the effects of this on those whose practices are appropriated, I propose a consultative approach, involving ethnographic and empathetic modes of address. Consequently, this article does not present an answer to the question it poses, “how do professionals in the social realm see art’s appropriations of their practices?” but rather, a framework for approaching that.     

From modernity through postmodernity to reflexive modernization. Did we learn anything?

Modernization, in the sociological tradition, was usually understood as increasing differentiation. Theorists as different as Marx, Durkheim, Weber and Parsons all shared the view that modernization meant the opening of new horizons. The publication of Lyotard's The Postmodern Condition transformed the discursive universe: contrary to the tradition of differentiation theoretical sociology the pamphlet interpreted modernization as a process in which the plurality of local cultural traditions was destroyed and their various narratives were rearticulated into a unified modern canon under the repressive meta-narratives of science, progress and the Enlightenment. At first, sociologists were at odds with this new interpretation until Beck, Giddens and Lash brought up the idea of modernity in two phases in their Reflexive Modernization (1994) and related publications. According to them, ‘traditional modernity’ was based on cultural closures, such as unified class-identities, nationalities and fixed gender-identities, but it was followed by a ‘second’ or ‘reflexive modernity’, where several traditions lived side by side, just as the postmodernists claimed. An intense debate emerged. The article asks: did we learn anything from the debate on reflexive modernization and if so, can the learnt lessons be used fruitfully in the study of contemporary society? The answer seems to be negative for the most part. However, the modernization theoretical approach can still be seen as a useful tool for framing research questions and contributing to the diagnosis of the era. This is how it can still provide a point of departure for research, but not deliver all the answers.     

Art as Propaganda: Bringing Du Bois into the Sociology of Art

We examine WEB Du Bois's writings about the arts in the NAACP journal The Crisis from 1910–1934 in order to construct a Du Boisian social theory of the arts. The key elements of this theoretical framework are: artists, money, freedom, organization, truth, beauty, and propaganda. The most surprising element is propaganda, which for Du Bois meant that art needs to address racial politics. There is a strong sense in Du Bois's writings that art can and should have socially transformative effects. Comparing Du Bois's work to current theories from the sociology of art, we find that Du Bois emphasizes the role of art in social change, while current work treats art primarily as a tool for social reproduction. We argue for expanding the theoretical toolbox of the sociology of the arts through greater consideration of Du Bois's propaganda concept.     

ANA MENDIETA AND THE POLITICS OF THE VENUS NEGRA

The theorizations by some early feminists of the affiliation between Earth and woman, the ‘archetype of the Great Goddess’, and the ‘universal female’, are today regarded with embarrassment as essentializing, ultimately disempowering gestures. This article examines a 1981 project by Cuban-born artist Ana Mendieta for the feminist art journal Heresies. In this project she combines a photograph of one of her own earthworks with her translation of the nineteenth-century Cuban legend The Venus Negra. By investigating this legend in the context of nineteenth-century Cuban nationalism, and this earthwork in terms of twentieth-century US/Latino politics, this article argues that the Earth is not necessarily the essential category it appears to be. It claims that the discursive deployment of the Earth - the nation's primitive Other - subverts ideologies of the nation and contributes to its performative renegotiation. Further, it suggests that, in using this legend to disrupt the hegemonic construction of nation, both the legend's authors and its contemporary translator play with the performativity of both gender and race.     

Pride as structure of feeling: Wolf Warrior II and the national subject of the Chinese Dream

This article provides an interpretation the film Wolf Warrior II in the geohistorical context of the Chinese Dream, which is advocated by China’s President Xi Jinping, and considers the psychological domains that produce a new national subject. Focusing on the emotional energy of pride articulated in the film, this article shows that it constitutes the most essential emotional element in the formation of contemporary Chinese nationalism. We argue that the film interpellates the desiring subject for participation in a nationalist position that is locked in binary opposition with the West. We elucidate the emotional politics of pride by comparing the films produced in the eras of Mao and Deng, and we conclude that the emerging national subjectivity is a psychic transformation and reinvention of previous nationalist fantasies in the new context.     

