Visualizing the sacred: Video technology, “televisual” style, and the religious imagination in Bahian candomblé

Port, Mattijs van de

doi:10.1525/ae.2006.33.3.444

Cited by 63 publications

(15 citation statements)

References 23 publications

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“…In short, aesthetics of persuasion is responsible for the "truth effects" of religion, for instance, by authorizing the body as the harbinger of ultimate truth and authenticity. 57 Persuasion is based on classical views of rhetoric, in which it is analyzed as relational (as rhetoric is not just speaking but implies a linkage between speaker and listeners) and as implying the coexistence of content and emotions, with style bringing together the what and the how.58 This can be connected fruitfully to Aristotle's understanding of humans as perceiving the world through aisthesis. Going beyond presenting pure knowledge alone, rhetoric implies the effective use of particular styles that appeal to the senses and invoke emotions, thus doing the work of persuasion.…”

Section: Aesthetics Of Persuasionmentioning

confidence: 99%

Aesthetics of Persuasion: Global Christianity and Pentecostalism's Sensational Forms

Meyer

2010

South Atlantic Quarterly

203

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One of the key features of Pentecostal/charismatic churches is their sensational appeal. Taking as a point of departure the experience of the Holy Spirit as a “portable,” embodied power source, this essay seeks to contribute to developing alternative concepts that expand our view of Pentecostalism as it emerges through a “Protestant lens.” First, I critically discuss the severance of aesthetics and Protestantism, and the concomitant dismissal of “form” in the work of Max Weber. I argue for the need to recapture an understanding of religion as aesthetics, albeit taken in the broad sense of aisthesis, advocated by Aristotle. Calling for the reappreciation of form as absolutely essential to religious experience, I then introduce the notion of the sensational form, which allows us to grasp how the Holy Spirit operates according to Pentecostal understanding and experience. Presenting the term aesthetics of persuasion, I address the question of how aesthetics is relevant to broader modalities of binding and politics of belonging—paying attention to Jacques Rancière's “distribution of the sensible.” Taking Pentecostalism as a prominent representative of global Christianity, I seek not only to enhance our understanding of its particular sensational religiosity but also to outline new directions in the broader study of Protestantism and Christianity in general.

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Section: Aesthetics Of Persuasionmentioning

confidence: 99%

Aesthetics of Persuasion: Global Christianity and Pentecostalism's Sensational Forms

Meyer

2010

South Atlantic Quarterly

203

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“…Ao contrário dos terreiros históricos, cujo renome vem atraindo estudiosos, jornalistas e turistas há décadas, terreiros mais recentes tendem a receber poucos visitantes de fora. Quando surge o assunto de tirar fotos, o fotógrafo geralmente já tem víncu-los com comunidade -um amigo ou parente que pretende entregar as imagens à própria casa para serem acrescentadas aos álbuns de fotos de outros eventos vivenciados conjuntamente, como festas de aniversário, casamentos e formaturas ( VAN DE PORT, 2006). Contudo, embora a maioria dos terreiros mais novos tenha uma visão menos rígida do segredo, ele ainda existe.…”

Section: Gens (Castillo 2008)unclassified

A fotografia e seus usos no candomblé da bahia 1

Castillo¹

2015

P.I.

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Resumo: A fotografia nos terreiros é frequentemente entendida apenas como uma prática externamente imposta, o que teria dado origem às conhecidas restrições sobre a fotografia que se encontram em muitas casas. Este artigo examina os usos da fotografia no candomblé, mostrando que apesar de existirem receios reais, alguns gêneros específicos de imagens são valorizados nos terreiros desde o século XIX. As diversas atitudes sobre a fotografia e as práticas envolvendo elas são marcadas por uma epistemologia híbrida, influenciada tanto por valores africanos quanto pelo contexto social no qual o candomblé surgiu no Brasil.Palavras-Chave: Fotografia, Religiões afro-brasileiras, Candomblé -Bahia, Antropologia visual.Abstract: Many candomblé communities do not allow picture taking in the religious context. For this reason, photography is often viewed as a practice imposed by outsiders. This article examines the uses of photography in candomblé and explores the attitudes surrounding them, showing that despite certain misgivings, there are also specific contexts in which photography has been valued since the nineteenth century. The differences in attitudes regarding the various uses of photography are marked by a hybrid epistemology influenced by African values as well as by the social context in which candomblé arose in Brazil.

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“…Anthropological perspectives have customarily presented a correlation between secrecy and power in which secrecy is the agent that maintains knowledge as power (Fardon 1985;Lindstrom 1984;Van de Port 2006). In Zuni, however, the intellectual architecture that configures how knowledge is managed designates it as secret because it is powerful, and for it to remain powerful, a high degree of accountability in using it correctly is required.…”

Section: Repetition As Reproduction: An Affirmation Of Zuni Cosmologimentioning

confidence: 99%

Whose Idea Was This?

Isaac¹

2011

Current Anthropology

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Visualizing the sacred: Video technology, “televisual” style, and the religious imagination in Bahian candomblé

Cited by 63 publications

References 23 publications

Aesthetics of Persuasion: Global Christianity and Pentecostalism's Sensational Forms

Aesthetics of Persuasion: Global Christianity and Pentecostalism's Sensational Forms

A fotografia e seus usos no candomblé da bahia 1

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