6. Blasphemy and media

2021 ◽  
pp. 108-130
Author(s):  
Yvonne Sherwood

‘Blasphemy and media’ studies how blasphemy has been profoundly changed by media revolutions: first, print, woodcuts, pamphlets, and newspapers; then, in a massive wave of transformation from the late nineteenth century, telegraph, radio, photography, film, and television; and finally, the age of digital technology and social media. The media revolutions of 1880–2020 have greatly expanded capacities for making, amplifying, spreading, monitoring, and prosecuting ‘blasphemies’. New media supports new forms of blasphemy. Blasphemous cartoons, ‘blasphemous’ plays and musicals, blasphemy memes, and ‘blasphemies’ and insults which are being auto-generated by algorithms, are important elements in the media revolution. Blasphemy has become an explicit form of advertising and promotion.

Author(s):  
Johanna Pink

The article discusses Muslim attempts to develop innovative hermeneutical models for understanding the Qurʾān. It analyses the beginnings of reform in the eighteenth and mid-nineteenth centuries and the sustained efforts, starting in the late nineteenth century, to bring the interpretation of the Qur’an in line with ideas of rationalism and modernism. On this basis, the chapter presents an overview of the most important modern hermeneutical approaches to the Qur’an, some of which focus on its literary qualities, its historical context, its major themes, or its main goals, while others emphasize the Qurʾān’s inimitability in new ways or seek to expose its immediate relevance for contemporary believers. The development of these new ideas, which have often provoked severe criticism, is situated in the structural context of the emergence of colonial and nation states, mass alphabetization, and new media.


Author(s):  
Carolyn Marvin

The most admired feats of the telephone, cinema, electric light, phonograph, and wireless were their wonderful abilities to extend messages effortlessly and instantaneously across time and space and to reproduce live sounds and images without any loss of content, at least by the standards of the day. Experts and publics agreed on the brilliance of this achievement. But wherever these extraordinarily sensitive new nerve nets extended, there was little genuine sense of cultural encounter and exchange. In electrical publications of the late nineteenth century, newly accessible lands and people were seldom cherished for any cross-cultural opportunities they offered, except abstractly. Concretely, they appeared as islands of cultural anomaly that new techniques of communication made available for absorption into the mainstream. Those who controlled the new electrical technologies not infrequently dismissed vastly different cultures as deficient by civilized standards, lacking even the capacity for meaningful communication. What late-nineteenth-century writers in expert technical and popular scientific journals practiced was a species of cognitive imperialism. Theirs were visions of a globe efficiently administered by Anglo-Saxon technology, perhaps with exotic holidays, occasions, and decorations in dress and architecture, perhaps filled with more items and devices than any single person could imagine, but certainly not a world to disturb the fundamental idea of a single best cultural order. What these writers hoped to extend without challenge were self-conceptions that confirmed their dreams of being comfortably at home and perfectly in control of a world at their electric fingertips. Even when, in the Utopian manner, their declared goal was to turn the status quo upside down in pursuit of a better world, few of their schemes failed to reconstitute familiar social orders and frameworks of interpretation. Only the scale of the community in which they imagined themselves as participants had changed. Changes in the functional capabilities of new media of communication were a matter of interested discussion by electrical scientists, engineers, entrepreneurs, and camp followers. Suggestions that the future of these devices lay in the organization of public intelligence systems to promote cultural harmony and perfection by displaying it to one and all were sympathetically received.


2015 ◽  
Vol 2015 ◽  
pp. 24-29 ◽  
Author(s):  
Ray Batchelor

Attempting to uncover and document the history, or rather histories and pre-histories, of queer tango is difficult. Superficially, the history ought to be easy. The term “queer tango” barely existed before 2001 when it was first used by LGBT dancers in Hamburg, Germany. It was perceived of by them as a riposte to “hetero-normative” leader-follower relationships in mainstream Argentinian tango, proposing instead women as leaders, men as followers, same sex couples and “active” rather than passive followers. Queer tango has subsequently been characterized by the emergence around the world of queer tango organizations, of international festivals, and an international community of dancers, thriving by contact through social media. Yet as the author, who is collaborating with writers and dancers Birthe Havmøller and Olaya Aramo in editing The Queer Tango Book, an online anthology of writings about queer tango, has found out, there is still no settled agreement as to what, precisely, the term means; there is disagreement about the premise that “hetero-normative” tango was quite as oppressive to women in the ways it was originally made out to be, and there is no agreement—indeed so far, precious little discussion—as to which dance practices in Buenos Aires and beyond from the late nineteenth century onward might legitimately be enlisted as forming the pre-history. Were the men-only prácticas, which ran for decades, a part of it? Or women teaching each other at home? When so little was written down, how is one to find out?


2011 ◽  
Vol 14 (4) ◽  
pp. 566-582 ◽  
Author(s):  
Josh Lauer

New media are often addressed within the growing field of surveillance studies, but technologies predating the late twentieth century are rarely considered. This essay challenges conventional histories of modern surveillance by highlighting the cultural impact of three ‘old’ new media: photography, the phonograph, and the telephone. Drawing upon the work of historian Carlo Ginzburg (1990) , I argue that new media produce new evidence and that late nineteenth-century media contributed to an emergent ‘evidential paradigm’. From this perspective, the intensification of contemporary surveillance can be seen as an elaboration of late nineteenth-century new media and the proliferation of evidence-producing communication technologies.


Author(s):  
Timothy Boon

This article is concerned with the triangular territory between biomedicine, relevant moving image media production, and lay people — sometimes cinematic subjects, sometimes patients, and sometimes audiences. The examples quoted — mainly British — arise from the period stretching from the late nineteenth century up to the 1960s. The significant costs and effort involved in producing medical films and programmes make their existence in certain times and places particularly interesting evidence for the terrain of biomedicine in the past. The three modes of medical film and television are discussed and they stand for different aspects of biomedicine. This article provides an understanding of how biomedicine came to be made and used and gives access to the politics and social attitudes of participants in interesting ways. The coverage of each mode of film-making is concentrated in the decade of its emergence.


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