After another unnecessary trip to the bookstore last semester (I have a bad habit of buying more books than I have time to read), I finally sat down with American Gods, a Neil Gaiman novel turned Starz series, at the suggestion of Prof. McCutcheon. Though the title and premise of the book certainly correlates to religious studies as I know it, the unique introduction flaunted on the cover of the edition I happened to buy, interested me more. Unbeknownst to me — as it was the only available version at Barnes and Noble — I had purchased the “Tenth Anniversary Author’s Preferred Text”, advertised on Amazon as, “American Gods as Neil Gaiman always meant it to be”. Now, anyone familiar with Roland Barthes essay The Death of the Author (a recent obsession of mine) should take a moment to recognize exactly where this blog post is headed. Continue reading
Ana Schuber is a graduate student in our Religion in Culture MA program. This post was originally published on our Religious Studies & Social Theory: Foundations course blog.
Harry Potter, or in human form Daniel Radcliffe, is currently acting in an off-Broadway play titled The Lifespan of a Fact. Timely and satirical, the play posits a contemporary political pastime of major and minor news agencies across the world: fact-checking truth. Perhaps the more important question one might ask today is: is there truth out there to be found by all these fact checkers? For Radcliffe, there are no magic wands, no all-knowing Hermione Grangers and no easy answer to this question as he portrays the dedicated fact checker. Tim Teemen in his review of this play for the Daily Beast explains that the play is about “what counts as fact and the perception of fact in what we read and visually and aurally consume every day.”
On stage, Daniel Radcliffe works to fact-check an article by a well-known journalist about a horrific suicide in 2002 when a sixteen-year-old jumped off the Stratosphere Hotel in Las Vegas. This real story and actual journalistic attempt was in the “fact-check” phase for seven years before it was finally killed as a story for Harper’s Magazine due to journalistic disagreements. The story was finally published in the form of a book seven years after the actual event and then became the subject of this play exploring the discourse of the narrative flow in non-fiction true event’s writing.
The United States is currently at war with itself in terms of what free speech is and whether free speech and truth are the same. The illusion is that free speech, guaranteed by the 1st Amendment of the Constitution, is equal to “truth”. Civics teachers have been emphasizing for years that it is our right and that we need to honor each other’s right to speak our truths. What wasn’t emphasized was that “truth” and “free speech” are not equal. This is not a new argument either in popular culture or in academic scholarship. Roland Barthes a major French literary theorist wrote about the nature of linguistic meaning and one of his explorations dealt with the multiplicity/plurality of meanings. Barthes is talking about literature and scholarship but the implication is that “meanings” are complex and are affected by time, relationships and authors. Is there such a thing as “truth”? Does the designation of “fact” make the item “true”? Can we trust the fact-checkers in the media when as Pierre Bourdieu stated in his text On Television (1996), “we are getting closer to the point where the social world is primarily described—and in a sense prescribed—by television.”
Journalists work for companies, whether as print journalists or televised journalists, which are owned and sponsored by moneyed operatives or corporations. Television and print medium fans have their own “teams” in terms of what news outlet they support or champion and as long as their “truth” is espoused, they continue to watch or read. Journalists are writers and writers like to have their work read or seen by a wide audience. Whether it is fiction or non-fiction there is always tension about what literary license means when presenting truth. With fiction, the author expects the reader to come along for the ride and agree that there is plausibility in the story. With non-fiction, the author still has a desire to present the material in a literary form so that the reader will want to read the article or book, assured that the facts of the story are being presented.
The conundrum is that the reading/watching audience are operating with a set of truths that, as Barthes would argue, are complex and layered and from individual to individual may not, over time, relate to each other except as a demonstration of how complex truth actually is. No matter how hard the fact-checkers work or how long they pursue their goal, what is presented in the end by that news outlet will not be received by everyone as “truth”. The new term “fake news” used today has nothing to do with the veracity of an article or item. It is used to combat journalism that one doesn’t like.
Harry Potter had to deal with “fake news” too, put out by The Daily Prophet. At least he had a magic wand to deal with his “truth” issues. Daniel Radcliffe in The Lifespan of a Fact has no magic wand and unfortunately, his character cannot guarantee his outcome as truth either.
Hannah Etchison, a graduating senior majoring in Religious Studies with a minor in Asian Studies, spent six weeks of this fall in India, staying primarily at a monastery where she learned from the women staying there and helped them with their English. Don’t miss her previous posts about her experiences (Hannah Goes to India 1, Hannah Goes to India 2, iPhones, Monks and the Images We Construct).
Indian food is way better than Japanese food.
This Buddhist temple smells exactly like the temples in Japan. Continue reading
By Kim Davis
Kim Davis earned her B.A. in French and Religious Studies from the University of Alabama in 2003. She went on to get her Masters in French Linguistics and Literature in 2007 and a Masters in Secondary Language Pedagogy in 2010, both from UA. Kim now teaches French and Mythology at Tuscaloosa County High School.
I’m a collector. The picture above is of Kenner Star Wars action figures that I have kept until I had a house to display them in a small curio cabinet. I suppose you wonder what that has to do with my degree in Religious Studies. Much like I now display these figures, I would like to tell you how I now display the knowledge gained in the Department of Religious Studies. Continue reading
In an earlier post I wondered aloud what the Humanities were, doing so by too briefly surveying some of the standard arguments that we often hear when this topic comes up. I concluded by asking readers what they thought the Humanities were, and left it at that.
To be fair, I ought to answer my own question. And so… Continue reading
So, just what are “the Humanities”? We know that, at the University of Alabama, the 23 or so Departments that comprise the College of Arts & Sciences are divided among three divisions: The Humanities and Fine Arts; the Social Sciences, and the Natural Sciences and Mathematics. The Department of Religious Studies, like the Departments of English, Theatre and Dance (the British spelling is not a typo), and the School of Music, are grouped together in the Humanities, to name just a few of the others. The Department History, which, throughout the history of the European university was commonly placed within the Humanities–such as in the Alabama Humanities Foundation‘s description (below)–is, however, classed on our campus within the Social Sciences, along with such Departments as Psychology, Anthropology, Criminal Justice, and New College, to name but a few Social Science units–though, come to think of it, New College describes itself as an “interdisciplinary liberal arts program,” which complicates things further, for we now need to inquire into the relationship between the liberal arts (sometimes known as the liberalizing arts) and the Humanities. More on that below. Continue reading