bluuebunny/crossref_metadata_2025_split huggingface dataset:
Proclamation, Pilgrimage, and Politics
Authors: Maclean Kama 
Published: September 2008

Abstract
This chapter charts the changes in public expressions of piety at the sangam in the closing decades of the 19th century, as the festival became popularised and attended in progressively larger numbers. Seizing the arena of sovereignty that had been created around religious observances in the 1858 Proclamation, early Indian nationalists sought to influence and oppose British power in mela matters, arguing in sophisticated terms that religious rites had become rights. The British had always prided themselves on positive public perceptions of British rule gained at pilgrimage places, and attempted, where practicable, to incorporate Hindu opinion into mela management, but refused to consign the management of the festival into Indian hands. The colonial administration of the mela became highly politicised and a item of concern in the Indian press, partially in response to harsh measures applied to counteract the mela's capacity to spread epidemic diseases, but also the colonial concern that it also acted as a medium to spread sedition. The politics of the mela were also symbolic of larger, inchoate issues in Indian nationalism, such as representation and sovereignty. It was during this period that the mela most discernibly changed from being an eclectic social fair with pious aspects, to a more distinctly “religious” gathering. As political interest groups in Allahabad increasingly dictated the acceptable limits of mela management to the British, the mela turned from being a profitable enterprise for the British, to an expensive one.
Conclusion
Authors: Maclean Kama 
Published: September 2008

Abstract
While there are stark and obvious differences between the manner in which colonial and postcolonial governments manage the Kumbh Mela, there are also striking continuities. The capacity of the pilgrimages such as the Kumbh to act as a conduit for information as pilgrims move across regions to attend the festival, despite the obvious limitation that it speaks to predominantly Hindu audiences, is such that few governments declined to take advantage of it. Further, the defence of the mela from colonial excesses shows but one example of the manner in which “religion” came to constitute an important sphere of political activity.
Religion of Fear
Authors: Bivins Jason C 
Published: September 2008

AbstractThis book investigates American political religions by studying how conservative evangelical political orientations are shaped and spread by pop cultural narratives of fear and horror. This book takes an interdisciplinary approach to what it calls the “religion of fear”, a form of religious social criticism produced and sustained in evangelical engagements with pop culture. The book's cases include Jack Chick's cartoon tracts, anti‐metal and anti‐rap preaching, the Halloween dramas known as Hell Houses, and Left Behind novels. By situating them in their sociopolitical contexts and drawing out their creators' motivations, the book locates in these entertainments a highly politicized worldview comprising evangelical piety, the aesthetics of genre horror, a narrative of American decline, and a combative approach to public politics. The book also proposes its own theoretical categories for explaining the cases: the Erotics of Fear and the Demonology Within. What does it say about American public life that such ideas of fearful religion and violent politics have become normalized? The book engages this question critically, establishing links and resonances between the cultural politics of evangelical pop, the activism of the New Christian Right, and the political exhaustion facing American democracy.
“Scary Jesus”
Authors: Bivins Jason C. 
Published: September 2008

AbstractThe book's introduction describe the image of “Scary Jesus,” which prompted a shift in approach to American political religions from one rooted in conventional studies of protest and government to one oriented around cultural politics and representation. The chapter explores the way in which popular discourse and imagery can be manipulated for political purposes, and specifically engages the efficacy of tales of fright and horror in these endeavors. The chapter surveys standard approaches to religion and politics, and — drawing on multiple disciplines — proposes to move beyond standard approaches to “church and state” or “civil religion”. The chapter concludes by proposing two new terms — the Erotics of Fear and the Demonology Within — for thinking about the Religion of Fear.
“A Common Thrill”
Authors: Bivins Jason C. 
Published: September 2008

