Religion: The Basics, 2nd edition by Malory Nye

By Malory Nye

From the neighborhood to the worldwide point, faith is – greater than ever – a massive and hotly debated a part of glossy existence within the twenty-first century. From silver earrings to ringtones and from golf equipment to headscarves, we regularly locate the cultural position and dialogue of faith in unforeseen methods. Now in its moment version, faith: the fundamentals is still the easiest advent to faith and modern tradition on hand. the hot variation has been totally revised and up-to-date, and contains new discussions of: the examine of faith and tradition within the twenty-first century texts, movies and rituals cognitive ways to faith globalization and multiculturalism spirituality within the West well known faith. With new case reviews, linking cultural idea to genuine global non secular adventure and perform, and courses to extra interpreting, faith: the fundamentals is a vital purchase for college students eager to become familiar with this hotly debated subject.

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Extra info for Religion: The Basics, 2nd edition

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Black rap music, particularly gangsta rap, and hip-hop to a certain degree, often references and expresses such political differences. On some levels, therefore, it shows a manifestation of resistance – resistance either on the basis of race/ethnicity, or otherwise economic disadvantage. What this suggests, therefore, is that popular culture may often challenge and resist the ways things are, even if the basic relations are not necessarily changed. And for Stuart Hall, this is what the study of popular culture is about: how it is that popular culture is used as a site for power struggles.

Although this is certainly a conclusion that can be drawn from this approach, it is not the central concern here. What is more important to emphasise is not so much whether one set of practices (or truth claims) is better than any others, but rather what political relations are in place that create such claims. CULTURE AND RESISTANCE Returning to Stuart Hall, the politics of differentiating between popular culture and the dominant culture can be played out in more subversive and challenging ways.

The scale and the influence of the industry of mass culture are overwhelming. The twentieth century saw a phenomenal growth of both choice and commercialisation of culture at the popular level. But what has also happened is that the ‘people’ have been selective in which cultural products they make their own: not only through choosing certain artists, but also which particular elements of a cultural product become invested with meaning and significance. Fiske uses the example of the popularity of old Hollywood western movies amongst certain Native Americans in the contemporary USA.

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