Gil Anidjar is a scholar whose work critically examines the intersections of religion, history, and political thought. His research delves into the complex dynamics of secularism, colonialism, and the construction of identities in diverse cultural contexts. Anidjar's approach is characterized by a rigorous engagement with philosophical texts and a nuanced understanding of how religious and political ideas shape our world. His contributions offer profound insights into the enduring legacies of historical power structures and their impact on contemporary societies.
This book argues that in Christian Europe, the question of the enemy has for millennia been structured by the historical relation of Europe to both Arab and Jew. It provides a philosophical understanding of the background of the current conflict in the Middle East. číst celé
Exploring the often-overlooked maternal aspects of politics, Gil Anidjar challenges traditional paternal and fraternal frameworks. He argues that maternal concepts, metaphors, and images have been integral to political thought, reshaping our understanding of power and governance. This provocative examination invites readers to reconsider the influence of maternal figures and ideas in the political landscape, highlighting a crucial yet neglected dimension of political discourse.
Blood, according to Gil Anidjar, maps the singular history of Christianity. As a category for historical analysis, blood can be seen through its literal and metaphorical uses as determining, sometimes even defining Western culture, politics, and social practices and their wide-ranging incarnations in nationalism, capitalism, and law. Engaging with a variety of sources, Anidjar explores the presence and the absence, the making and unmaking of blood in philosophy and medicine, law and literature, and economic and political thought from ancient Greece to medieval Spain, from the Bible to Shakespeare and Melville. The prevalence of blood in the social, juridical, and political organization of the modern West signals that we do not live in a secular age into which religion could return. Flowing across multiple boundaries, infusing them with violent precepts that we must address, blood undoes the presumed oppositions between religion and politics, economy and theology, and kinship and race. It demonstrates that what we think of as modern is in fact imbued with Christianity. Christianity, Blood fiercely argues, must be reconsidered beyond the boundaries of religion alone.
"Blood, according to Gil Anidjar, maps the singular history of Christianity. A category for historical analysis, blood can be seen through its literal and metaphorical uses as determining, sometimes even defining, Western culture, politics, and social practices and their wide-ranging incarnations in nationalism, capitalism, and law. Engaging with a variety of sources, Anidjar explores the presence and the absence, the making and unmaking of blood in philosophy and medicine, law and literature, and economic and political thought, from ancient Greece to medieval Spain, from the Bible to Shakespeare and Melville. The prevalence of blood in the social, juridical, and political organization of the modern West signals that we do not live in a secular age into which religon could return. Flowing across multiple boundaries, infusing them with violent precepts that we must address, blood undoes the presumed oppositions between religion and politics, economy and theology, and kinship and race. It demonstrates that what we think of as modern is in fact imbued with Christianity. Christianity, Blood fiercely argues, must be reconsidered beyond the boundaries of religion alone"--Jacket
Claudio Langes Fotoserie von Skulpturen an romanischen Kathedralen zeigt Figuren, deren Drastik schwer zu überbieten ist: Männer und Frauen mit entblößten Geschlechtsteilen, Masturbierende in Gebetshaltung, Prostituierte, Weinfassträger, Löwen in obszöner Haltung. Entgegen den bisherigen Interpretationen versteht der Künstler und Religionswissenschaftler diese Skulpturen aus dem 11. und 12. Jahrhundert als anti-islamische Bildpropaganda. In seiner innovativen Arbeit gelingt es Claudio Lange, eine Ikonographie des Feindes nachzuweisen, der zu Zeiten der Kreuzzüge eben nicht ein gesichts- und namenloser Feind war, sondern in diesen Bildern eindeutig erkennbar ist: der Islam. Eine Auswahl der Fotografien wurde erstmals im Museum für Islamische Kunst in Berlin gezeigt. Der vorliegende Band dokumentiert diese Ausstellung.