Jack Williams

The last half-century of religious studies scholarship has seen the diminishing importance of belief as a concept of analysis. The putative inaccessibility of beliefs and the concept’s Western Christian provenance has led many scholars of religion to reject the concept. Recent years have seen attempts to rehabilitate the concept of belief, including Kevin Schilbrack’s 2014 Philosophy and the Study of Religions. Schilbrack proposes that by engaging with contemporary philosophical reflection on belief—specifically dispositionalist and interpretationist theories—the traditional critiques of belief can be overcome. The purpose of this paper is to further develop this approach by proposing an additional, currently overlooked, element of belief—its affectivity. This approach builds on current research from enactivist cognitive science and avoids the objections traditionally levelled at belief, while enabling a more sophisticated analysis of power dynamics in religion.

This article presents a new approach to understanding ritual: embodied world construction. Informed by phenomenology and a philosophy of embodiment, this approach argues that rituals can (re)shape the structure of an individual's perceptual world. Ritual participation transforms how the world appears for an individual through the inculcation of new perceptual habits, enabling the perception of objects and properties which could not previously be apprehended. This theory is then applied to two case studies from an existing ethnographic study of North American evangelicalism, indicating how the theory of embodied world construction can shed new light on how individuals are shaped by ritual practice.

ABSTRACT Philosophy of religion has recently made a turn to lived religion, an approach which seeks to understand lived religion as it is experienced concretely by individual practitioners. However, this turn to lived religion has seen limited engagement with the notion of belonging. Belonging here refers to the felt sense of being part of a group – of insidership – along with the development of positive social ties and mutual affective concern. It is my contention in this paper that reflection on this experience of belonging can improve our understanding of lived religion. In particular, I argue that human beings have an affective need to belong – a fundamental and affective need for belonging and positive social relationship which is felt in the body and rooted in human biology and evolutionary history. This paper makes the case for the affective need to belong, before examining its implications for understanding religion. It finds that the affectivity of belonging is capable of raising the affective salience of certain in-group beliefs, as well as creating affective hurdles to dissent, and in so doing can help to explain processes of religion conversion, sustained religious adherence, and religious disaffiliation.

This article proposes a new approach to employing Maurice Merleau-Ponty's philosophy in the philosophy of religion. Rather than finding a latent theology in Merleau-Ponty – as some interpreters do – this article argues that Merleau-Ponty's later ontology can provide the basis for a philosophical anthropology which can help us understand why human beings are drawn to religion and how this is expressed in affective and ritual practice. This ontology can help us to understand the notion of freedom as it applies to affective, embodied, and ritual religious practices and begins to sketch out how freedom might be understood in light of embodiment.

ABSTRACTThis article uses Gadamer’s concept of play as a common lens through which both traditional church liturgy and imaginative evangelical practices of engaging with God can be understood. The category of play encompasses processes which exhibit a back-and-forth motion and functions in Gadamer’s aesthetics to describe the relationship between artwork and viewer. Through an aesthetics of play, Gadamer accounts for the presence of truth in art. As I demonstrate in this paper, liturgy displays the playful characteristics of artwork, allowing for a theologically realist interpretation of divine presence. The final part of this paper considers the imaginative evangelical practices described by anthropologist T. M. Luhrmann, which I refer to as God-play. I argue that there is an unexpected commonality between God-play and traditional liturgy in the form of a functional similarity between the two and propose that God-play may be regarded as liturgy-like practice that has not been traditionalised. My evaluati...