Institutionalization of Islam in Secular Europe: The Influence of State–Religion Relations on Anti‐Muslim Attitudes

This study examines church–state relations in Europe, and analyzes their influence on anti‐immigrant attitudes. The literature explains this relationship primarily with religious demographics, or state privileges for the majority faith. Alternately, this study focuses on the status of the majority religion. It argues that, in countries with a national church, citizens are more likely to consider the institutionalization of a new religion to be occurring at the expense of the national heritage, and react negatively. To test that hypothesis, the study focuses on Muslim immigrants in Europe, and builds an index that gauges the extent to which European states institutionalize Islam. Then, employing multilevel regression analysis, it investigates how the institutionalization of Islam influences anti‐Muslim prejudice in different contexts of church–state regimes. Individual‐level data come from the latest wave of the European Values Study, and cover 31 countries. Findings indicate that, in European countries with a national church, institutionalization of Islam increases anti‐Muslim prejudice. In countries without a national church, however, institutionalization leads to tolerance. These results confirm the continuing relevance of religion on the national level in Europe, despite the decline in individual religiosity.     

‘The land and its people’: reflections on artistic identification in an age of nations and nationalism

From the late eighteenth century onwards, increasing numbers of visual artists came to identify with their nations and with the homeland and its people. This development was strongly influenced by growing national cultural support and regulation of the arts by academies, art schools, museums and art markets in Western Europe. On a subjective level, the Rousseauan movement of a ‘return to Nature’, Herder's espousal of vernacular cultural self‐expression and, above all, the widespread Romantic cult of authenticity, were potent influences on the inner self‐identification of visual artists after 1800, and were manifested in the novel importance accorded to landscape and rural genre painting in Western Europe. Here I consider the role of national sentiment, the ‘return to Nature’ and the cult of authenticity, first in landscape paintings by Paul Sandby, J. M. W. Turner and John Constable in early nineteenth‐century Britain, and then in the rural genre paintings of Jean‐Francois Millet and Jules Breton in nineteenth‐century France and Josef Israels, Anton Mauve and Vincent Van Gogh in the later nineteenth‐century Netherlands. Their work reveals how nineteenth‐century visual artists became inwardly identified with the ‘land and its people’, and how they in turn contributed, especially through prints and engravings, to the dissemination of national imagery and a cultural nationalism.