The course of the French Wars of Religion, commonly portrayed as a series of civil wars, was profoundly shaped by foreign actors. Many German Protestants in particular felt compelled to intervene. In Germany and the French Wars of Religion, 1560-1572 Jonas van Tol examines how Protestant German audiences understood the conflict in France and why they deemed intervention necessary. He demonstrates that conflicting stories about the violence in France fused with local religious debates and news from across Europe leading to a surprising range of interpretations of the nature of the French Wars of Religion. As a consequence, German Lutherans found themselves on opposing sides on the battlefields of France.

On the five-hundredth anniversary of the 1519 debate between Martin Luther and John Eck at Leipzig, Luther at Leipzig offers an extensive treatment of this pivotal Reformation event in its historical and theological context. The Leipzig Debate not only revealed growing differences between Luther and his opponents, but also resulted in further splintering among the Reformation parties, which continues to the present day. The essays in this volume provide an essential background to the complex theological, political, ecclesiastical, and intellectual issues precipitating the debate. They also sketch out the relevance of the Leipzig Debate for the course of the Reformation, the interpretation and development of Luther, and the ongoing divisions between Protestantism and Roman Catholicism.

Documentary as Exorcism is an interdisciplinary study that builds upon the insights of postcolonial studies, critical race theory, theological and religious studies and media and film studies to showcase the role of documentary film as a system of signifying capable of registering complex theological ideas while pursuing the authentic aims of documentary filmmaking. Robert Beckford marries the concepts of 'theology as visual practice' and 'theology as political engagement' to develop a new mode of documentary filmmaking that embeds emancipation from oppression in its aesthetic. In various documentaries made for Channel 4 and the BBC, Beckford narrates the complicit relationship of Christianity with European expansion, slavery, and colonialism as a historic manifestation of evil. In light of the cannibalistic practices of colonialism that devoured black life, and the church's role in the subjugation and theological legitimation of black bodies, Beckford characterises this form of historic Christian faith as 'colonial Christianity' and its malevolent or 'occult' practices as a form of 'bewitchment' that must be 'exorcised'. He identifies and exorcises the evil practices of colonialism and their present impact upon African Caribbean Christian communities in Britain in films such as Britain's Slave Trade and Empire Pays Back through a deliberate process of encoding/decoding. The emancipatory impact of this form of documentary filmmaking is demonstrated by its ability to bring issues such as reparations to the public square for debate, and its capacity to change a corporation's trade policies for the good of Africans.

When Art Disrupts Religion opens at London's Tate Modern Museum, with a young Evangelical man contemplating a painting by Mark Rothko, an aesthetic experience that proves disruptive to his religious life. Without those moments with Rothko, he says, "there never would have been an undoing of my conservative Evangelical worldview." The memoirs, interviews, and ethnographic field notes gathered by Philip Francis for this book lay bare the power of the arts to unsettle and overturn deeply ingrained religious beliefs and practices. Francis explores the aesthetic disturbances of more than 80 Evangelical respondants. From the paintings of Rothko to the films of Ingmar Bergman, from The Brothers Karamozov to The Freewheelin' Bob Dylan, Francis finds that the arts function as sites of "defamiliarization," "comfort in uncertainty," "a stand-in for faith" and a "surrogate transcendence." Bridging the gap between aesthetic theory and lived religion, this book sheds light on the complex interrelationship of religion and art in the modern West, and the role of the arts in education and social life.

