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Er religion en privatsag? Op gennem det 20. århundrede har det været en klar opfattelse, at religion skal dyrkes inden for hjemmets fire vægge eller i kirkens hellige rum. Men faktum er, at vi konstant udstiller vores religiøse overbevisning ude i offentligheden. 'Religion i det offentlige rum' belyser gennem 13 bidrag, hvordan religion i allerhøjeste grad sætter en offentlig og politisk dagsorden i nutidens ellers så sekulariserede samfund. Religiøse ritualer bliver synlige for alle, når den pakistanske organisation Minhaj-ul-Quran holder fredsmarch for flere tusind deltagere med koranoplæsning og fællesbøn på Rådhuspladsen i København. Og når pinsegudstjenester rykker ud i det grønne, som det er blevet en tradition rundt om i landet. Bibelreferencer oplever vi i reklamer, når Philadelphia-smøreost sammenkædes med engle, og lampefirmaer markedsfører produkter under temaet 'Lad der blive lys'. Religion er også til diskussion, når for eksempel Immigrantmuseet og Københavns Bymuseum laver udstillinger om indvandring, og Folketinget og medierne sætter jævnligt tro til offentlig debat. Alligevel bekræfter vi ofte hinanden i, at religion er en privatsag, men som bogen viser, møder og forholder vi os til religion, hver gang vi bevæger os ud i det offentlige rum.

In recent years, the Swedish Armed Forces have produced and distributed highly edited video clips on YouTube that show moving images of military activity. Along- side this development, mobile phone apps have emerged as an important channel through which the user can experience and take an interactive part in the staging of contemporary armed conflict. This article examines the way in which the aes- thetic and affective experience of Swedish defence and security policy is socially and (media-)culturally (co-)constructed and how the official representation of Swedish military intervention (re)produces political and economic effects when these activi- ties are distributed through traditional and social media such as YouTube and digital apps. Based on Isabela and Norman Fairclough's thoughts on political discourse, Michel Foucault's dialectic idea of power/knowledge, and Sara Ahmed's concept of the affective, I discuss how the Swedish digital military aesthetic is part of a broader political and economic practice that has consequences beyond the digital, the semi- otic, and what might at first glance appear to be pure entertainment. ; In recent years, the Swedish Armed Forces have produced and distributed highly edited video clips on YouTube that show moving images of military activity. Alongside this development, mobile phone apps have emerged as an important channel through which the user can experience and take an interactive part in the staging of contemporary armed conflict. This article examines the way in which the aesthetic and affective experience of Swedish defence and security policy is socially and (media-)culturally (co-)constructed and how the official representation of Swedish military intervention (re)produces political and economic effects when these activities are distributed through traditional and social media such as YouTube and digital apps. Based on Isabela and Norman Fairclough's thoughts on political discourse, Michel Foucault's dialectic idea of power/knowledge, and Sara Ahmed's concept of the affective, I discuss how the Swedish digital military aesthetic is part of a broader political and economic practice which has consequences beyond the digital, the semiotic and what might at first glance appear to be pure entertainment.