Publisher’s Summary: Although much has been written on the making of art objects as a means of engaging in creative productions of the self (most famously Alfred Gell’s work), there has been very little written on Orthodox Christianity and its use of material within religious self-formation. Eastern Orthodox Christianity is renowned for its artistry and the aesthetics of its worship being an integral part of devout practice. Yet this is an area with little ethnographic exploration available and even scarcer ethnographic attention given to the material culture of Eastern Christianity outside the traditional ‘homelands’ of the greater Levant and Eastern Europe.
Drawing from and building upon Gell’s work, Carroll explores the uses and purposes of material culture in Eastern Orthodox Christian worship. Drawing on three years of ethnographic fieldwork in a small Antiochian Orthodox parish in London, Carroll focusses on a study of ecclesiastical fabric but places this within the wider context of Orthodox material ecology in Britain. This ethnographic exploration leads to discussion of the role of materials in the construction of religious identity, material understandings of religion, and pathways of pilgrimatic engagement and religious movement across Europe.
In a religious tradition characterised by repetition and continuity, but also as sensuously tactile, this book argues that material objects are necessary for the continual production of Orthodox Christians as art-like subjects. It is an important contribution to the corpus of literature on the anthropology of material culture and art and the anthropology of religion.
Abstract: How does the cultivation of beauty interact with agency? In this article the author discusses the religious value of beauty for conservative evangelical Christians in the English town of Brighton. Building on the anthropological approach to art and agency developed by Alfred Gell, the author considers the manner in which the everyday of bodies, relationships and personal testimonies become implicated in a deferential semiotics in which meaning resides in the self but is not owned by it. Through this work, women engage with an on-going project of visibility and objectification that is often tenuous and difficult but is nevertheless compelling, as they seek to mediate the agency of God.
Abstract: In this article I explore the relationship between the secular and ‘cultural’ Catholicism in France through the lens of a contemporary art exhibit displayed at a new project of the French Catholic Church. Visitors’ varied responses to the exhibit, I argue, ultimately reinforced the organizers’ claim that the activities that occur within this ‘non-religious’ space of the French church are self-evident aspects of a broadly recognizable and ‘secular’ French or European culture.