Lynn S. Neal enquête sur la manière dont la culture populaire, des romans sentimentaux au design de mode, façonne notre compréhension et notre expérience de la religion américaine. En tant qu'enseignante primée en études religieuses, ses recherches novatrices se concentrent sur la fin du XXe et le début du XXIe siècle. Neal offre de nouvelles perspectives sur l'évangélisme contemporain en s'entretenant avec les auteurs et les lecteurs de romans sentimentaux chrétiens. Son travail explore également l'histoire de l'intolérance religieuse aux États-Unis et examine les figures et l'imagerie chrétiennes dans le monde de la haute couture.
Exploring the intersection of faith and romance, the book delves into the unique dynamics of evangelical romance novels, where desire is intertwined with divine presence. Through interviews with writers and readers, the author uncovers the significant role these stories play in the lives of evangelical women, revealing a complex religious piety often overlooked by critics. The study highlights how these narratives shape personal beliefs and community values, offering insights into the spiritual and emotional lives of their audience.
Shows how the fashion industry in the mid- to late twentieth century created a particular way of seeing religion as fashionable From cross necklaces to fashion designs inspired by nuns’ habits, how have fashion sources interpreted Christianity? And how, in turn, have these interpretations shaped conceptions of religion in the United States? Religion in Vogue explores the intertwined history of Christianity and the fashion industry. Using a diverse range of fashion sources, including designs, jewelry, articles in fashion magazines, and advertisements, Lynn S. Neal demonstrates how in the second half of the twentieth century the modern fashion industry created an aestheticized Christianity, transforming it into a consumer product. The fashion industry socialized consumers to see religion as fashionable and as a beautiful lifestyle accessory—something to be displayed, consumed, and experienced as an expression of personal identity and taste. Religion was something to be embraced and shown off by those who were sophisticated and stylish, and not solely the domain of the politically conservative. Neal ultimately concludes that, through aestheticizing Christianity, the fashion industry has offered Americans a means of blending traditional elements of religion—such as ritual practice, miraculous events, and theological concepts—with modern culture, revealing a new dimension to the personal experience of religion.
