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MAVCOR Journal
MAVCOR Journal is an open access born-digital, double blind peer-reviewed journal dedicated to promoting conversation about material and visual cultures of religion. Published by the Center for the Study of Material and Visual Cultures of Religion at Yale University and reviewed by members of our distinguished Editorial Board and other experts, MAVCOR Journal encourages contributors to think deeply about the objects, performances, sounds, and digital experiences that have framed and continue to frame human engagement with religion broadly understood across diverse cultures, regions, traditions, and historical periods.
This special joint issue is published with The Journal of Southern Religion (JSR). The journals issued a call for papers together in 2017 and are pleased to publish these four peer-reviewed articles, two editorial introductions, and one editorial reflection. In his editorial reflection, Bill Ferris considers his own history with southern religion and material culture. Jason Young and Louis P. Nelson offer introductions for the four articles, with additional reflection on the state of the field.
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Stowe’s deployments of bibles and artistic representations of them in illustrated editions offered a conservative abolitionism that emphasized the potential for peace among former slaves and masters. . . . bibles in the afterlives of Uncle Tom’s Cabin continued to offer moderation when it came to issues of race and racial interactions.
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Trump has relentlessly pushed for a “monument” that cannot be torn down or simply relocated: the wall. -
The architecture of New Mexican village churches is often described as vernacular, which is to say that the construction materials (adobe, stone, vigas, latillas) are local; the design reflects local taste, tradition, and resources; the construction standards are idiosyncratic, pursuant to the experience, inclinations, and skills of the builders; and the finished product represents the history and cultural identity of the community.
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Obey God and Live (Vision of Heaven) is Elijah Pierce’s personal conversion narrative. In this piece of wood he depicted the definitive episode of his own spiritual autobiography, an event in his past that he understood to (re)organize, interpret, and frame his entire life. -
This series of images, taken over the course of six months, documents the street altars dotted around Mexico’s dense, urbanized capital, home to over twenty-one million people. -
In The Resolution of the Suspect, photographer Miki Kratsman builds on the reliquary nature and the transitive qualities of the carte-de-visite, creating a diptych: the historic image on one page of the centerfold and his own photograph of the bloody garment of a single unnamed Palestinian martyr on the other. -
In 1929, on her first visit to New Mexico, the American artist Georgia O’Keeffe (1887-1986) observed the animate potential of the region’s religious material culture.
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The objects on display in this collection stitch together what I call the “communion of shadows” that began with the invention of photography in the early nineteenth century. -
This American monument may even present an understudied alternative vision of the afterlife—one incorporating an intermediate phase just after death—that runs through nineteenth-century Protestant and Anglo-Episcopal sources. -
In 2014 the Dominican Order in Peru worked with Brazilian NGO EBRAFOL to produce digital facial reconstructions of Peruvian saints Rose of Lima, Martin of Porres, and John Macías. -
Ashley Makar interviewed Nruhari Das on September 22, 2012 at the Sri Sri Radha Govinda Mandir ISKON Hare Krisha Temple in Brooklyn, New York. -
Ashley Makar interviewed Shephard (Shep) Parsons in 2011 when Parsons was minister at Shelton Congregational Church in Shelton, Connecticut. He is currently Senior Pastor at First Church of Christ, Woodbridge, Connecticut.