Technological sensibilities and the cyberpolitics of gender: Donna haraway's postmodern feminism

In this article, I discuss the far reaching implications of Donna Haraway's cyborg feminism for social and cultural theory. I argue that it allows us to re‐think the collapse of modernity not so much as the death of the social and the death of the subject, but as the eclipse of ‘Modern Man’ as the ‘natural’ anchorage of views from nowhere. Highlighting the inevitable particularism of embodiment, her notion of the cyborg marks the possibility of differential politics which combine critique with agonistique. Such an alliance could serve as particularly effective way of working through the challenge of postmodernity without either surrendering to ‘anything goes’ liberal pluralism or the romantic desperation of nihilistic fatalism.     

Isaac Julien's looking for Langston: Hugues,biography and queer(ed) history

This writing ‘performs’ theory and ‘embodies’ writing as it questions specific psychoanalytic theories of the phallus, the mirror and jouissance in the context of ruminations of what it means to make art and judge it. Art, theory, and blackness are at once essentialized and fragmented in the pull between Lacanian notions of phallic power and the notions of a black woman needing to respond to the changing demands of truth and creation. Noir, a woman, troubled by resentments of the popular and of cultural critics, writes letters to her friend and next door neighbour, Oedipus Rex, in her search for the truth of affective/effective creation. Oedipus Rex as a prevailing taboo, a universal symbol, and a cornerstone of the psychoanalytic is recast into a‘silent’ respondent as Noir contemplates desire, the phallus, and the alchemy of black women in the gothic film Eve's Bayou. That Oedipus is ‘not read’ through his own letters, but only through the letters of this black woman is an oblique repositioning of subjectivity and voice.     

Insurrectional Politics in Colonial Southeast Asia: Colonial Modernity,Islamic ‘Counterplots’, and Translocal (Anti-colonial) Connectivity

Abstract

This article focuses on the idea of ‘colonial modernity’ to pursue a dual theoretical purpose: to interrogate the givenness of ‘modernity’ as an overarching and over-determining epistemological framework; and, secondly, to indicate how movements against colonial modernity were part of a ‘deep, global infrastructure of anti-colonial connectivity’. By examining a number of Islamic movements in the Dutch Indies and in British Malaya, this article seeks to map out some of the translocal spaces created and occupied by these movements, which linked North Africa to Saudi Arabia and to South East Asia. The focus on translocality speaks also to the existence and enactment of exteriorities to modernity. My deployment of ‘exteriority’ signals here certain historical, political, and cultural lateral relations among colonial spaces, through which the colonized generate and activate what June Nash calls ‘counterplots’ to colonial modernity.     

The Impact of the Return of Religion on Theoretical Approaches to Democracy and Governance in the Social and Political Sciences

The survey article analyses the impact of the return of religion on theoretical approaches to democracy and governance in the social and political sciences and spells out the normative and practical implications of a post-secular research programme on politics and religion. Reviewing the recent theoretical literature in the field, the author argues that there is a post-secular revision underway in the social and political sciences. This revision leads to a re-conceptualization of key assumptions about religion in sociology and political sciences: on the grounds of a historical and sociological criticism of the secularization thesis, secularity as condition and secularism as ideology acquire analytical significance. In a second step and drawing chiefly on works of Habermas, Rawls, Bader and Shachar, the author proposes that as a consequence of this re-conceptualization, the relationship between politics and religion in democratic theory is best interpreted in terms of a post-secular, deliberative public sphere in which religion has its place and that an appropriate research programme on religion and politics might consist in a normatively informed comparative governance approach to religion.     

