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In: Religion and Gender
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In: Religion and Gender
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Abstract

This article describes three different readings of the creation story of Eve and Adam, occurring over the life span of Henny Dons, a Protestant Christian and first-wave feminist in early-twentieth-century Norway. I discuss her changing understandings of this creation account over the course of her life. More broadly I explore her approach to biblical reading (as receiving, arranging, and iterating) and how this shaped her as a religious feminist subject. I argue that what is going on in her iterated re-readings is not fully captured by the frame of self-cultivation. Rather, this religious feminist subject shows us a series of woman-word operations that receive and arrange a variety of material and discursive entities together in a circuit of “being created woman.”

Open Access
In: Religion and Gender

Abstract

Do Christian women who identify as feminist act differently than those who do not? Scholars have pointed out that religious women may exhibit beliefs about gender equality, whether or not they identify as feminists. But do women who choose to identify explicitly as feminists differ in their behavior from women who do not? We answer this question by analyzing 307 qualitative survey responses from Christian women in the U.S. about an important point in their lives, when gender and religious identities become particularly salient and fraught: weddings. We found that explicit feminists thought and acted differently compared to “implicit” and “non” feminists. Further, Protestant and Catholic feminists used different strategies to intersect their feminist and religious identities. We conclude that the decision to identify explicitly as a feminist or not does not just represent a semantic difference between Christian women but a real difference in both beliefs and actions.

In: Religion and Gender
In: Religion and the Arts

Abstract

Stained glass windows created by Jean-Pierre Raynaud and Pierre Soulages for the Abbeys of Noirlac and Conques employ a minimalistic style sensitive to their Romanesque contexts but also express qualities one might call Cistercian, even though only one of the commissions was created for an actual Cistercian abbey. As a form of monasticism, “Cistercian” signifies values of simplicity, poverty, and austerity presented by the founders of the Cistercian Order as essential to the monastic life and embodied in the rigor of their architecture. Natural light is a key element in Cistercian fenestration, differing significantly from the display of color associated with Gothic stained glass. I argue that a form of neo-Cistercianism is evident in and exemplified by the works of Raynaud and Soulages for their respective abbey commissions, in which an aesthetic of restraint and economy aims, above all, to treat the configuration of light as the primary consideration.

Open Access
In: Religion and the Arts