AbstractThis chapter establishes four contextual factors shaping the Religion of Fear: the history of evangelicalism, political fear, American Christian demonology, and the evangelical mediascape. By situating the Religion of Fear historically and comparing it with both political fear and earlier forms of demonology, this chapter reveals its specific contours. The chapter examines the fearful qualities of religion. It then describes the emergence of evangelicalism within a cluster of concerns to establish religious identity against fearful Others. This chapter next describes the way in which elements of horror and the Gothic resonate with religious strategies of alterity. The chapter concludes by describing the evangelical culture industry, which is part of the work on religious identities.
“Jesus Was Not a Weak Fairy”
Authors: Bivins Jason C. 
Published: September 2008

AbstractThe first of the book's four case studies examines the long‐standing cartoon ministry of Californian Jack Chick. Situating Chick's work in the history of the comics genre and in the visual culture of American religions, this chapter explores the specific narrative structures of Chick's political vision alongside the particular demons he portrays in his graphic art. The chapter also includes a detailed biography of Chick, a history of American comics, and a close reading of the Chick canon. The chapter concludes by documenting Chick's sense of social decline and religious fear, themes that acquire power as the Religion of Fear develops over time.
“Runnin' with the Devil”
Authors: Bivins Jason C. 
Published: September 2008

AbstractThis chapter explores long‐standing Christian criticisms of popular music and the way in which they serve as vehicles to articulate larger social concerns about “cults,” gender, crime, and authority. Two specific genres — heavy metal and rap — have attracted the greatest critical attention in recent decades. Critics such as Bob Larson, Jacob Aranza, and Jeff Godwin have engaged these genres consistently, seeing in these musics invitations to demonism, encouragements of self‐destructive behavior, and seductions away from a way of life once normative in “Christian America.” The chapter explores these criticisms, and how they received greater attention than similar themes in Chick, by examining the careers and literature of the critics, the two genres themselves, and anti‐rock's politics.
“Shake ’Em to Wake ’Em”
Authors: Bivins Jason C. 
Published: September 2008

AbstractThe subject of this chapter is the growing popularity of Christian alternatives to Halloween haunted houses. The most famous of these is Keenan Roberts's Hell House, a multiscene morality play that uses the techniques of horror entertainment to illustrate both a general and a specific narrative of social and political decline. These phenomena became very popular — attracting the attention of both supporters and critics — and explicitly engage the hot‐button political issues central to New Christian Right activism and organizing. Hell Houses' individual scenes illustrate to adolescents the harms (such as abortion, gay weddings, and school shootings) awaiting them in a society that — nominally committed to tolerance and social harmony — has unwittingly drawn them toward hellfire.
“Already Decided and Carrying a Weapon!”
Authors: Bivins Jason C. 
Published: September 2008

AbstractThe last of the case studies documents the vast popularity of the apocalyptic thrillers, Left Behind. Coauthored by long‐standing New Christian Right architect Tim LaHaye, these books use a dispensational premillennialist framework to pronounce judgment on a sinning America by projecting the fates of sinners “left behind” after the Rapture. Using narrative strategies lifted from both horror and technothrillers, the authors enact their political sensibilities by situating long‐standing Christian Right social concerns in end‐of‐the‐world fiction. The chapter examines these themes and also surveys Christian apocalypticism, Christian publishing, and the political history of Tim LaHaye.
“Like Beating the Dog”
Authors: Bivins Jason C. 
Published: September 2008

AbstractThe book's conclusion draws together the cases, exploring their similarities and differences. The bulk of the chapter focuses on the meanings of the religion of fear's politics, shown both in the way this discourse parallels the long‐standing activism of the New Christian Right and in the way it resonates with the culture of political decline and hostility in the United States. The chapter explores the limits of available literature on political religions — that produced by academics and also by public commentators — and encourages scholars of religion to engage their subjects more critically and politically.
Puritans and Revolution
Authors: Brissett Wilson N. 
Published: September 2008

