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The interdisciplinary perspective, between history and anthropology, of our contribution has as its subject the pilgrimage at Kisha e Shna Ndout (Sanctuary of St. Anthony of Padua) in Laç, northern Albania, which is one of the most visited religious sites in southeastern Europe. The church, built there and ministered by Franciscans, is now an impressive place of worship frequented throughout the year by thousands of pilgrims. On the 12th and 13th of June of each year, an official pilgrimage is held, which reaches its climax on the night of the 12th, when thousands of Albanians sleep in the shrine seeking blessings and healing. The pilgrimage practices show how materiality is a privileged means of reaching out to a religious place. This materiality is grounded in the multilayered built environment, which has been built and rebuilt and especially reconstructed after the collapse of the socialist regime—a process that reveals the pivotal function of secular infrastructures in the case of religious places. Virtuality is also an important aspect of the pilgrimage, and so materiality and virtuality form a single milieu that reshapes perceptions. Through participation in this pilgrimage, virtuality is sacralized and promotes sanctity. [ABSTRACT FROM AUTHOR]

This article focuses on Mikom Zeqo's (1949–2020) work Syri i Tretë ("The Third Eye", 2001) as a New Age reworking of Albanian Bektashism. The success of this book, and the recognition that Bektashi authorities themselves accorded it, make it highly representative of Bektashi neo-intellectualism and beyond: it is a cross-section that enables us to investigate the complex reworking of Sufi knowledge in a post-secular environment, such as Albania. This article examines this specific work while outlining a history of the Bektashiyya from the Ottoman era to the post-socialist Albanian period and highlighting its doctrinal and practical developments. Syri i Tretë is the expression of a secularist engulfment of post-socialist or even post-secular religion, which Bektashism embodies. Thus, Zeqo's work expresses a common trend in Albanian society that is beyond the members of the Bektashi community. [ABSTRACT FROM AUTHOR]