Abstract: The paper will focus upon the issue of saintly presence and the ways in which this is felt, experienced and enacted at the pilgrimage centre of Padre Pio. This issue will be examined in relation to the material and spatial structures of the pilgrimage centre and in particular the Sanctuary of Santa Maria delle Grazie, at the crypt of which the tomb of Padre Pio was until recently emplaced. In examining the issue of saintly presence in relation to the sanctuary’s materiality, the paper will also explore the relationship of two of the dimensions Eade and Sallnow ( 2000, ‘Introduction’, in Contesting the Sacred: The Anthropology of Christian Pilgrimage., 2nd ed., edited by John Eade and Michael J. Sallnow, 1–29, Urbana: University of Illinois) propose for the examination of pilgrimage, namely person and place. Drawing on ethnographic data gathered during fieldwork (2004–2005), it will argue that the feeling of saintly presence is mainly generated by the knowledge people have of Padre Pio having lived and being buried there. This knowledge shapes their pilgrimage experience.
Abstract: This article examines the visual mediation of evangelical short-term mission and the theologically inflected global imaginary that these forms engender. Recent decades have seen the resurgence of long-term mission and the emergence of short-term mission among US Christians. The latter, combining evangelization, service, and tourism, is a staple within evangelical youth culture. I argue that it is used by Christians to constitute themselves as global formations, while also offering theological frames for global Christianity. Central to this global theological imaginary are visual representations of mission encounters with ethnic, sectarian, and racial Others, which illustrate the global scope of mission and missionaries’ understandings of their own efforts to engage and overcome those differences. Through an analysis of the visual content of four short-term mission agencies’ websites, I examine the mediation of global Christianity in contemporary mission and its recruitment of global Christian subjects.
Publisher’s Description: “This book offers a novel account of grace, framed in terms of Bruno Latour’s ‘principle of irreduction.’ It thus models an object-oriented approach to grace, experimentally moving a traditional Christian understanding of grace out of a top-down, theistic ontology and into an agent-based, object-oriented ontology. In the process, it also provides a systematic and original account of Latour’s overall project.
The account of grace offered here redistributes the tasks assigned to science and religion. Where now the work of science is to bring into focus objects that are too distant, too resistant, and too transcendent to be visible, the business of religion is to bring into focus objects that are too near, too available, and too immanent to be visible. Where science reveals transcendent objects by correcting for our nearsightedness, religion reveals immanent objects by correcting for our farsightedness.
Speculative Grace remaps the meaning of grace and examines the kinds of religious instruments and practices that, as a result, take center stage.”
Excerpt: A pivotal moment in the technological history of prayer occurred when Oral Roberts introduced the motion picture camera into the charismatic atmosphere of his massive “tent cathedral.” Through the medium of television, millions of Americans experienced performances of Pentecostal healing prayer for the first time. More than this, however, the motion picture film significantly altered the enthusiastic environment of the healing tent while organizing new sensorial and performative possibilities within the practice of prayer itself. From the first telecast in 1955, it is as if the mechanical eye of the camera gradually insinuated itself into the actions of the prayer line, drawing ever-closer to the intimate tactile contact between the patient and the healer. Through the zooming capacities of the cinematic eye, members of the television audience got an intimate view of the performance of healing prayer, including the vigorous gesticulations, bodily contact, and ecstatic countenances enlivened through this curative technique.