Abstract
This chapter reviews the development of the puritan jeremiad tradition within the logic of covenant theology and suggests ways that its influence persisted in American culture after the era of regional puritan ascendancy. This chapter shows how the jeremiad, while wholly negative on the surface of its moral argument, was driven by an attempt to return to the social origin, correct the moral trajectory of society, and so prevent the social consequences of godlessness it so vividly prophesied. Later, the jeremiad proved to be a flexible cultural tool that could serve the purpose of dissent from established authority. In the end, it is the power of the jeremiad form to oppose social abuses, and advocate moral reform by recalling “originary principles,” that survives into the revolutionary and early republican periods.
The Early Republic
Authors: Neem Johann 
Published: September 2008

Abstract
Thomas Jefferson is famous for believing that reason would moderate American Christianity. In time, he prophesied, Americans would replace faith‐based Christianity with a Unitarian Christianity better suited for a republic. This chapter explores Jefferson's theory of historical progress to understand how he reached his mistaken conclusion at a time when evangelical Christianity, far from receding, was deepening its influence in American culture. It argues that Jefferson believed that a “wall of separation” between church and state would reform American Christianity by subjecting it to public scrutiny.
The Civil War
Authors: Hsieh Wayne Wei‐siang 
Published: September 2008

Abstract
This chapter discusses the relationship between evangelical Protestantism and the American Civil War through the lives of Abraham Lincoln and William T. Sherman. The jeremiad script of evangelical Protestantism played a major role in sustaining both the Union's and the Confederacy's war efforts, even while Abraham Lincoln's own views on Providence evolved in a manner both similar to and distinctive from that of his contemporaries. Sherman, in contrast, represented the war's potential for fomenting godlessness, with the challenge his Deification of the State represented to conventional nineteenth‐century Christianity. While evangelicals proved equal to the task of fending off this heterodoxy in the short term, the military and political forces Sherman represented had lasting effects on some postwar figures like Oliver Wendell Holmes, and in historical terms, they cannot be ignored.
The Gilded Age and Progressive Era
Authors: Nichols Christopher McKnight 
Published: September 2008

Abstract
This chapter examines three important strands of progressive thought in the late nineteenth century to reveal the tensions between ideas about progress, religion, and science, and resulting predictions about America's religious future. This chapter first delineates a populist‐secular group of thinkers, exemplified by Robert Ingersoll, “the great agnostic” proponent of freethinking, whose prophecies blended the older jeremiad form with a heightened emphasis on atheistical science and Enlightment rationality. The second strand of thought explored in this chapter came from the ranks of progressive intellectuals, represented in part by the powerful pragmatic philosophy of religion developed by William James in his book, Varieties of Religious Experience. Finally, this chapter argues for a third diverse group comprised largely of ministers and social gospel activists, such as Walter Rauschenbusch, who attempted to reform the nation along explicitly Christian lines.
World War I and After
Authors: Schultz Kevin M. 
Published: September 2008

Abstract
In “Godlessness and the Scopes Trial,” Kevin M. Schultz examines the most famous battle over religion in the 1920s, and perhaps the most famous battle in the entirety of the twentieth century, the Monkey Scopes Trial of 1925. Schultz shows how the two sides that hogged the limelight during the debate—the thankful godlessness of Clarence Darrow and puritanical jeremiads of William Jennings Bryan—have crowded out a third tradition that was burgeoning in the 1920s, a tradition that matured into mainline liberal Protestantism. Schultz also explains that Bryan's fear of evolution had more to do with Bryan's opposition to the then‐respectable tradition of Social Darwinism, and not his fear that the Darwin account de‐centered man in the Biblical story of creation. Bryan's fear, thus, was not the damnation that would result from rising secularism but rather of the effect of exposing America's school children exposed to the dangerous notion that only the fittest will survive—a notion that potentially invalidates any attempt at social welfare.
From 11/9/1989 to 9/11/2001 and Beyond
Authors: Yates Joshua 
Published: September 2008

