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Does anime have a Nazi problem? Some Jewish fans think so.

TAIPEI (JTA) — When the Season 3 plot twist of “Attack on Titan” aired in 2019, viewers wasted no time in jumping online to discuss what they saw. 

In the world of “Attack on Titan” — an extremely popular Japanese anime series now in its final season, which started in March and does not have a known end date — humanity has been trapped within a walled city on the island of Paradis, surrounded by Titans, grotesque giants who mindlessly eat any person who gets in their way. 

In the third season, the Titans’ origins are revealed as a group called the Eldians, a group that made a deal with the devil to gain Titan powers with which they subjugated humanity for years. A group called the Marleyans later overthrew the Eldian empire and forced them into ghettoes, forcing them to wear armbands that identified their race with a symbol similar to the Star of David. Political prisoners were injected with a serum that turns them into the terrifying Titans. 

The implications that a race meant to represent Jews had made “a deal with the devil” to achieve power were too much for some to bear. Fans debated the meaning on Twitter and Reddit as think pieces pointed to the show’s “fascist subtext” and possible antisemitism as ratings and viewership climbed. Some viewers defended the series as a condemnation of those ideas and a meditation on moral ambiguity, but others said the plot’s condemnation of fascism was too weak. The New Republic in 2020 called “Attack on Titan” “the alt-right’s favorite manga.”

Either way, in November 2021, the show’s production team announced it would cancel the sale of Eldian armbands — the ones Eldians were forced to wear in their ghettos — explaining that it was “an act without consideration to easily commercialize what was drawn as a symbol of racial discrimination and ethnic discrimination in the work.”

“Attack on Titan” is only the latest manga (a specific type of Japanese comic books or graphic novels) or anime (TV shows or movies animated in the manga style) series on the chopping block. As it continues to gain popularity outside of Japan’s borders, the Japanese animation medium as a whole has been hit with criticism for alleged glorification of antisemitism, fascism and militarism. The debate has been fueled by a stream of examples: the literal evil Jewish cabal in “Angel Cop,” (references to Jews were later removed in the English-language dubbed version), the Fuhrer villain in “Fullmetal Alchemist,” the Nazi occultism (in which Nazis channel the occult to carry out duties or crimes) in “Hellboy,” and the Nazi characters in “Hellsing” and “Jojo’s Bizarre Adventure” to name a few. 

Western viewers are not the only ones taking issue. Fans of “Attack on Titan” in South Korea — which was subject to Japanese war atrocities during World War II that Japan continues to deny — have taken issue, too. Revelations from Hajime Isayama, the creator of the original “Attack on Titan” manga, that a character in the series was inspired by an Imperial Japanese army general who had committed war crimes against Koreans were met with heated discussion and later death threats from Korean fans online. Some also pointed to a private Twitter account believed to be run by Isayama that denies imperial Japan’s war atrocities. 

“Ridiculous the lengths a fandom will go to downplay the blatant antisemitism in a series and protect and lie about the creator of said series,” wrote one Twitter user. “[Y]ou doing this and ignoring koreans and jewish people says a lot.”

These themes are so common in manga and anime that some independent researchers like Haru Mena (a pen name) have begun creating classifications for the many Nazi tropes that make regular appearances. Mena, a military researcher who lectures annually at the Anime Boston convention about World War II and Nazi imagery in anime and manga, says the phenomenon is a result of how Japan remembers its role in World War II — not as the aggressor, but as a victim of war

“​​Japan does not want to be the bad guy. They love to have other people be the bad guy,” he said. “That’s why they’re using all these Nazi characters. We all agree Nazis are bad, war crimes are bad, no decent self-respecting nation would ever do [what they did].”

But many Jewish anime fans, like Reddit user Desiree (who did not offer her last name for privacy reasons), have taken issue with the way some anime and manga series portray Nazis while reducing the Holocaust to narrative devices. 

“I think that most people who are telling these stories aren’t coming from an area where this would be as personally familiar,” she said. “There’s almost no resonance to it. Because they take away all these details they make it a big trope.”

hi

anime and manga have an antisemitism problem

good day

— Kay (he/they, she for friends only) (@Cayliana) February 19, 2022

East Asian interest in Nazi imagery has also bled over into the West in the form of news headlines in recent years — involving everything from Nazi-themed bars and parades to Nazi cosplay in Japan, Taiwan, Thailand and Korea.

