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Kendrick Lamar has established himself at the forefront of
contemporary hip-hop culture. Artistically adventurous and socially
conscious, he has been unapologetic in using his art form, rap
music, to address issues affecting black lives while also exploring
subjects fundamental to the human experience, such as religious
belief. This book is the first to provide an interdisciplinary
academic analysis of the impact of Lamar's corpus. In doing so, it
highlights how Lamar's music reflects current tensions that are
keenly felt when dealing with the subjects of race, religion and
politics. Starting with Section 80 and ending with DAMN., this book
deals with each of Lamar's four major projects in turn. A panel of
academics, journalists and hip-hop practitioners show how religion,
in particular black spiritualties, take a front-and-center role in
his work. They also observe that his astute and biting thoughts on
race and culture may come from an African American perspective, but
many find something familiar in Lamar's lyrical testimony across
great chasms of social and geographical difference. This
sophisticated exploration of one of popular culture's emerging
icons reveals a complex and multi faceted engagement with religion,
faith, race, art and culture. As such, it will be vital reading for
anyone working in religious, African American and hip-hop studies,
as well as scholars of music, media and popular culture.
Method as Identity: Manufacturing Distance in the Academic Study of
Religion emphasizes the inexorable influence that social identities
exert in shaping methodological choices within the academic study
of religion, as witnessed in sui generis appeals to particularity
and reliance on (or rejection of) identity-based standpoints. Can
data speak back, and if so, would scholars have ears to listen?
With a refreshing hip hop sensibility, Miller and Driscoll argue
that what cultural theorist Jean-Francois Bayart refers to as a
"battle for identity" forces a necessary confrontation with the
(impact of) social identities (and, their histories) haunting our
fields of study. These complex categorical specters make it nearly
impossible to untether the categories of identity that we come to
study from the identity of categories shaping our methodological
lenses. Treating method as an identity-revealing technique of
distance-making between the "proper" scholar and the
less-than-scholarly advocate for religion, Miller and Driscoll
examine a variety of discursive milieus of vagueness (consider for
instance "essentialism," "origins," "authenticity") at work in the
contemporary discussion of "critical" methods that lack the
necessary specificity for doing the heavy-lifting of analytically
handling the asymmetrical dimensions of power part and parcel to
social identification. Through interdisciplinary discussions that
draw on thinkers including Charles H Long, Bruce Lincoln, Russell
T. McCutcheon, Theodor Adorno, Jacques Derrida, C. Wright Mills,
Laurel C. Schneider, William D. Hart, Tomoko Masuzawa, Anthony B.
Pinn, bell hooks, Roderick Ferguson, John L. Jackson, Jasbir Puar,
and Jean-Francois Bayart, among others, Method as Identity
intentionally blurs the lines classifying "proper" scholarly
approach and proper "objects" of study. With an intentional effort
to challenge the de facto disciplinary segregation marking the
field and study of religion today, Method as Identity will be of
interest to scholars involved in discussions about theory and
method for the study of religion, and especially researchers
working at the intersections of identity, difference, and
classification-and the politics thereof.
Religion and Hip Hop brings together the category of religion, Hip
Hop cultural modalities and the demographic of youth. Bringing
postmodern theory and critical approaches in the study of religion
to bear on Hip Hop cultural practices, this book examines how
scholars in religious and theological studies have deployed and
approached religion when analyzing Hip Hop data. Using existing
empirical studies on youth and religion to the cultural criticism
of the Humanities, Religion and Hip Hop argues that common among
existing scholarship is a thin interrogation of the category of
religion. As such, Miller calls for a redescription of religion in
popular cultural analysis - a challenge she further explores and
advances through various materialist engagements. Going beyond the
traditional and more common approach of analyzing rap lyrics, from
film, dance, to virtual reality, Religion and Hip Hop takes a fresh
approach to exploring the paranoid posture of the religious in
popular cultural forms, by going beyond what "is" religious about
Hip Hop culture. Rather, Miller explores what rhetorical uses of
religion in Hip Hop culture accomplish for various and often
competing social and cultural interests.
