Rust Cohle’s peculiar interpretation of the crucifix in the first season of HBO’s True Detective can be better understood through the interpretive lens of semiotics and an application of Roland Barthes’ notion of “myth.” Such an analysis actually frames Rust’s interpretation as one parallel to the typical sort of sacrificial and representative reading the image usually invites.
The narrative use of vampires has changed with evolving cultural attitudes, and contemporary incarnations, such as HBO's True Blood, offer viewers creative ways to engage religious, sociocultural, and political themes. In this case, an opportunity to perhaps examine Muslim identity and misdirected cultural assumptions that have escalated since 9/11.
Tech companies like Google, Apple, and Facebook boast of high employee satisfaction, with access to meditation rooms and yoga programs. But, as corporate mindfulness programs create bubbles of integrity for employees, they externalize the problems of fragmentation and distraction.
Within this discourse, there is something larger at work: a fundamental attempt to make God more accessible to a people who have been, in large part, ignored by many religious and spiritual entities.
Tool’s music opens possibilities for becoming different, intensifying one’s existence so as to facilitate healing for the microcosm and macrocosm of self and world.
Commentators have frequently ascribed cult-like qualities to the culture surrounding the Nittany Lions football program, but further investigation reveals this attribution to be highly oversimplified, and discloses an alarming lack of “religion literacy.”
Through their insatiable thirsts and cravings, the "walkers" and survivors in the series symbolically manifest the Buddhist notion of taṇhā.
The limits of apocalyptic space must be considered, as well as the possibility that the space created by apocalyptic performances in zombie marches might only ever be spectacle, which reinforces the social order that the apocalyptic narrative critiques.
The collaboration between Sierra Nevada Brewing Company and the Trappist Abbey of New Clairvaux demonstrates a clear example of the intersection between religion and popular culture.
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The content of contemporary ex-voto paintings in Mexico reflects specific sociocultural shifts taking place during the last half of the twentieth century.