What does it really mean to be modern? The contributors to this collection offer critical attempts both to re-read Max Weber's historical idea of disenchantment and to develop further his understanding of what the contested relationship between modernity and religion represents. The approach is distinctive because it focuses on disenchantment as key to understanding those aspects of modern society and culture that Weber diagnosed. This is in opposition to approaches that focus on secularization, narrowly construed as the rise of secularism or the divide between religion and politics, and that then conflate this with modernization as a whole. Other novel contributions are discussions of temporality - meaning the sense of time or of historical change that posits a separation between an ostensibly secular modernity and its religious past - and of the manner in which such a sense of time is constructed and disseminated through narratives that themselves may resemble religious myths. It reflects the idea that disenchantment is a narrative with either Enlightenment, Romantic, or Christian roots, thereby developing a conversation between critical studies in the field of secularism (such as those of Talal Asad and Gil Anidjar) and conceptual history approaches to secularization and modernity (such as those of Karl Löwith and Reinhart Koselleck), and in the process creates something that is more than merely the sum of its parts.

"What does it really mean to be modern? The contributors to this collection offer critical attempts both to re-read Max Weber's historical idea of disenchantment and to develop further his understanding of what the contested relationship between modernity and religion represents. The approach is distinctive because it focuses on disenchantment as key to understanding those aspects of modern society and culture that Weber diagnosed. This is in opposition to approaches that focus on secularization , narrowly construed as the rise of secularism or the divide between religion and politics, and that then conflate this with modernization as a whole. Other novel contributions are discussions of temporality - meaning the sense of time or of historical change that posits a separation between an ostensibly secular modernity and its religious past - and of the manner in which such a sense of time is constructed and disseminated through narratives that themselves may resemble religious myths. It reflects the idea that disenchantment is a narrative with either Enlightenment, Romantic, or Christian roots, thereby developing a conversation between critical studies in the field of secularism (such as those of Talal Asad and Gil Anidjar) and conceptual history approaches to secularization and modernity (such as those of Karl Løwith and Reinhart Koselleck), and in the process creates something that is more than merely the sum of its parts."--

Disenchantment is a key term in the self-understanding of modernity. But what exactly does this concept mean? What was its original meaning when Max Weber introduced it? And can the conventional meaning or Max Weber's view really be defended, given the present state of knowledge about the history of religion? In The Power of the Sacred, Hans Joas develops the fundamentals of a new sociological theory of religion by first reconstructing existing theories, from the eighteenth century to the present. Through a critical reading and reassessment of key texts in the three empirical disciplines of history, psychology, and sociology of religion, including the works of David Hume, J.G. Herder, Friedrich Schleiermacher, William James, Emile Durkheim, and Ernst Troeltsch, Joas presents an understanding of religion that lays the groundwork for a thorough study of Max Weber's views on disenchantment. After deconstructing Weber's highly ambiguous use of the concept, Joas proposes an alternative to the narratives of disenchantment and secularization which have dominated debates on the topic. He constructs a novel interpretation that takes into account the dynamics of ever new sacralizations, their normative evaluation in the light of a universalist morality as it first emerged in the "Axial Age," and the dangers of the misuse of religion in connection with the formation of power. Built upon the human experience of self-transcendence, rather than human cognition or cultural discourses, The Power of the Sacred challenges both believers and non-believers alike to rethink the defining characteristics of Western modernity.

A great many theorists have argued that the defining feature of modernity is that people no longer believe in spirits, myths, or magic. Jason Ā. Josephson-Storm argues that as broad cultural history goes, this narrative is wrong, as attempts to suppress magic have failed more often than they have succeeded. Even the human sciences have been more enchanted than is commonly supposed. But that raises the question: How did a magical, spiritualist, mesmerized Europe ever convince itself that it was disenchanted? Josephson-Storm traces the history of the myth of disenchantment in the births of philosophy, anthropology, sociology, folklore, psychoanalysis, and religious studies. Ironically, the myth of mythless modernity formed at the very time that Britain, France, and Germany were in the midst of occult and spiritualist revivals. Indeed, Josephson-Storm argues, these disciplines’ founding figures were not only aware of, but profoundly enmeshed in, the occult milieu; and it was specifically in response to this burgeoning culture of spirits and magic that they produced notions of a disenchanted world. By providing a novel history of the human sciences and their connection to esotericism, The Myth of Disenchantment dispatches with most widely held accounts of modernity and its break from the premodern past.

It is increasingly clear that histories of secularization are not simply dispassionate descriptions of the decline of religious belief and practice in the West. Rather, such narratives often seek to celebrate secularization, promote some version of it, lament it, or otherwise oppose it in favour of a programme of desecularization or resacralization. The aim of this book is to identify some of the major genres of the history of secularization and to explore their historical contexts, normative commitments, and tendential purposes. The contributors to the volume offer different perspectives on these questions, not least because a number of them are themselves participants in the cultural-political programs described above. The primary purpose of this book, however, is the identification of such programs rather than their promotion. Overall, the collection seeks to bring analytical clarity to ongoing debates about secularization and help explain the co-existence of apparently conflicting stories about the origins of Western modernity. This book was originally published as a special issue of the Intellectual History Review journal.

The place of religion in society has changed profoundly in the last few centuries, particularly in the West. In what will be a defining book for our time, Taylor takes up the question of what these changes mean, and what, precisely, happens when a society becomes one in which faith is only one human possibility among others.

What does it really mean to be modern? The contributors to this collection offer critical attempts both to re-read Max Weber's historical idea of disenchantment and to develop further his understanding of what the contested relationship between modernity and religion represents. The approach is distinctive because it focuses on disenchantment as key to understanding those aspects of modern society and culture that Weber diagnosed. This is in opposition to approaches that focus on secularization, narrowly construed as the rise of secularism or the divide between religion and politics, and that then conflate this with modernization as a whole. Other novel contributions are discussions of temporality - meaning the sense of time or of historical change that posits a separation between an ostensibly secular modernity and its religious past - and of the manner in which such a sense of time is constructed and disseminated through narratives that themselves may resemble religious myths. It reflects the idea that disenchantment is a narrative with either Enlightenment, Romantic, or Christian roots, thereby developing a conversation between critical studies in the field of secularism (such as those of Talal Asad and Gil Anidjar) and conceptual history approaches to secularization and modernity (such as those of Karl Löwith and Reinhart Koselleck), and in the process creates something that is more than merely the sum of its parts.