A Response to George Chryssides on “Changing Your Story: Assessing Ex-Member Narratives”
By Aled Thomas
Music is a big part of a new “mediapolois”, part of a marketing matrix of people, places and industries. Today, music’s meaning is more often part of a branded ecosystem, not limited to entertainment, but part of the experience of everyday life, including religion.
Surely we have moved past the idea of sinister cults brainwashing innocent victims? When it comes to the law, not so, Susan Palmer tells David G. Robertson.
Although “cult” and “sect” are used as technical terms in religious studies, in their popular usage, “cult” tends to refer to a New Religious Movement [NRM] or other group whose beliefs or practices are considered reprehensible. Since such pejorative attitudes are generally considered inappropriate for the academic study of religion, scholars have tended to adopt the nomenclature of NRMs to refer to “a wide range of groups and movements of alternative spirituality, the emergence of which is generally associated with the aftermath of the 1960s counter-culture”
What is an “Invented Religion”? Why should scholars take these religions seriously? What makes these “inventions” different from the revelations in other religions? What happens when an author does not want their story to become a religious text?