Bøker av Birgit Meyer

This book offers an ethnography of the emergence of a local Christianity and its relation to changing social, political and economic formations among the Peki Ewe in Ghana. Focusing on the Evangelical Presbyterian Church, which arose from encounters between the Ewe and German Piestist missionaries, the author examines recent conflicts leading to the secession of many pentecostally oriented members, which it places in a historical perspective. The main argument is that, for the Ewe, involvement with modernity goes hand in hand with new enchantment, rather than disenchantment, of the world. At the grassroots level, the study focuses on the image of the Devil, which the missionaries communicated to the Ewe through translation and which currently receives much attention in the Pentecostal churches. It is shown that this image played and still plays a crucial role in the local appropriation of Christianity, since diabolisation confirmed the existence of local gods and witchcraft and incorporated them into Christian belief as demons. Comparing the discourses and practices of mission and Pentecostal churches, the study reveals that the latter pay much more attention to Satan - especially through 'deliverance' rituals. Pentecostalism's increasing popularity thus stems from the fact that it ties into historically generated local understandings of Christianity, which, despite a declared dislike of non-Christian religious practices, stand much closer to Ewe religion than missionary Christianity. With its emphasis on the hybrid image of the Devil and people's obsessions with occult forces as a way to mediate the attractions and discontents of modernity, this book sheds light on a hitherto neglected dimension in studies of African Christianity.

In what ways do Buddhists recognize, define, and sort waste from non-waste? What happens to Buddhist-related waste? How do new practices of Buddhist consumption result in new forms of waste and consequently new ways of dealing with waste? This book explores these questions in a close examination of a religion that is often portrayed as anti-materialist and non-economic. It provides insight into the complexity of Buddhist consumption, conceptions of waste, and waste care. Examples include scripture that has been torn and cannot be read, or an amulet that has disintegrated, as well as garbage left behind on a pilgrimage, or the offerings of food and prayer scarves that create ecological contamination. Chapters cover mass-production and over-consumption, the wastefulness of consumerism, the by-products of Buddhist practices like rituals and festivals, and the impact of increased Buddhist consumption on religious practices and social relations. The book also looks at waste in terms of what is discarded, exploring issues of when and why particular objects and practices are sorted and handled as sacred and disposable. Contributors address how sacred materiality is destined to wear and decay, as well as ideas about redistribution, regeneration or recycling, and the idea of waste as afterlife.

Social work as a democratically constituted profession committed to human rights is currently facing cross-border encroachments and attacks by right-wing populist movements and governments. With the Bundestag elections in September 2017, the question of the extent to which right-wing populist forces succeed in influencing the discourse with xenophobic and nationalist arguments arises in Germany, too. The authors examine how social work can respond effectively to nationalism, exclusion, de-solidarization and a basic skepticism about science and position itself against this background. The book explores different conditions in Germany, France, Poland, Russia and the US.

Tracing the rise and development of the Ghanaian video film industry between 1985 and 2010, Sensational Movies examines video movies as seismographic devices recording a culture and society in turmoil. This book captures the dynamic process of popular filmmaking in Ghana as a new medium for the imagination and tracks the interlacing of the medium's technological, economic, social, cultural, and religious aspects. Stepping into the void left by the defunct state film industry, video movies negotiate the imaginaries deployed by state cinema on the one hand and Christianity on the other. Birgit Meyer analyzes Ghanaian video as a powerful, sensational form. Colliding with the state film industry's representations of culture, these movies are indebted to religious notions of divination and revelation. Exploring the format of "e;film as revelation,"e; Meyer unpacks the affinity between cinematic and popular Christian modes of looking and showcases the transgressive potential haunting figurations of the occult. In this brilliant study, Meyer offers a deep, conceptually innovative analysis of the role of visual culture within the politics and aesthetics of religious world making.

This book examines the incorporation of newly accessible mass media into practices of religious mediation in a variety of settings including the Pentecostal Church and Islamic movements, as well as the use of religious forms and image in the sphere of radio and cinema.