But some experts say that repeated references to Nazi villains and World War II in manga and anime have more to do with Japanese history and culture than with antisemitism.

“There is a fascination with Nazism in Japan to some degree or another,” said Raz Greenberg, an Israel-based writer whose Ph.D. research examined Jewish influence on Japan’s “God of Comics,” Osamu Tezuka, an artist sometimes referred to as Japan’s equivalent to Walt Disney. In 1983, Tezuka released the first in a five-volume series called “Adolf,” a popular manga set in World War II-era Japan and Germany about three men with that name — a Japanese boy, a Jewish boy and Hitler.

“I think there’s something fascinating about Nazi aesthetic, certainly for countries that never actually participated in the war against the Nazis. But I don’t think it’s that different from, say, the way George Lucas made the Empire in the ‘Star Wars’ films very Nazi-like in its aesthetic,” Greenberg said.

As Greenberg notes, Western media is also full of Holocaust references — some more successful in its repudiation of Nazi ideology than others — like the numbered tattoos and recent use of a Lithuanian prison camp as a filming location in the Netflix hit show “Stranger Things.” 

“What makes people angry is, people think when the Japanese approach it, they approach it without understanding. And it’s easier to think that they don’t understand it when you look at a show like ‘Attack on Titan,’” Greenberg said. 

Liron Afriat, a Ph.D. candidate at the Hebrew University of Jerusalem’s Asian Sphere program and the founder of the Anime and Manga Association of Israel, said while shows like “Attack on Titan” reference the Holocaust and use World War II-era imagery, it’s likely that Western viewers are misinterpreting its intended parallels to Japanese politics. … particularly Japan’s past of aggressive and corrupt militarism and late former Prime Minister Shinzo Abe’s attempts to reinstate a non-defensive military.

“Western people are very eager to jump to conclusions when it comes to Asian media. This is something I see a lot in my work and it’s very frustrating,” she said. “There is a sense that because Japanese pop culture is so popular nowadays, it’s very easy to kind of dogpile on it and say it’s racist.”

In recent decades, anime series have been watched by hundreds of millions of people around the world, and the medium has gone from being seen in the West as a geeky niche genre to a mainstream phenomenon. Though show creators may be conscious about their references, some fans say the fascist and Jewish references, especially the more clear-cut ones — like the Jewish conspiracy in “Angel Cop” — have real-life consequences. 

Many in the anime fan community today remember a 2010 incident at Anime Boston when a group of cosplayers dressed up as characters from “Hetalia: Axis Powers,” a series that anthropomorphized Axis and Ally countries, was photographed making Nazi salutes just around the corner from the city’s Holocaust memorial.

“It used to be like, I can go to an anime convention and they would be selling uniforms that were clearly meant to be Nazi uniforms, but sans the swastika,” Desiree said. “And then over time, I noticed conventions started banning that kind of thing.”

“JoJo’s Bizarre Adventure” features a Nazi character named Rudol von Stroheim. (Screenshot from YouTube)

Noah Oskow is the managing editor of the digital magazine Unseen Japan and a Jew who has lived in Japan for seven years. He recalled similar experiences at U.S. anime conventions.

I think that it is problematic to portray Nazis and the Holocaust in the very frivolous way that it’s often portrayed,” he said. “Even in a place that is so far removed from Japan, that aesthetic of Nazis from manga or anime was seeping into somebody’s choices in a far-removed anime and manga event.”

Oskow says recent portrayals of Nazis and fascism in anime and manga lack the depth necessary to confront an issue like the Holocaust, but that some subtext in shows like “Attack on Titan” is likely missed by Western viewers since it is created for a Japanese audience.

Still, he says, as a Jew, there is a discomfort with these depictions, and the problems with simplifying themes like fascism and genocide should not be ignored just because the product came from Japan — particularly as stereotypes about Jews as having outsize influence remain common. In Japan, as in other East Asian nations such as South Korea, China and Taiwan, books and classes on how to become as smart and wealthy as Jews — believed to be among the most powerful people in media and finance — are not uncommon.