Religion and Hip Hop brings together the category of religion, Hip
Hop cultural modalities and the demographic of youth. Bringing
postmodern theory and critical approaches in the study of religion
to bear on Hip Hop cultural practices, this book examines how
scholars in religious and theological studies have deployed and
approached religion when analyzing Hip Hop data. Using existing
empirical studies on youth and religion to the cultural criticism
of the Humanities, Religion and Hip Hop argues that common among
existing scholarship is a thin interrogation of the category of
religion. As such, Miller calls for a redescription of religion in
popular cultural analysis - a challenge she further explores and
advances through various materialist engagements. Going beyond the
traditional and more common approach of analyzing rap lyrics, from
film, dance, to virtual reality, Religion and Hip Hop takes a fresh
approach to exploring the paranoid posture of the religious in
popular cultural forms, by going beyond what "is" religious about
Hip Hop culture. Rather, Miller explores what rhetorical uses of
religion in Hip Hop culture accomplish for various and often
competing social and cultural interests.
This book brings together a diverse and wide-ranging group of
thinkers to forge unsuspecting conversations across the humanist
and non-humanist divide. How should humanism relate to a
non-humanist world? What distinguishes "humanism" from the
"non-humanist?" Readers will encounter a wide-range of perspectives
on the terms bringing together this volume, where "Humanism"
"Non-Humanist" and "World" are not taken for granted, but instead,
tackled from a wide variety of perspectives, spaces, discourses,
and approaches. This volume offers both a pragmatic and scholarly
account of these terms and worldviews allowing for multiple points
of analytical and practical points of entry into the unfolding
dialogue between humanism and the non-humanist world. In this way,
this volume is attentive to both theoretically and historically
grounded inquiry and applied practical application.
This book brings together a diverse and wide-ranging group of
thinkers to forge unsuspecting conversations across the humanist
and non-humanist divide. How should humanism relate to a
non-humanist world? What distinguishes "humanism" from the
"non-humanist?" Readers will encounter a wide-range of perspectives
on the terms bringing together this volume, where "Humanism"
"Non-Humanist" and "World" are not taken for granted, but instead,
tackled from a wide variety of perspectives, spaces, discourses,
and approaches. This volume offers both a pragmatic and scholarly
account of these terms and worldviews allowing for multiple points
of analytical and practical points of entry into the unfolding
dialogue between humanism and the non-humanist world. In this way,
this volume is attentive to both theoretically and historically
grounded inquiry and applied practical application.
Method as Identity: Manufacturing Distance in the Academic Study of
Religion emphasizes the inexorable influence that social identities
exert in shaping methodological choices within the academic study
of religion, as witnessed in sui generis appeals to particularity
and reliance on (or rejection of) identity-based standpoints. Can
data speak back, and if so, would scholars have ears to listen?
With a refreshing hip hop sensibility, Miller and Driscoll argue
that what cultural theorist Jean-Francois Bayart refers to as a
"battle for identity" forces a necessary confrontation with the
(impact of) social identities (and, their histories) haunting our
fields of study. These complex categorical specters make it nearly
impossible to untether the categories of identity that we come to
study from the identity of categories shaping our methodological
lenses. Treating method as an identity-revealing technique of
distance-making between the "proper" scholar and the
less-than-scholarly advocate for religion, Miller and Driscoll
examine a variety of discursive milieus of vagueness (consider for
instance "essentialism," "origins," "authenticity") at work in the
contemporary discussion of "critical" methods that lack the
necessary specificity for doing the heavy-lifting of analytically
handling the asymmetrical dimensions of power part and parcel to
social identification. Through interdisciplinary discussions that
draw on thinkers including Charles H Long, Bruce Lincoln, Russell
T. McCutcheon, Theodor Adorno, Jacques Derrida, C. Wright Mills,
Laurel C. Schneider, William D. Hart, Tomoko Masuzawa, Anthony B.
Pinn, bell hooks, Roderick Ferguson, John L. Jackson, Jasbir Puar,
and Jean-Francois Bayart, among others, Method as Identity
intentionally blurs the lines classifying "proper" scholarly
approach and proper "objects" of study. With an intentional effort
to challenge the de facto disciplinary segregation marking the
field and study of religion today, Method as Identity will be of
interest to scholars involved in discussions about theory and
method for the study of religion, and especially researchers
working at the intersections of identity, difference, and
classification-and the politics thereof.
