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The Theology, Religion
and Popular Culture
Review
Volume 1
October 2019
Contents
2 Editorial
3 Conference Reports @TheTRPCN
5 Research Notes: A Case
Study of Religious Expe-
rience in The Adventures https://www.facebook.com/
of Tintin groups/171414469583106/
9 Call for Papers
Religionpopculture.com
1| Volume 1 | October 2019Editorial
Welcome to the very first edition of the Theology, things in shorter form to test out ideas and theories,
Religion and Popular Culture Network’s Review. or even just have a fun place to play.
This particular brain-child came from the under-
standing that research into popular culture is diffi-
cult. As academics in general, we must keep up on As a network, the Theology, Religion and Popular
current research within our fields, but as popular Culture Network accepts membership from estab-
culture scholars, we also have to keep up on the lished academics, early career researchers, PhD
secondary literature of popular culture itself. Our students, masters students, undergrads, or even
field is constantly changing and evolving, growing those with no connection to the academy. Put simp-
with each movie release, video game update, ly, if you are interested in the intersections of reli-
YouTube upload – essentially, it changes every gion and popular culture, we are your people.
day. Even if you are not an academic, the time it Membership is free, and the only necessary need to
takes to necessarily follow through can take much establish membership is to follow us on social me-
of the little free time we are given in today’s world. dia and/or sign up for our email list.
The Review is an attempt to make our endeavours I hope you enjoy the Review. Use this as a starting
a little easier. It’s a location for us to see what con- point to have conversations with one another, to
ferences are coming up, what journals are availa- find your interest and pursue it to its most pleasura-
ble end.
ble, in as easy to find place as possible. It gives us
conference reviews, so we know what we missed
and therefore what we may want to look forward to Vivian Asimos
in future. And most importantly, I intend for this
review to also feature short research notes. This
allows for scholars to practice a bit – think about
2| Volume 1 | October 2019Conference Reports
The Theology, Religion and Popular Culture Network
“Play and Protest”
The Theology, Religion and Popular Culture Network ly experiences that inform identity and challenge per-
conference was held on July 24th-25th, hosted by the ceptions. Day two was similarly diverse, opening
University of Kent. These two days saw not only with Dr Rachel Wagner’s consideration of guns in the
some of the highest temperatures of the year but also American cultural psyche and diverging into strands
heard a diverse range of fascinating papers. The con- examining: ideas of the sacred and practices of belief
ference theme of ‘Play and Protest: Transforming in the virtual world; popular music and the stories
Paradigms in Popular Culture’ offered a wide range woven by fans around their object of fandom; and
of entry points for participants to explore play and practices of creative play through engagement with
protest both as cultural activities themselves and as art and with crafting.
themes which resonate through other aspects of popu- Of particular interest to me across was the di-
lar culture and papers covered areas as diverse as mu- verse ways in which the concept of religion/the reli-
sic fandom, myth and legend within games/video gious was constructed across the different papers and
games, science fiction and dystopia and play and pro-
themes, in order that aspects of it could then be relat-
test as explicitly theological practices. Unusually the ed to the chosen elements and expressions of popular
conference did not divide into disparate strands, re-
culture. These constructions ranged from a focus on
quiring attendees to choose one selection of papers religion as meaning- and world- making activity, to
over another. Instead each themed strand of papers mystical and profound experiences, to questions of
ran separately, so attendees could hear all the contri- belief and scriptural authority. Several papers also
butions if they wished to. touched on the use of popular culture in religious mis-
The conference opened with Dr Justin Lewis- sion and, potentially, evangelism raising interesting
Anthony’s exploration of the ways insider and outsid- questions (for me at any rate) about the reality of per-
er status are constructed, by both the individual sub- ceived boundaries between sacred and secular and the
ject and the people who surround them, using the ex- practicalities of seeking to maintain such a separation.