“In my years of discussing Jews with Japanese people…they really think of Jews as an ancient historical people or the people who were killed in the Holocaust unless they have some sort of conspiratorial idea. But most people have no conception of Jewish people,” Oskow said. “So when they’re portraying Jews in manga or anime or any sort of media, and when readers or viewers are engaging with that media, I just don’t think there’s this thought of how a Jewish person would perceive how they’re being portrayed.”

Jessica, a 29-year-old Jewish and Chinese anime fan from Vancouver who also requested her last name be left out of this article, said she deliberately chooses not to watch shows such as “Attack on Titan” and “Hetalia” because she finds the discussions about them among fans to be unproductive and frustrating.  Desiree echoed Jessica’s experience of being ignored when raising the topic of antisemitism within the medium or within the fan community on platforms such as Reddit.

“I saw the reactions of other Jewish fans and, more importantly, saw the reaction of the goyish fans — the way ‘Hetalia’ fans did the sieg heil in front of a Holocaust memorial, the way that [‘Attack on Titan’] fans would swarm concerned Jewish fans in droves to tell them that they should perish in an oven, and I decided I didn’t want anything to do with anime that attracted that sort of fanbase,” Desiree said.

“Attack on Titan” returned to streaming services on March 4 with the first part of its final season. In the first episode, the protagonist Eren, whom audiences have followed for a decade, begins carrying out a global genocide known as “the rumbling” with the end goal of destroying all Titans for good and bringing peace. The end result is a wipeout of 80% of humanity, an act that Eren believes was the only path to freedom. He thinks humans must all suffer as a consequence of being born into the world — a nihilistic philosophy that can be found among the manifestos of school shooters and incels. 

In the original manga series, Eren’s supporters on the island militarize in order to defend Eren’s violent act, chanting a slogan: “If you can fight you win, if you cannot fight you lose! Fight, fight!” The ending was seen as morally ambiguous and was not popular with fans, who mostly refuted it due to poor writing. Many hope that the anime series will go a different route in its final episodes, which have not yet been released or given future release dates.


The post Does anime have a Nazi problem? Some Jewish fans think so. appeared first on Jewish Telegraphic Agency.

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AUDIO: Scholar Ruth Wisse describes her collaboration with songwriter Leonard Cohen

אין אַ גאָר אינטערעסאַנטן אינטערוויו אויף דער ייִדישער ראַדיאָ־פּראָגראַם „דאָס ייִדישע קול“, גיט די אָנגעזעענע ייִדישע ליטעראָטור־פֿאָרשערין רות ווײַס איבער אירע זכרונות פֿון אַ צאָל באַקאַנטע ייִדישע פֿיגורן.

זי דערציילט ווי אַזוי זי האָט געזאַמלט געלט פֿאַר אַ בוך שריפֿטן פֿונעם קאַנאַדער לידער־שרײַבער און זינגער לענאַרד כּהן, מיט וועמען זי איז געבליבן גוטע פֿרײַנד ביזן סוף פֿון זײַן לעבן, נישט געקוקט אויף די גאָר אַנדערע ריכטונגען פֿון זייערע קאַריערעס.

ווײַס גיט אויך איבער אירע זכרונות פֿון צוויי ייִדישע שרײַבער: איציק מאַנגער, וואָס האָט אָפֿט זיך אויסגעדריקט אַ סך בעסער בײַם רעדן מיט אַ גלעזל משקה אין דער האַנט, און יצחק באַשעוויס, וואָס האָט געדינט ווי דער כּהן בײַ איר זונס פּדיון־הבן.

זי לייענט אויך אויסצוגן פֿון איר בוך (אויף ענגליש), „פֿרײַ ווי אַ ייִד“ וועגן אירע שמועסן מיטן פּאָעט אַבֿרהם סוצקעווער און דעם גרינדער פֿון ייִוואָ, מאַקס ווײַנרײַך, ווען זי איז נאָך געווען אַ סטודענטקע. ביידע האָבן זי געפּרוּווט איבערצײַגן צו ווערן צווישן די ערשטע דאָקטאָראַנטקעס פֿון דער ייִדישער ליטעראַטור אין קאָלאָמביע־אוניווערסיטעט.

