The Impossibility of Negation: A Theoretical Defense of "Cross-Over" Christian Rock
After grounding the genre's traditional rejection of the secular world in H.R. Niebuhr's influential heuristic of Christian "types," this essay distances itself from both Niebuhr's largely existential theology and adopts Hegel's Phenomenology of Spirit (1807) in order t...
| Published in: | Journal of religion and popular culture |
|---|---|
| Main Author: | |
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
University of Saskatchewan
[2007]
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| In: |
Journal of religion and popular culture
Year: 2007, Volume: 16, Issue: 1 |
| Online Access: |
Volltext (Resolving-System) Volltext (doi) |
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| 520 | |a After grounding the genre's traditional rejection of the secular world in H.R. Niebuhr's influential heuristic of Christian "types," this essay distances itself from both Niebuhr's largely existential theology and adopts Hegel's Phenomenology of Spirit (1807) in order to critique the "negationism" of Contemporary Christian music (CCM) and defend its late synthesis with popular culture. In essence, what follows is a theoretical, specifically dialectical, reading of CCM which moves beyond Howard and Streck's (1999) qualitative reading to suggest that negation as a response to popular culture has not, indeed cannot, successfully accomplish a subculture's explicit and implicit goals, and that the late pop presence of CCM is proof of negation's "failure." More, CCM serves as a representative case study for the theoretical conundrum that inevitably becomes any strict negationist venture. | ||
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