ample of Samuel Vimes, a character from Terry Overall this rich spread of approaches and ideas
Pratchett’s ‘Discworld’ novels. From there day one about how religion and the religious interacts with
progressed through papers exploring: the liminal popular culture in all its guises illustrates the ongoing
playscapes created through fiction and the cultural
relevance of the study of religion in contemporary
imaginary: the visual and virtual worlds of comic
life. Certainly I found the conference left me, as a
books and the connections between these stories and
good conference should, with a multitude of new ide-
religious narratives of salvation and the betterment of as and new thoughts to pursue.
the world; and the playful indulgences of enjoying
food, physical sensation and music which create bodi-
Dr Alison Robertson
3| Volume 1 | October 2019British Association for the Study of Religion
“Visualising Cultures: Media, Religion and Technology”
The British Association for the Study of Religion’s and a large minority at worst. Several presenters,
Conference this year took place September 2-4 at near the end of a fascinating paper, would start their
Leeds Trinity University. The theme was of instant last section with “and now to connect this to the
interest to me: “Visualising Cultures: Media, Reli- theme” without realising that they were completely
gion and Technology”. Obviously, for a scholar fo- connected, and maintaining interest. This often was
cusing on media and popular culture in the study of the result of a misunderstanding of what media and
religion, I was immediately taken with an interest in technology meant. Historical overviews felt it neces-
the conference. sary to suddenly connect to the internet, despite their
previous fifteen minutes discussing historical tech-
And for the most point, I was not disappoint-
nologies, and the way media was used in the past.
ed. The conference’s papers ranged. From newly
forged long barrows in Wiltshire (Jennifer Uzzell Popular Culture studies, media studies, and even
technology studies do not exclude the past. Our cur-
from Durham University) and the Church of Scien-
tology’s new use of media (Aled Thomas from Open rent technologies and popular culture are reliant on
University), to papers on podcasting nostalgia (Chris those past explorations.
Deacy from University of Kent) and an exploration I found my thoughts lingering on the question
of how video games define religion (Jonathan Tuck- after someone else in my panel, which expressed
ett from Unseen University). The use and under- surprise that we both proved the internet as a viable
standing of media and technology was broad, and place to do research. And I wasn't surprised because
demonstrated the state of the contemporary place of I don't think myself or the other scholar do good
religion, and the study of religion itself. work, but that it's essentially the same as expressing
What made the conference even more fascinat- surprise that we can study people. And to have that
ing were the papers in which it was obvious the question at a conference about media just demon-
strated the biases of many scholars present.
scholars had only just realised, perhaps due to the
theme of the conference, that studying religion in In all, I am quite pleased with the conference,
connection to media and technology was viable and mostly because I hope that these scholars who, prior
interesting. At first, these papers shocked me, but to attending, had their own biases and thoughts in
after the first day I came to understand that perhaps regard to scholars in popular culture or media stud-
ies, have changed their minds. Themes such as these
these were the first steps necessary for these scholars
are necessary at conferences like the BASR in order
to accept the study of religion as being compatible
to allow the study of religion and popular culture to
with the study of media, technology, and popular grow outside of a select few, and to become a more
culture. respected field of study.
I realised that while I was excited about the
theme, I counted for only half the conference at best,
Dr Vivian Asimos
4| Volume 1 | October 2019Research Notes
A Case Study of
Religious Experience
in The Adventures of
Tintin
Dr Aled J. Ll. Thomas
5| Volume 1 | October 2019The Adventures of Tintin, the comic book series also argues that, unlike other analyses of Tintin
written by Belgian artist George Remi (under his which posit Catholicism as only an influence on
alias, Hergé), serves as a significant example of Hergé’s early work, there is an implicit Catholicism
twentieth century European popular culture. Featur- present throughout the Tintin series, directly in-
ing the titular reporter, Tintin, the series follows the formed by Hergé’s Catholic worldviews. Despite
protagonist and his companions on adventures the implicit Catholicism de Groot draws attention
across the world. Consisting of 23 ‘albums’ pub- to, Hergé’s depiction of Tibetan Buddhism in Tintin
lished between 1929-1976, the Tintin series has be- in Tibet demonstrates his increasing fascination
come widely renowned for its political satire and with Eastern practices in the 1950s, and an apparent
social commentary, coupled with Hergé’s meticu- distancing from his Catholic roots.
