Blasphemous Art?

Rezensionen / Stimmen

'Anne-Marie Korte's corpus of work has been a wonderful and welcome addition to the academic world: challenging, provoking, and reorienting normative scholarly categories. Chapters in this volume build on her work to show how categories of gender and sexuality can challenge our understanding of religion by narrowing in on the moments of blasphemy and transgression, places where the categories come unhinged and show us the fluid nature of our social lives'.

S. Brent Rodriguez-Plate, Hamilton College, USA

'This imaginative volume is not only a fitting tribute to Anne-Marie Korte's contribution to the field but is an exciting collection that tracks the dynamic, fun, and confronting interactions between religion, gender, and sexuality, and creative popular culture. From stand-up comedy, the Barbie movie, menopausal bodies, black HIV queer poetry, LGBTQI+ writing practices, storytelling, and graphic novels, to TV, and performance, the authors challenge understandings of blasphemy and highlight the capacity of art to transform and reimagine constructions of religion, gender, and sexuality'.

Dawn Llewellyn, University of Chester, UK

'Smashed statues of Asherah, menopause, skits and stand-up, Ukrainian war art (icons on ammunition boxes), witches, the Israeli docuseries The Holy Closet, ex-Muslim identities, Barbie, black and Latinx ballroom, "heretical" Jesuses in queer black south African poetry ... and so much more. Moving between the theatre and the hospital, the museum and "the news", these punchy, astute studies perform and analyse the decomposition and recomposition of the sacred and the profane (and the normative and the inexpressible/ineffable, that which cannot be "effed", as Sam Beckett said). The contributors deftly show how, though blasphemy has been in bed (so to speak) with sex for centuries, the positions keep on changing. A vibrant celebration of the work of Anne-Marie Korte and a stand-alone volume in its own right, bursting with boldness and insights on iconoclash and ironic faith'.

Yvonne Sherwood, University of Oslo, Norway