צו הערן דעם אינטערוויו, גיט אַ קוועטש דאָ. איר קענט עס אויך הערן אויף „ספּאָטיפֿײַ“ אָדער אויף „עפּל פּאָדקאַסט

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A little‑remembered Gilded Age millionaire helped make milk safe for American kids through his ‘retail giving’

The 1844 edition of the widely used schoolbook written by William H. McGuffey, “Newly Revised Eclectic Fourth Reader,” includes a dialogue about the difference between “true and false philanthropy”:

Mr. Fantom: I despise a narrow field. O for the reign of universal benevolence! I want to make all mankind good and happy.

Mr. Goodman: Dear me! Sure, that must be a wholesale sort of a job: had you not better try your hand at a town or neighborhood first?

As the discussion continues, the lesson becomes clear. Mr. Fantom’s approach is too ambitious to accomplish much, while Mr. Goodman’s, if narrower in scope, was likely to be more useful in practice.

Donor with mundane objectives

Andrew Fisher’s biography of a Gilded Age New York department store magnate, “Nathan Straus: From Macy’s Magnate to International Humanitarian,” suggests that Mr. Goodman would likely have applauded Straus’ approach to philanthropy.

This black and white photo is a portrait of a man in an old-fashioned suit.
Nathan Straus made his mark in philanthropy after a successful career running the Macy’s department store. Library of Congress Image by

Many of Straus’ contemporary philanthropists were setting lofty goals for their giving. In oil magnate John D. Rockefeller’s case, it was promoting “the welfare of humanity throughout the world.” For steel tycoon Andrew Carnegie, it was “to promote the advancement and diffusion of knowledge and understanding.”

Straus pursued more mundane objectives that included championing milk pasteurization. Although his efforts are not as well known today as those of his more ambitious – and wealthier – counterparts, they accomplished a lot and showed that what might be called “retail giving” can have far-reaching effects.

Successful immigration story

The Straus family came to the United States from Germany in the 1850s during the first big wave of Jewish immigration. Lazarus Straus, Nathan’s father, followed a familiar path for Jewish immigrants at the time, beginning as a peddler and eventually establishing his own store in the small town of Talbotton, Georgia, where the members of his family were the only Jews.

He prospered, became a respected citizen and saw that his children received good educations, including in their religion.

Then the Civil War upended the family’s life, first by reviving antisemitic prejudices and then, eventually, by destroying the family’s business.

Starting anew in New York City, Lazarus and his older sons, Isidor and Nathan, began to sell imported china, glassware and other crockery to retailers in the Northeast and South. One was Rowland H. Macy, who had founded an eponymous store that was on the cutting edge of what Fisher calls a “retailing revolution.”

Macy’s innovations included stocking large inventories of many kinds of merchandise, competitive pricing, extensive advertising and providing a variety of services like public restrooms and a cafeteria to make shoppers’ experiences more pleasurable.

Aided by the rapid urban and economic growth of the late 19th century, the model flourished. Department stores displaced smaller, specialty shops. Other retail powerhouses, such as Bloomingdale’s and Lord & Taylor, soon competed with Macy’s.

The Straus family sold their wares at Macy’s. After Rowland H. Macy died, the Straus family became partners with its new owners. By 1896, the Strauses owned the store outright. And Macy’s was expanding: It bought another department store in Brooklyn and created a flagship building on Manhattan’s Herald Square, which Macy’s still occupies.

The big Macy's store in Manhattan is seen in a black-and-white photo.
The landmark Macy’s department store in New York’s Herald Square opened in 1902 while Nathan and Isidor Straus ran the retailer. Library of Congress Image by

His philanthropy journey begins

While Isidor Straus oversaw the store’s internal operations, Nathan focused on the company’s external activities, such as purchasing, marketing and dealing with government and business leaders.

A third brother, Oscar, pursued a career as a politician and diplomat, eventually becoming secretary of commerce and labor under President Theodore Roosevelt and the first Jewish member of a presidential cabinet. Perhaps inevitably, this led to a series of public appointments for Nathan Straus.

However, as they became wealthier, Nathan and his wife, Lina, increasingly devoted their attention to a series of philanthropic projects.

In 1893, the U.S. entered a four-year economic depression, its worst until the 1930s. As unemployment in New York City rose, Nathan Straus used his merchandising skills to address the needs of the jobless and poor.