lous research of the landscapes and cultures Tintin
It is important to establish a working understanding
would encounter (Farr, 2011). Hergé, who drew
of ‘religious experience’ before analysing Hergé’s
much inspiration from his Roman Catholic values
depictions of religious experiences in The Shooting
(de Groot, 2016), incorporated several religious ele-
Star and Tintin in Tibet. Morton Klass (2003) ar-
ments to his stories. Of particular note is his depic-
gues that scholars engaging with religious experi-
tion of the phenomenon of religious experience.
ence must be self-reflective regarding their personal
The purpose of these research notes is to consider
opinions and biases regarding which experiences
how two such instances from The Shooting Star
could be deemed ‘religious’. This understanding
(1941) and Tintin in Tibet (1958) demonstrate Her-
ties in with Ann Taves’ (2009) ascriptive model of
gé’s nuanced attitude towards Catholicism in his
religious experience, which asserts that experienc-
early work, in addition to how his developing fasci-
es, emotions, and sacred ‘things’ are only defined
nation with Buddhist practices became explicit in
as religious when the surrounding society and cul-
his later writing.
ture deems them to be of religious significance. For
The origin of the Tintin series is rooted in Catholic the purpose of these research notes, I approach reli-
morality. In the 1920s Hergé was commissioned to gious experience in The Adventures of Tintin ac-
create a new comic strip for the children’s supple- cording to my interpretation of Hergé’s intentions –
ment of a Catholic newspaper, Le Petit Vingtième more specifically, how his dismissal of a seemingly
(The Little Twentieth). This led to Hergé’s first Tin- Christian experience as mental illness in The Shoot-
tin strip, Tintin in the Land of the Soviets (1929), ing Star, and his depiction of various mystical phe-
intended to communicate the Catholic and con- nomena in Tintin in Tibet, suggest a disillusion with
servative values of the paper with a young Belgian his Belgian-Catholic worldview and an embracing
audience (Thompson, 2011; Farr, 2011). While of Eastern practices and religiosity. Altogether,
Hergé would move on to express more creative these accounts not only shine light upon religion in
freedom by publishing Tintin away from Le Petit Hergé’s writing, but also demonstrate how the no-
Vingtième, his Catholic influences remain through- tion of ‘religious experience’ is understood in The
out. Indeed, in his historical-sociological analysis Adventures of Tintin.
of the Tintin series, Kees de Groot demonstrates
The first significant example of what could be cate-
that “[the character of] Tintin is anti-communist as
gorised as ‘religious experience’ in the Tintin series
well as anti-capitalist, and much more, because he
is found in The Shooting Star, published in 1941.
is a Roman Catholic” (2016, 372). De Groot (2016)
6| Volume 1 | October 2019Early scenes in The Shooting Star feature Philippu- meet with a Tibetan monk named Blessed Light-
lus, a European man claiming to be a prophet bring- ning, who levitates before them. During this se-
ing news of the imminent day of judgement and the quence, Blessed Lightning receives a vision of
end of the world. He urges everyone to repent of Chang, whom he also claimed to have survived the
their sins and accuses Tintin of being “an advocate airplane crash (Hergé, 1958).
of the devil” (Hergé, 1941, 74). A subsequent se-
Hergé’s portrayal of religious experience in a Tibet-
quence includes another encounter with Philippulus
an Buddhist context is a stark contrast to the trou-
aboard a ship. During this scene Philippulus’ experi-
bled character of Philippulus from The Shooting
ences lead him to commit actions that are harmful to
Star. Monks are depicted to possess mystical abili-
others, including his attempt to throw dynamite at
ties, such as levitation, while Blessed Lightning’s
the passengers from the ship’s crow’s nest. Despite
vision is also revealed to be true in the conclusion of
how Philippulus continues to claim to be a messen-
the tale. During a process of psychiatric counselling
ger of God, his claims are not believed to be genu-
whilst writing Tintin in Tibet, Hergé came to the
ine by any of the other characters, while Tintin de-
conclusion that he had “[squeezed] himself into the
scribes him as a “crazy fool” when he lights the dy-
Catholic straitjacket” (de Groot, 2016, 392; see also
namite. Tintin eventually convinces Philippulus to
Farr, 2011), possibily hinting towards his seemingly
come down from the crow’s nest by pretending to
sceptical position towards Christian religious expe-
be his guardian angel, commanding him to return
riences in The Shooting Star seventeen years earlier,
safely to the ship’s deck. Once the crisis has been
and his subsequent embracing of Buddhist practices.
