Performing Religion

A special issue of Religions (ISSN 2077-1444).

Deadline for manuscript submissions: closed (1 March 2019) | Viewed by 3579

Special Issue Editor


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Guest Editor
College of Arts and Sciences, Syracuse University, Syracuse, NY 13244, USA

Special Issue Information

Dear Colleagues,

What might “performing religion” mean?  What might it look like, embodied?  What might count as “performing religion”?  What performative effects might “performing religion” have?  How might “performing religion,” and/or performances of religion, figure—or refigure—religion as performance?  How might thinking these terms together, “religion” and “performance,” change the ways we imagine—or reimagine—each of them?  How might thinking these terms together change the ways we imagine—or reimagine—corporeality and relationality?

This Special Issue seeks to explore these and related questions, about “performing religion.”  It seeks to cast “religion” and “performance” as broadly as possible and it seeks cross-disciplinary engagements with religious studies, performance studies, and studies from other disciplinary locations, examining all kinds of cultural forms. These forms might include theatre, performance art, storytelling, spoken-word poetry, dance, music, ritual, and liturgy.  They might include other things, too.  Contributors might study these forms theoretically, historically, ethnographically, textually, theatrically, visually, orally, aurally, kinetically (among other possibilities).

Prof. Dr. William Robert
Guest Editor

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Keywords

  • religion
  • performance
  • reimagining
  • corporeality
  • relations

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Published Papers (1 paper)

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Research

16 pages, 220 KiB  
Article
At the Still Point: The Heart of Conversion
by Karmen MacKendrick
Religions 2019, 10(4), 249; https://doi.org/10.3390/rel10040249 - 4 Apr 2019
Viewed by 3118
Abstract
Though religion and performance are often considered together in ritual and liturgy, they may join in other contexts as well. This paper explores the “still point” described in the poet T.S. Eliot’s Four Quartets as playing a role not only in poetry and [...] Read more.
Though religion and performance are often considered together in ritual and liturgy, they may join in other contexts as well. This paper explores the “still point” described in the poet T.S. Eliot’s Four Quartets as playing a role not only in poetry and dance, but equally in moments of religious conversion. Three such moments are explored, framed by theoretical considerations of dance, conversion, and attentiveness to the “here” and “now” in both. These points of space and time are the objects of an intense focus that creates a center to the experience and thus the possibility of the conversionary turn. Full article
(This article belongs to the Special Issue Performing Religion)
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