He created a number of “depots” near tenements and boarding houses that sold coal, food and fuel at discount prices. Fisher, Straus’ biographer, rightly calls these early examples of what is now known as “social entrepreneurship”: the application of business principles to solving social problems.

Making milk less deadly

As these efforts were getting away, Straus also launched what would become his major preoccupation: promoting pasteurized milk.

In New York City in the early 1890s, Fisher writes, “the annual mortality rate among children under five was about 15 percent,” or 18,000 infants and toddlers per year. A main cause was consuming raw milk, which, unless certified by inspectors, was likely not only to contain a variety of pathogens, such as tuberculosis bacteria, but spoil easily going from farm to table.

Although scientists had long known that heating could make milk safer, doctors and public health officials worried that sterilizing milk might also destroy its valuable nutrients.

Straus, who had lost one of his own children to what he believed was a milk-borne infection, built on his projects for the unemployed by working with New York social service agencies to develop pasteurization plants and infant-milk stations near low-income neighborhoods.

They sold sterilized and refrigerated milk at below-wholesale prices, or donated it to those who could not afford to pay. Businesslike efficiency kept costs low, as did donations. Multilingual ads publicized the product’s availability, doctors and nurses advised parents on child-rearing, and careful recordkeeping aimed at assessing the program’s health benefits.

Straus and his wife devoted much of their time and money to this work. In addition to establishing 297 milk stations in 36 cities, they also spoke and wrote widely about the merits of pasteurization.

By 1908, their efforts paid off when the U.S. Public Health Service endorsed pasteurization and state and local governments began requiring that milk sold in their jurisdictions be pasteurized. Raw milk remained available in many states, and debates over its safety continue to this day.

As a result of this and other Progressive Era measures, New York City’s health commissioner estimated that infant deaths dropped by two-thirds
during the first two decades of the 20th century, with similar declines elsewhere in the country.

A beachfront city has some tall buildings.
The coastal Israeli city of Netanya was named after philanthropist Nathan Straus. Jack Guez/AFP via Getty Images Image by

Other causes

While most of Nathan Straus’ efforts occurred in the U.S., he used his trips to Europe for Macy’s to promote pasteurization on the continent.

During a 1904 visit, he toured the Mediterranean and stopped in Palestine, then part of the Ottoman Empire. Impressed by the early Jewish settlements and holy sites he saw, Straus became an ardent advocate for creating a Jewish homeland in the Middle East, an unusual position for a Jewish businessman of that era, according to Fisher.

On a subsequent trip, a broken leg kept Straus from returning to New York on the maiden voyage of the Titanic; his brother Isidor and sister-in-law Ida were not so fortunate.

In the U.S., Nathan Straus led Zionist organizations, while in Palestine, his chief contributions involved supporting a variety of health care and economic development activities, including Hadassah, the women’s health and community development organization founded by Henrietta Szold.

The Israeli city of Netanya is named in his honor.

No foundation to be remembered by

Nathan Straus’ achievements as a philanthropist are not widely known today because he did not create a grantmaking foundation that outlasted him, as Rockefeller and Carnegie did.

Instead, by the time of his death in 1931, Straus had donated much of his fortune. Fisher writes that Straus used to invoke an old Hebrew proverb: “Money given in health is gold. Money given in sickness is silver. Money given after death is lead.”

He also didn’t donate heavily to the burgeoning network of communal organizations set up to assist the growing population of Jewish immigrants, as did the financiers Jacob Schiff and Felix Warburg, who were also affluent Jewish immigrants from Germany.

As Fisher notes, this pattern of philanthropy resembles that of Straus’ friend – and pallbearer – Julius Rosenwald, the longtime head of Sears, Roebuck and Co. Both supported Jewish causes as well as major initiatives aimed at helping others: In Rosenwald’s case, it was schools for African American children in the South, while for Straus, it was milk pasteurization in New York City and beyond.

During and after World War I, they worked together to assist Jewish refugees in Europe. Fisher might have added that neither Straus nor Rosenwald sought much recognition for their work.

His thorough account should help give Straus the credit he deserves for his philanthropy. It should also show that donors do not have to aspire to “make all mankind good and happy” to make an important difference.