Abstract
This chapter examines leading figures and institutions of the Religious Right in the United States and the distinctive narrative form its public and political activism has taken from the fall of the Berlin Wall to the present: namely, the jeremiad. The resurgence of publicly assertive religion has become the subject of intense scholarly scrutiny and the source of much political concern. Social scientists and policymakers have long presumed that as the world modernized it would inevitably secularize. The political ascendancy of the Religious Right in the United States and, more recently, the consequential militancy of radical Islamism confounds conventional wisdom of inevitable secularization. The chapter closes with a cursory comparison of the jeremiad with the jihad, the distinctive narrative form of radical Islamism, which reveals that despite strong rhetorical similarities between them, crucial differences persist in their political effects. Moreover, such a comparison reveals an important irony: just as the specter of resurgent religion has been undermining the longstanding academic confidence in the self‐evident inevitability of secularization, the perceived threat of secularization has been busy mobilizing the faithful both at home and abroad.
1 1800–1846
Authors: Ellis Katharine 
Published: September 2008

AbstractThe chapter begins with a discussion of the French museum concept, moving to an explanation of why the musical survivors from the ancien régime were all Italian or Italianate (mostly Pergolesi and Jommelli, but also Rousseau). Discussion of the work of Alexandre-Étienne Choron, the first wave of concerts historiques under François-Joseph Fétis, and the concert series of the Société de Musique Vocale Religieuse et Classique, illustrates how and why some categories of French music of the recent and more distant past were expunged from French collective memory, replaced by a (sometimes fake) Italian musical heritage that was promoted as superior, while other categories were marked out for nationalist celebration. The chapter discusses the rise of ultramontanism, and traditions in publishing and education, in relation to patterns in early-music revivalism, and ends with discussion of regional practices, especially at Carpentras (with its long-standing Cathedral tradition of performing the unfashionable Lalande) and Rouen (the pianist Amédée Méreaux's revivals of the Fétisian concert historique).
2 1846–1878
Authors: Ellis Katharine 
Published: September 2008

AbstractThis chapter focuses on a period when the expansion of early music activity began to cause adverse comment: was it a reactionary threat to living composers? Developments in music publishing attest to a burgeoning domestic and performance market; the performed repertory both diversifies and becomes more selective, with keyboard and other instrumental music appearing more frequently (but provoking gender-related protest) on the concert stage; amid expressions of self-doubt about musical richness nationwide and the quality of new composition, there are concerted attempts to create a musical France via amateur and orphéon performance of early choral masterworks. The chapter extends from the demise of La Moskova's “Palestrinian” society and the end of the July Monarchy, beyond the Franco-Prussian War, to the eve of stable Republican government in France. Change is most clearly signalled in new Second-Empire educational ventures in sacred music (the École Niedermeyer, with its focus on plainchant, Palestrina, and Bach; the rise of “Palestrinian” maîtrises at Langres, Rouen, Moulins, and Autun); transition is evident in continued attention to democratization, in repeated attempts to rehabilitate “la musique française” and in the increasingly nationalist rhetorics of historical and critical writings on early music.
3 1878–1900
Authors: Ellis Katharine 
Published: September 2008

AbstractThis chapter continues the exploration of repertorial change, beginning with an examination of the almost entirely masculine virtuoso cult of early organ music, given new impetus by Alexandre Guilmant's Trocadéro concerts from 1878. The contributions of Guilmant and Louis Diémer to Bach organ music and French clavecin music, respectively, are discussed intensively, as is the rise of Bach as a profound, Romantic, Wagnerian, and universally Christian composer. In a largely anticlerical age, religious politics reappear with a discussion of the Chanteurs de Saint-Gervais and the early Schola Cantorum as, in part, moderate ultramontane initiatives aimed at reconciling the differences of pro-Gregorian and pro-Palestrinian clerics. Intensifications of nationalist fervour result in new attempts to rehabilitate la musique française: in addition to Diémer's contribution, a first collected edition of French opera (Michaëlis, 1877-84); and Carpentras, Goudimel, Lassus, and Rameau performances by Charles Bordes and his Chanteurs from 1892. Regionalist imperatives underpin the first modern staging of Adam de la Halle's Jeu de Robin et de Marion, in Arras (1896).
4La musique françaiseat the Crossroads
Authors: Ellis Katharine 
Published: September 2008