Kendrick Lamar has established himself at the forefront of
contemporary hip-hop culture. Artistically adventurous and socially
conscious, he has been unapologetic in using his art form, rap
music, to address issues affecting black lives while also exploring
subjects fundamental to the human experience, such as religious
belief. This book is the first to provide an interdisciplinary
academic analysis of the impact of Lamar's corpus. In doing so, it
highlights how Lamar's music reflects current tensions that are
keenly felt when dealing with the subjects of race, religion and
politics. Starting with Section 80 and ending with DAMN., this book
deals with each of Lamar's four major projects in turn. A panel of
academics, journalists and hip-hop practitioners show how religion,
in particular black spiritualties, take a front-and-center role in
his work. They also observe that his astute and biting thoughts on
race and culture may come from an African American perspective, but
many find something familiar in Lamar's lyrical testimony across
great chasms of social and geographical difference. This
sophisticated exploration of one of popular culture's emerging
icons reveals a complex and multi faceted engagement with religion,
faith, race, art and culture. As such, it will be vital reading for
anyone working in religious, African American and hip-hop studies,
as well as scholars of music, media and popular culture.
Edited by two recognized scholars of African-American religion
and culture, this reader, the first of its kind, provides the
essential texts for an important and emerging field of study
religion and hip hop. Until now, the discipline of religious
studies lacked a consistent and coherent text that highlights the
developing work at the intersections of hip hop, religion and
theology. Moving beyond an institutional understanding of religion
and offering a multidimensional assortment of essays, this new
volume charts new ground by bringing together voices who, to this
point, have been a disparate and scattered few. Comprehensively
organized with the foundational and most influential works that
continue to provide a base for current scholarship, "The Hip Hop
and Religion Reader "frames the lively and expanding conversation
on hip hop s influence on the academic study of religion."
Edited by two recognized scholars of African-American religion
and culture, this reader, the first of its kind, provides the
essential texts for an important and emerging field of study
religion and hip hop. Until now, the discipline of religious
studies lacked a consistent and coherent text that highlights the
developing work at the intersections of hip hop, religion and
theology. Moving beyond an institutional understanding of religion
and offering a multidimensional assortment of essays, this new
volume charts new ground by bringing together voices who, to this
point, have been a disparate and scattered few. Comprehensively
organized with the foundational and most influential works that
continue to provide a base for current scholarship, "The Hip Hop
and Religion Reader "frames the lively and expanding conversation
on hip hop s influence on the academic study of religion."
Now a global and transnational phenomenon, hip hop culture
continues to affect and be affected by the institutional, cultural,
religious, social, economic and political landscape of American
society and beyond. Over the past two decades, numerous disciplines
have taken up hip hop culture for its intellectual weight and
contributions to the cultural life and self-understanding of the
United States. More recently, the academic study of religion has
given hip hop culture closer and more critical attention, yet this
conversation is often limited to discussions of hip hop and
traditional understandings of religion and a methodological
hyper-focus on lyrical and textual analyses. Religion in Hip Hop:
Mapping the Terrain provides an important step in advancing and
mapping this new field of Religion and Hip Hop Studies. The volume
features 14 original contributions representative of this new
terrain within three sections representing major thematic issues
over the past two decades. The Preface is written by one of the
most prolific and founding scholars of this area of study, Michael
Eric Dyson, and the inclusion of and collaboration with Bernard
'Bun B' Freeman fosters a perspective internal to Hip Hop and
encourages conversation between artists and academics.
Now a global and transnational phenomenon, hip hop culture
continues to affect and be affected by the institutional, cultural,
religious, social, economic and political landscape of American
society and beyond. Over the past two decades, numerous disciplines
have taken up hip hop culture for its intellectual weight and
contributions to the cultural life and self-understanding of the
United States. More recently, the academic study of religion has
given hip hop culture closer and more critical attention, yet this
conversation is often limited to discussions of hip hop and
traditional understandings of religion and a methodological
hyper-focus on lyrical and textual analyses. Religion in Hip Hop:
Mapping the Terrain provides an important step in advancing and
mapping this new field of Religion and Hip Hop Studies. The volume
features 14 original contributions representative of this new
terrain within three sections representing major thematic issues
over the past two decades. The Preface is written by one of the
most prolific and founding scholars of this area of study, Michael
Eric Dyson, and the inclusion of and collaboration with Bernard
'Bun B' Freeman fosters a perspective internal to Hip Hop and
encourages conversation between artists and academics.
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