In the late nineteenth century, a small community of Native Hawaiian Mormons established a settlement in heart of The Great Basin, in Utah. The community was named Iosepa, after the prophet and sixth president of the Church of Jesus Christ of Latter-day Saints, Joseph F. Smith. The inhabitants of Iosepa struggled against racism, the ravages of leprosy, and economic depression, by the early years of the twentieth century emerging as a modern, model community based on ranching, farming, and an unwavering commitment to religious ideals. Yet barely thirty years after its founding the town was abandoned, nearly all of its inhabitants returning to Hawaii. Years later, Native Hawaiian students at nearby Brigham Young University, descendants of the original settlers, worked to clean the graves of Iosepa and erect a monument to memorialize the settlers. Remembering Iosepa connects the story of this unique community with the earliest Native Hawaiian migrants to western North America and the vibrant and growing community of Pacific Islanders in the Great Basin today. It traces the origins and growth of the community in the tumultuous years of colonial expansion into the Hawaiian islands, as well as its relationship to white Mormons, the church leadership, and the Hawaiian government. In the broadest sense, Mathew Kester seeks to explain the meeting of Mormons and Hawaiians in the American West and to examine the creative adaptations and misunderstandings that grew out of that encounter.

Since World War II, historians have analysed a phenomenon of "white flight" plaguing the urban areas of the northern United States. One of the most interesting cases of "white flight" occurred in the Chicago neighborhoods of Englewood and Roseland, where seven entire church congregations from one denomination, the Christian Reformed Church, left the city in the 1960s and 1970s and relocated their churches to nearby suburbs. In Shades of White Flight, sociologist Mark T. Mulder investigates the migration of these Chicago church members, revealing how these churches not only failed to inhibit white flight, but actually facilitated the congregations' departure. Using a wealth of both archival and interview data, Mulder sheds light on the forces that shaped these midwestern neighborhoods and shows that, surprisingly, evangelical religion fostered both segregation as well as the decline of urban stability. Indeed, the Roseland and Englewood stories show how religion - often used to foster community and social connectedness - can sometimes help to disintegrate neighborhoods. Mulder describes how the Dutch CRC formed an insular social circle that focused on the local church and Christian school - instead of the local park or square or market - as the center point of the community. Rather than embrace the larger community, the CRC subculture sheltered themselves and their families within these two places. Thus it became relatively easy - when black families moved into the neighborhood - to sell the church and school and relocate in the suburbs. This is especially true because, in these congregations, authority rested at the local church level and in fact they owned the buildings themselves. Revealing how a dominant form of evangelical church polity - congregationalism - functioned within the larger phenomenon of white flight, Shades of White Flight lends new insights into the role of religion and how it can affect social change, not always for the better.

Many scholars and church leaders believe that music and worship style are essential in stimulating diversity in congregations. Gerardo Marti draws on interviews with more than 170 congregational leaders and parishioners, as well as his experiences participating in worship services in a wide variety of Protestant, multiracial Southern Californian churches, to present this insightful study of the role of music in creating congregational diversity.
Worship across the Racial Divide offers a surprising conclusion: that there is no single style of worship or music that determines the likelihood of achieving a multiracial church. Far more important are the complex of practices of the worshipping community in the production and absorption of music. Multiracial churches successfully diversify by stimulating unobtrusive means of interracial and interethnic relations; in fact, preparation for music apart from worship gatherings proves to be just as important as its performance during services. Marti shows that aside from and even in spite of the varying beliefs of attendees and church leaders, diversity happens because music and worship create practical spaces where cross-racial bonds are formed.
This groundbreaking book sheds light on how race affects worship in multiracial churches. It will allow a new understanding of the dynamics of such churches, and provide crucial aid to church leaders for avoiding the pitfalls that inadvertently widen the racial divide.

This volume approaches the Word of Faith as a worldview, and analyses the movement through N. T. Wright's model for worldview-analysis in order to provide necessary nuance and complexity to scholarly interpretations of the Word of Faith. The reader receives insights into the movement's narrative, semiotic, practical and propositional dimensions, which cumulatively offer a multifaceted understanding of how the Word of Faith interprets reality and engages with the world. The analysis shows that there is a narrative core to Word of Faith beliefs in the form of a unique theological story with focus set on the present restoration of Eden's authority and blessings. This study demonstrates how the Word of Faith operates as a distinct worldview that parses the world through the lens of faith's causative power to affect a direct correspondence between present reality and Eden's perfection. The findings advance a critical and therapeutic approach that acknowledges how the worldview both strengthens and subverts Pentecostalism.