AbstractThree interrelated case studies demonstrate how revivalists sought to convince a war-torn society of the importance of their stage-music heritage: a periodical (La chronique musicale, 1873-6); a collected edition (the Chefs d'oeuvre classiques de l'Opéra français, 1877-84; and the fully staged productions of Lully and Charpentier incidental music at the Théâtre de la Gaîté and the Comédie-Française). The chapter shows how the 1870s revival of interest in French opera remained only symbolic unless the music was packaged as an “accessoire” (such as dances arranged for piano) or as concert excerpts: even the Lully and Charpentier stagings were dependent for their success on reverence for Molière. Nevertheless, crucial changes of the 1870s in the rhetorical presentation of this repertory would have fuller effect in the 1890s. The chapter ends with an analysis of the terms in which supporters redefined the Frenchness of the repertory in positive terms — terms that have, for better or for worse, remained descriptors of classic French music ever since.
5 Sources of Frenchness
Authors: Ellis Katharine 
Published: September 2008

AbstractThis chapter examines the book's earliest main repertories — from the 13th century to the death of Lassus — from the perspective of national pride. Adam de la Halle's Jeu de Robin et de Marion — viewed by Fétis in the 1830s as the first opéra-comique and therefore the first opera — provided increasingly important compensation for the absence of France from the traditional narrative of the birth of opera. Moreover, grounding its music in northern French folk traditions suggested that operatic art stemmed from French peasants unconnected with either Italian or elite culture. Beginning with a story of contested borders and composer appropriations, the chapter uncovers the sometimes conflicting elements which historians promoted as emblematic of Frenchness and superiority, analyzing the irony that sacred works by the celebrated Franco-Flemish school were uniformly vilified, even by patriotic historians. Monody was natural or “folk-like”, but polyphony by the same composer was often sidelined. Only in the 1890s, after Julien Tiersot began to celebrate early masses and motets as repositories of the voice of the French people, could rehabilitation begin.
6 Defining Palestrina
Authors: Ellis Katharine 
Published: September 2008

AbstractThis chapter analyzes fracture lines in attitudes toward Counter-Reformation polyphony, from its championing by Choron in the 1820s to the immensely popular performances conducted by Bordes from 1892. Fétisian music theory, Choron's performance practices, the composer's reputation as savior of Catholic church music (via the Pope Marcellus Mass), and the belief that Goudimel taught him gave his music Romantic allure and nationalist importance. Yet within church reformist circles, increased interest in the renovation of Gregorian chant as the purest and most democratic form of liturgical music enhanced suspicion about polyphony's technical demands, artifice, and barriers to understanding of liturgical texts. The chapter analyzes the sometimes vitriolic battles between radical and moderate ultramontanes, in which the latter (his supporters) allied Palestrina with the Middle Ages and the latter (his detractors) with the Renaissance. The roles of Bordes, the Schola Cantorum, and its supporters in negotiating this chasm and bringing Palestrina to official recognition via the papal Motu proprio of 1903 close the chapter.
Conclusion
Authors: Ellis Katharine 
Published: September 2008

AbstractThis concluding chapter takes in the entire century, highlighting continuities and disjunctions, repertorial patterns, absences, and disappearances. It addresses the ways in which early music's increasing normality related to aesthetic conservatism after around 1840, discusses the reasons for certain works' totemic allure, cautions against the rigid association of certain aesthetic choices with particular political persuasions, and foregrounds pervasive feelings of French musical decadence as a driving force for revivalism of both French and foreign music. Paradoxically, after decades of disdain, French Baroque dance and keyboard music — low-status “feminine” repertories — became the focus for turn-of-the-century composers writing explicitly “French” music, while Bach became a “universal” reference point. Finally, the book returns to its opening (Le Vieux Paris, 1900), broadening to address the general question of what revivalism can tell us about the ideological premises that underpin cultural life.