种族灭绝后的公共宗教

IF 0.8 Q2 AREA STUDIES
A. Grant
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引用次数: 0

摘要

这篇文章探讨五旬节的声音和声音在种族灭绝后的卢旺达。它围绕着一个问题展开,为什么福音歌手在教堂开始职业生涯后,会因为转向“世俗”音乐而受到批评。加入研究媒体和宗教之间关系的学术界,它表明,在卢旺达,关于五旬节艺术家应该表演什么样的音乐的辩论必须与(1)五旬节派的“声音神学”有关,或者认为特定的音乐和声音实践使个人更接近上帝;以及(2)卢旺达种族灭绝后媒体格局的变化。2002年媒体的自由化,加上录音技术的进步,为五旬节派创造了新的可能性,使他们成为个人的“福音之星”,而不是唱诗班成员,这是他们以前无法做到的,引发了关于种族灭绝后五旬节声音本身性质的辩论。这些辩论是与五旬节派电台一起考虑的,在更广泛的背景下,卢旺达政府越来越关注“噪音污染”的监管。更密切地关注声音和声音的物质性有助于我们追踪五旬节主义试图“公开”的具体方式,以及它所呼吁的公众类型。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Public Religion after Genocide
This article explores Pentecostal sounds and voice in postgenocide Rwanda. It centers on the question of why gospel singers were criticized for crossing over into “secular” music after beginning their careers in the church. Joining scholarship that examines the relationship between media and religion, it suggests that in Rwanda debates about the kind of music Pentecostal artists should perform must be contextualized in relation to (1) a Pentecostal “theology of sound,” or the belief that particular music and sound practices bring individuals closer to God; and (2) changes within Rwanda's postgenocide media landscape. The liberalization of the media in 2002, coupled with advances in recording technology, created new possibilities for Pentecostals to become individual “gospel stars,” as opposed to choir members, in ways that they had been unable to before, prompting debates about the nature of the postgenocide Pentecostal voice itself. These debates are considered alongside Pentecostal radio, and within a wider context in which the Rwandan government has become increasingly concerned with policing “noise pollution.” Paying closer attention to the materialities of sound and voice helps us trace the specific ways in which Pentecostalism attempts to “go public” and the kind of public it calls into being.
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来源期刊
CiteScore
0.90
自引率
0.00%
发文量
54
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