averted, attendants from a mental hospital arrive to
Hergé makes use of Captain Haddock as a Western
announce that Philippulus is an escaped patient
sceptic in Tintin in Tibet, who describes the levita-
whom they have been urgently attempting to find
tion and visions of Blessed Lightning as “hocus-
(Herge, 1941, 84-86).
pocus”, to which Grand Abbot of the monastery re-
In the years following the publication of The Shoot- sponds that “many things occur here in Tibet which
ing Star, Hergé became intrigued with Eastern spir- seem unbelievable to you men of the West” (Hergé,
ituality, particularly Buddhism. His depiction of Ti- 1958, 181). These scenes demonstrate Hergé’s in-
betan Buddhism in Tintin in Tibet (1958) is rich in creasing interest in Eastern spirituality, and pre-
detail, and features a number of mystical experienc- empt his engagement with Zen Buddhism and Tao-
es that drive the narrative. Before basing a Tintin ism in the late-1970s (de Groot, 2016).
story in Tibet, Hergé conducted considerable re-
The depictions of religious experiences in The Ad-
search into Tibetan monasteries and monks. It was
ventures of Tintin are noteworthy for a number of
by studying Alexandra David-Neel, a Tibetologist,
reasons. Firstly, they offer scholars of religion a dis-
that Hergé encountered accounts of Buddhist levita-
tinctive depiction of Eastern spirituality in twentieth
tion, which features in Tintin in Tibet (Farr, 2011).
century European popular culture. Not only does
Hergé begins the story with Tintin experiencing a
Hergé’s personal engagement with Buddhism
vision revealing that his friend, Chang, who has
emerge in a Tintin story, but it is used as a driving
been presumed dead in an airplane crash in Tibet,
force for the narrative of Tintin in Tibet. The charac-
has survived the accident. During his search for
ters are motivated by a series of Buddhist religious
Chang, Tintin and his companion, Captain Haddock,
experiences, which Hergé depicts as a profoundly
7| Volume 1 | October 2019significant moment for the character of Tintin. Sec- Religion, Vol. 19, No. 3, pp. 371-400.
ondly, despite implicit Catholic morality present
Farr, M. (2011) Tintin: The Complete Companion,
throughout the Tintin series (de Groot, 2016), Her-
London: Egmont.
gé used his comics as a method of expressing his
fascination with Buddhism, marking a shift from Hergé (1941) ‘The Shooting Star’, in Hergé, The
Tintin’s original purpose of promoting Catholic val- Adventures of Tintin Volume 4: The Crab with the
ues in Le Petit Vingtième. Accordingly, Tintin in Golden Claws, The Shooting Star, The Secret of the
Tibet and its contrast to The Shooting Star offer a Unicorn, London: Egmont (this edition 2011).
route through which Hergé’s interest in Eastern
Hergé (1958) ‘Tintin in Tibet’, in Hergé, The Ad-
spirituality and disillusion with Catholicism can be
ventures of Tintin Volume 7: The Calculus Affair,
understood. While Hergé remained a Catholic
The Red Sea Sharks, Tintin in Tibet, London: Eg-
throughout the remainder of his life, studying Her-
mont (this edition 2011).
gé as a writer through the lens of Catholicism alone
demonstrates only one facet of how his religious Klass, M. (2003) Mind Over Mind: The Anthropol-
influences impacted The Adventures of Tintin. ogy and Psychology of Spirit Possession, Maryland:
Rowman and Littlefield.
Taves, A. (2009) Religious Experience Reconsid-
References
ered, Oxfordshire: Princeton University Press.
