Competing Interpretations of Buddhism's Revival in the Russian Republic of Kalmykia

This article uses a multiple methods framework to interrogate notions of religious revival among Buddhists in the Russian republic of Kalmykia. Survey results indicate high levels of self-identification among Kalmyks as Buddhists, as well as general support for the notion that the religion has re-established its place in the public sphere in the post-Soviet period. This straightforward interpretation of religious revival is contested, however, in interviews with religious elites and focus group conversations. Interlocutors in these forums were more critical and more nuanced in their understanding of Buddhism's role in contemporary Kalmykia.     

Quantifying and Qualifying Charisma: A Theoretical Framework for Measuring the Presence of Charismatic Authority in Terrorist Groups

In the past four decades, there has been increased multidisciplinary scholarly interest in the study of charismatic authority. However, there has yet to be any systematic examination of charismatic authority in the context of terrorism, despite widespread acknowledgment of the importance of charismatic leaders in the recruitment, radicalization, and operation of terrorist groups. This article seeks to contribute to future empirical research by presenting a theoretical framework for measuring the presence of charismatic authority in terrorist groups that is based on Max Weber's seminal work on legitimate domination (herrschaft) and on theoretical insights drawn from the study of charismatic authority in new religious movements. The framework is then applied to an illustrative case study of the relationship between charismatic authority and the radicalization process within the far-right terrorist group “the Covenant, the Sword, and the Arm of the Lord.” The article concludes with a discussion of findings and suggestions for future research.     

Death and the erotic woman: the European gendering of mortality in times of major religious change

This paper explores the use of European erotic death imagery produced in the Death and the Maiden (D&M) genre in two time periods. It compares and contrasts D&M imagery produced by the Germanic-speaking proto/early-Reformation artists, Hans Baldung (alias Grien) (c1484–1545), Niklaus Manuel (known as Deutsch) (c1484–1530) and Sebald Beham (known as Hans Sebald Beham) (1500–1550) which highlighted the folly, futility and transience of earthly vanities during the transition from Roman Catholic to Protestant Christianity, with contemporary calendar art produced by Cofani Funebri (from 2003) and Lindner (from 2010) which advertise coffins manufactured in the increasingly secular countries of Italy and Poland. Drawing on Biblical narrative, Augustinian theology and European socio-cultural perceptions of gender, this paper argues that these D&M images are highly eroticised and place woman as signifiers of transcient life (vanitas) and earthly pleasure (voluptas), juxtaposing her with a masculine/male representation of death; Death being imaged as an individual in the sixteenth century, and as a coffin in the contemporary works. The paper also contextualises the imagery in terms of traditional European Christian notions of life and death, as informed by the Biblical Fall narrative, with its elucidations of sin, concupiscence and punishment. It thus asserts that both socio-cultural and religious attitudes towards gender are highly significant in D&M imagery and indeed in terms of the artworks, argues that the masculine signifier of Death can be placed as Adam, whilst the Maiden, as fecund life, represents Eve. However, the overt eroticism of both sets of artworks also allows for a reading that draws on Messaris' [(1997). Visual persuasion; the role of images in advertising. London: Sage] notion that visual images ‘make a persuasive communication due to iconicity; the emotional response to the visual image presented’. Thus, this paper contrasts D&M imagery produced over 400 years apart to examine consciously erotic gendered thanantological allegories of women as vanitas and voluptas, and the male/masculine as representations of Death.