Introduction: What Is a Religious Form?

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Why Do Religious Forms Matter?
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Abstract

This book explores the Early Modern roots and contemporary relevance of a materialist perspective on the politics of religious diversity. The political philosophies of Spinoza, Locke, and Rawls are explored in three chapters to understand what coexisting religious forms are and why they matter for the idea of justice. The introduction defines religious forms as configurations of sensuous materials, which are indispensable to understanding religious matters in an entangled, pluralist world. However, this book does not exclude religious ideas, beliefs, and linguistic expressions: Religious forms of discourse are part of the analysis. These diverse religious forms—from buildings, images, and food to discourses—manifest in “domains,” which are private and public spaces whose existence depends on how political conceptions of justice are applied.

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Notes

  1. 1.

    See Hegel’s Aesthetics: Lectures on Fine Arts, which he gave in 1835–1838 (English translation 1975).

  2. 2.

    See Deleuze’s Expressionism in Philosophy: Spinoza (1992 [1968]) and his famous 1978 lecture on Spinoza’s concept of affect (available at https://www.webdeleuze.com/textes/11, accessed July 2021). The critique of the Protestant bias in defining what the concept of religion means has been advanced, among other authors, by Talal Asad in Genealogies of Religion (1993).

  3. 3.

    For two clear overviews, see David Morgan’s edited volume Religion and Material Culture: The Matter of Belief (2010) and his accessible introduction to the material study of religion, The Thing About Religion (2021).

  4. 4.

    Vincent Katz. Hunt Slonem: Discoverer of Pleasure. http://vincentkatz.net/abc3/books_abc3_Hunt.htm, accessed July 2021.

  5. 5.

    For a comprehensive discussion of the role of adiaphora in political philosophers’ conceptions of toleration, see Forst (2013).

  6. 6.

    Miller’s argument reproduces a fundamentalist understanding of Islam, which has been criticized by scholars who specialize in Islamic Studies and the politics of Islamic art and material culture (e.g., Ahmed 2016; Tamimi Arab 2021).

  7. 7.

    This is illustrated by historian Tisa Wenger’s meticulous study of the Native American Ghost Dance (2009). Under pressure from the United States’ authorities, the practitioners adapted their indigenous dances to be compatible with a Christian worldview. By focusing on the state regulation of a specific form, in this case a dance, Wenger is able to accurately describe a systematic bias in the concept of equal rights against those whose practices were considered “superstitious” and who were non-White, non-liberal, and non-Protestant. The anthropologist Saba Mahmood went further, reasoning that such a systematic bias is unavoidable, as it is essential to the governance that religious freedom requires, whether that be in Egypt, Italy, or the United States (Mahmood 2015). The political scientist Elizabeth Shakman Hurd also argues that systematic forms of bias “cannot be transcended by adopting a more informed understanding of contemporary religion or a more effective regime of rights implementation” (Hurd 2015: 54). Mahmood’s and Hurd’s pessimism rests on the realization that the regulation of public acts and practices can de facto also regulate the inner space of the individual’s conscience. This makes sense if we reason, as I do in this book, that forms, expressed in public, are deeply entangled with contents, which appear as ideas and beliefs in the mind. However, Mahmood’s and Hurd’s work also betrays an essentialist understanding of religious freedom and an implicit normative assumption that freedom entails total non-interference by state power, which I find unhelpful, because accepting them would undermine any attempt at a realistic political philosophy (cf. Decosimo 2018).

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Tamimi Arab, P. (2022). Introduction: What Is a Religious Form?. In: Why Do Religious Forms Matter?. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-95779-7_1

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