‘The Girl About Town’: discussions of modernity and female youth in Drum magazine, 1951–1970

This article examines the trope of the ‘modern miss’ in Drum magazine 1951–1970 as a locus for debate over South African urban modernity. At the centre of Drum’s African urbanity was a debate between a progressive, positively ‘modern’ existence and an attendant fear of moral and social ‘breakdown’ in the apartheid city. The trope of the ‘modern miss’ drew upon both discourses. Drum’s fascination with the ‘modern miss’ reached a peak in the years 1957–1963, during which time she appeared prominently in the magazine as a symbolic pioneer of changing gender and generational relationships. However, this portrayal continued to coexist alongside the image of young women as the victims of moral degeneration. The ‘modern miss’ was increasingly differentiated from adult women within Drum’s pages, which distanced her from the new space won by political activists. By examining constructions of young womanhood, this article points to the gendering of ‘youth’ at the intersection of commercial print culture and shifting social relations in mid‐twentieth‐century South Africa. It is also suggested that understanding the social configurations of Drum’s modernity illuminates the gendered and generational responses of formal political movements as they conducted their own concurrent debates.     

Dissonant Notes on the Post‐Secular: Unthinking Secularization in Global Historical Sociology

The article criticizes the assumption that modernity is a rupture in time and space conceivable in terms of the coming of a secular age. It tackles Habermas concept of ‘post‐secular’ and denotes it as an attempt to provide new foundations to modernization narratives, in postmodern terms; it discusses Blumenberg's idea of secularization and questions the historical ontogenesis of what Blumenberg thinks of in terms of the transition to the modern age; it further elaborates on Wang Hui analysis of the relation between Western science and the role of China in global modernity. Secularization and the post‐secular, it is argued, re‐frame narratives of the disenchantment within a western geocultural ideology of western superiority.     

The trouble with 'inclusion': a case study of the faith zone at the Millennium Dome

Some sociologists of religion would argue that there has been a move away from ‘religion’, in terms of institutionalised dogmas and established corporate ways of believing, towards ‘spiritualities of life’ where the emphasis lies on the personal, the individual and the experiential ( Heelas, 2002 ; Wuthnow, 2001 ). Given the evidence for the apparent popularity of spirituality in contemporary Western society, it is surprising that between 1996 and 2000, the Zone concerned with religion at the Millennium Dome in Greenwich was re‐named from‘The Spirit Zone’to‘The Faith Zone’. A range of political, economic and religious interests lay behind the Zone’s re‐naming, and both the name (and the content) changed to reflect ‘religion’ rather than ‘spirituality’. The process of constructing the Zone thus moved in a diametrically opposite direction to some of the trends associated with religious belief in modern Britain. An investigation of the dynamics behind the construction of the Faith Zone at the Dome provides an opportunity to evaluate what ‘counted’ as religion ( Beckford, 2003 ) at a specific time and context in British society. The paper also shows that behind the Labour Government rhetoric of ‘inclusion’, various dimensions of spiritual belief and activity in Britain are excluded from the public sphere. When it comes to religion, taken‐for‐granted criteria operate – resulting in the prioritisation of the official, the ‘representative’, the ‘respectable’, and ‘the unified’ over the unofficial, the deviant, the private, and the contested. This paper looks at the struggles and the conditions associated with the idea and the policy of inclusion in relation to religion in modern Britain, using the Faith Zone at the Dome as a case study.     

RECLAIMING HERITAGE: COLOURIZATION,CULTURE WARS AND THE POLITICS OF NOSTALGIA

This article considers the discursive continuities between a specifically liberal defence of cultural patrimony, evident in the debate over film colourization, and the culture war critique associated with neo-conservatism. It examines how a rhetoric of nostalgia, linked to particular ideas of authenticity, canonicity and tradition, has been mobilized by the right and the left in attempts to stabilize the configuration and perceived transmission of American cultural identity. While different in scale, colourization and multiculturalism were seen to create respective (postmodern) barbarisms against which defenders of culture, heritage and good taste could unite. I argue that in its defence of the ‘classic’ work of art, together with principles of aesthetic distinction and the value of cultural inheritance, the anti-colourization lobby helped enrich and legitimize a discourse of tradition that, at the end of the 1980s, was beginning to reverberate powerfully in the conservative challenge to a ‘crisis’ within higher education and the humanities. This article attempts to complicate the contemporary politics of nostalgia, showing how a defence of cultural patrimony has distinguished major and minor culture wars, engaging left and right quite differently but with similar presuppositions.