In many ways, Nathan Straus was an old-fashioned do-gooder, responding to the needs he saw with innovative solutions. As a result, he wound up accomplishing a lot of good.

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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Many Americans are moving away from congregations, but not necessarily from religion

This article is republished from The Conversation under a Creative Commons license. Read the original article.

“Emma,” a young Jewish woman who we met in 2019, didn’t belong to a synagogue. She didn’t have a Jewish partner. She didn’t observe Jewish rituals regularly. On most surveys about religion, she would not seem very engaged with Judaism.

But as Emma talked about what she did in her free time, a very different picture began to emerge. She visited Jewish websites and enjoyed listening to Jewish music. She read books about Jewish topics and had recently attended a retreat for young Jewish adults to learn Torah while also doing yoga.

She was highly invested in learning about Judaism, but she explored her identity without joining traditional institutions.

Most major surveys about religion ask whether someone belongs to a congregation, how often they attend services, whether they pray regularly and whether belief is important in their lives. Those measures help identify broad shifts, like the growing percentage of Americans who are religiously unaffiliated: the “nones.”

But many Americans’ religious lives, like Emma’s, are not disappearing; they are moving away from membership of traditional institutions. To understand what religion looks like in 21st-century America, researchers may need to ask different questions.

Learning through art

As scholars of Judaism and education, we have been exploring how people learn about religion beyond traditional places like synagogues, Jewish schools and summer camps. Between 2019 and early 2023, we spoke with hundreds of people and explored different leisure time activities to discover what people learn about Judaism and Jewishness through cultural arts.

We interviewed dozens of audience members at Jewish-themed shows on Broadway, such as “Leopoldstadt” and “Parade.” We attended Jewish concerts and asked attendees what they learned. We explored how social media communities offer spaces to talk about different Jewish topics, like what fans learned about ultra-Orthodox Judaism from watching the television show “Shtisel.”

‘Shtisel,’ an Israeli series about an ultra-Orthodox family in Jerusalem, ran for three seasons.

Our research revealed that there is a vibrant ecosystem of people learning about religion in their leisure time. Through the arts, both Jews and non-Jews encounter Jewish history, Jewish religious practices and representations of Jewish communities.

Screen and stage

Most people we spoke with told us that they felt meaningful connections to Judaism during activities that would rarely appear on a standard religion survey.

“Joan,” an unmarried woman in her 50s from Connecticut, told us that she was deeply invested in Judaism, but felt that synagogues and Jewish community centers were not welcoming to single people without families. Instead of joining a Jewish institution, she watched Jewish-themed TV shows and movies on Netflix, and joined social media communities to chat with other fans.

“Luis,” who lived in Boston but was born in Argentina, was a Sephardic Jew, a group that traces their ancestry and traditions to Jewish communities who once lived in Spain and Portugal. His wife was Ashkenazi, meaning her ancestors came from Central and Eastern Europe. She considered herself secular, and so the couple joined the Worker’s Circle, a nonreligious Ashkenazi institution rather than a synagogue.

Yet Luis loved deepening his knowledge of Sephardic culture, and he often attended concerts of music in Ladino, a Sephardic language related to Spanish, with other Sephardic immigrants.

American singer Sarah Aroeste writes and performs in Ladino.

For Joan and Luis, these activities were not peripheral to their Jewish lives. Rather, they were central avenues for learning and community. We interviewed hundreds of Jews who told us that cultural experiences were opportunities to reflect on Jewish practices, explore questions of belonging, connect with family histories and find friends with common interests.

New questions

Some aspects of these patterns were distinctive to Judaism. Historically, many Jews have understood Judaism to be a cultural world, and not only a theological tradition. Learning about cultural dimensions of Judaism has long been part of Jewish education.

The broader phenomenon of informal learning, though, extended far beyond a single tradition. Across America, increasing numbers of people learn about religion through media, cultural productions and digital networks. Christians may study biblical themes through podcasts, online discussion groups or religious influencers. Muslims may participate in online learning communities that connect believers across the world.

The challenge for religion researchers, then, is not simply to determine whether engagement with religion is rising or falling. Rather, it is to develop more nuanced ways of understanding how people explore religious themes and practices, beyond traditional institutions. Only then can we more fully understand how contemporary Americans actually live their religious lives.The Conversation

 

 

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