De Groot, K. (2016) ‘Tintin as a Catholic Comic:
Thompson, H. (2011) Tintin: Hergé and his Crea-
How Catholic Values went Underground’, Implicit
tion, London: John Murray.
8| Volume 1 | October 2019Call for Papers
Journal of Religion, Media and Digital Culture
To understand religion today, we must understand social-scientific discussion of the relationship be-
how religious ideas and practices are communicat- tween religion, media and culture. Studies of any
ed, learned, represented, enacted and resisted religious tradition, medium or geographical region
through media. Religion circulates through social are welcome. The journal’s primary focus is on re-
media, is discussed in the news and becomes a cent and contemporary media, but historical studies
source of imagery for lm and television. Popular may also be considered. Theological writings will
understandings of religious belief and practice are not normally be accepted for publication.
formed by encounters with their representations in RMDC publishes peer-reviewed articles (6-8000
journalism and entertainment media. Religious in-
words), nonreviewed research reports (up to 5000
stitutions produce their own media, too, from radio words), book reviews (up to 1200 words) and re-
and TV preachers to religious videogames. This view articles (2-3000 words, comparing two or
journal seeks to provide a venue for sharing new more recent books on a common theme). Submis-
empirical research and theoretical analysis of these sions should conform to the Instructions for Au-
and other intersections between religion, media and thors, available on brill.com/rmdc
culture.
More information: brill.com/rmdc
RMDC publishes original work that contributes to
Science, Religion and Big Questions Conference
The Learning about Science and Religion (LASAR) Research Centre at Canterbury Christ Church Univer-
sity and the Oxford Argumentation in Religion and Science (OARS) project at the Department of Educa-
tion at the University of Oxford invite abstracts for papers and seminars that explore Big Questions in the
context of education and the science-religion dialogue.
Date: Tuesday 23 June 2020, 9.30 am - 5.30 pm
Location: University of Oxford, Department of Education
Deadline for abstracts: 1st February 2020
9| Volume 1 | October 2019Ambiguous Legacies, Contested Futures: Re-Assessing Corner-
stone Figures in the American Environmental Tradition
Journal for the Study of Religion, Nature, and Culture
Special Issue
This issue will explore the historical legacies and prospective continued influence of the cornerstone figures
of the American environmental tradition. It seeks to spotlight what, if any, of these figures’ legacies de-
serves to continue shaping approaches to the religion/ecology/ethics/politics nexus.
For this special issue, we seek analyses of the ways cornerstone figures of the American environmental tra-
dition (including, but not limited to, Ralph Waldo Emerson, Henry David Thoreau, Margaret Fuller, Walt
Whitman, John Muir, Mary Austin, John Burroughs, Aldo Leopold, Marjory Stoneman Douglas, Rachel
Carson, Edward Abbey, and Carolyn Merchant) should be read in light of contemporary concerns over so-
cial justice, equity, and inclusion. Contributors should frame their papers primarily in response to the ques-
tions: What role(s) do such cornerstone figures play in contemporary discussions concerning the environ-
ment, religion, and politics in America? Do specific features of their work reduce the relevance of their voic-
es in our own time, and if so to what extent? Prospective authors are asked to focus their manuscripts around
a single cornerstone figure’s thought
Deadline: 8 November 2019
Want to be featured in the next volume of the Theology, Religion
and Popular Culture Review?
We welcome submissions including, but not limited to:
• Book Reviews : 750-1000 words (contact if there is a book you would like to review, and the network
will attempt to acquire it for you)
• Conference Reports: 500-750 words
• Research Notes: 1000-1500
• Any upcoming call for papers, including conferences, symposiums and journals. Also any information
regarding upcoming events
Send all communication and submissions to info@religionpopculture.com
Deadline: 15 December 2019
10| Volume 1 | October 2019Religionpopculture.com
https://www.facebook.com/
@TheTRPCN
groups/171414469583106/
Image Credits:
Cover—Tintin in Tibet (1975)
Pg. 5—Tintin in Tibet (1975)
Pg. 8—The Shooting Star (1942)You can also read
