Conrad Ostwalt explores the confluence of religion and popular cultural forms in the secular world, demonstrating that a secular religiosity has co-opted some of the functions previously reserved for religions institutions.

An exploration of secularization in America, this book provides students with an innovative way of understanding the relationship between religion and secular culture. In Secular Steeples, Conrad Ostwalt challenges long-held assumptions about the relationship between religion and culture and about the impact of secularization. Moving away from the idea that religion will diminish as secularization continues, Ostwalt identifies areas of popular culture where secular and sacred views and objectives interact and enrich each other. The book demonstrates how religious institutions use the secular and popular media of television, movies, and music to make sacred teachings relevant. From megachurches to sports arenas, the Bible to Harry Potter, biker churches to virtual worship communities, Ostwalt demonstrates how religion persists across cultural forms, secular and sacred, with secular culture expressing religious messages and sometimes containing more authentic religious content than official religious teachings. An ideal text for anyone studying religion and popular culture, each chapter provides questions for discussion, a list of important terms and guided readings.

Can activism be considered a leisure activity? Can the Occupy movement, local campaigns for change and lone acts of personal resistance be understood as events? Within the field of Events Management the content of events is generally analyzed within three categories—culture, sport or business. Such a typology can be helpful as a heuristic for interpretation and analysis within a commercial paradigm. However, this framework overlooks and depoliticizes a significant variety of events, those more accurately construed as protest. Protests as Events is the first book to explore activism as a leisure activity and protests as events; using a fresh interpretation of event to develop a new critical politics of events and leisure. Bringing together a range of cutting edge research from around the world, it explores a variety of protests through the lens of events studies and leisure in order to understand how the study of events management might be conceptualized in the protest space.

This introductory text provides students with a 'toolbox' of approaches for analyzing religion and popular culture. It encourages readers to think critically about the ways in which popular cultural practices and products, especially those considered as forms of entertainment, are laden with religious ideas, themes, and values. The chapters feature lively and contemporary case study material and outline relevant theory and methods for analysis. Among the areas covered are religion and food, violence, music, television and videogames. Each entry is followed by a helpful summary, glossary, bibliography, discussion questions and suggestions for further reading/viewing. Understanding Religion and Popular Culture offers a valuable entry point into an exciting and rapidly evolving field of study.

Global Christianity has been experiencing an unprecedented historical transition from the West to the non-Western world. The leadership of global Christianity has taken on a new face since the twentieth century. Christendom in Europe and America has experienced a great decline while there has been a rise in Majority World Christianity. Churches in the Global South have given their voices to global Christianity through their leadership, world mission movements, and theology. The phenomenal church growth has risen from the Pentecostal and Charismatic movement. Pentecostalism has become the dominant force in global Christianity today. The Rise of the Global South examines the significance this shift has had on global Christianity by going through the history of Christianity in the West and the causes of the shift.

This sweeping overview of the role religion, especially diverse denominations of Christianity, has played in Georgia's history, from pre-colonial days to the modern era, uses the stories of important figures to portray larger historical narratives and denominational battles.

Cinema and Secularism is the first collection to make the relationship between cinema and secularism thematic, utilizing a number of different methodological approaches to examine their identification and differentiation across film theory, film aesthetics, film history, and throughout global cinema. The emergence of moving images and the history of cinema historically coincide with the emergence of secularism as a concept and discourse. More than historically coinciding, however, cinema and secularism would seem to have-and many contemporary theorists and critics seem to assume-a more intrinsic, almost ontological connection to each other. While early film theorists and critics explicitly addressed questions about secularism, religion, and cinema, once the study of film was professionalized and secularized in the Western academy in both film studies and religious studies, explicit and critical attention to the relationship between cinema and secularism rapidly declined. Indeed, if one canvases film scholarship today, one will find barely any works dedicated to thinking critically about the relationship between cinema and secularism. Extending the recent “secular turn” in the humanities and social sciences, Cinema and Secularism provokes critical reflection on its titular concepts. Making contributions to theory, philosophy, criticism, and history, the chapters in this pioneering volume collectively interrogate the assumption that cinema is secular, how secularism is conceived and related to cinema differently in different film cultures, and whether the world is disenchanted or enchanted in cinema. Coming from intellectually diverse backgrounds in film studies, religious studies, and philosophy, the interdisciplinary contributors to this book cover films and traditions of thought from America, Europe, Africa, the Middle East, South Asia, and East Asia. In these ways, Cinema and Secularism opens new areas of inquiry in the study of film and contributes to the ongoing interrogation of secularism more broadly.