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: 9) once attempted to photograph an Icelandic agricultural show of rams. Soon she realised that the show of rams was a secret ritual competition for male potency. Yet her photographs, in their flat two-dimensionality, were unable to convey this intense sensory experience of masculine sexuality. The deeper layers of the interaction between men and ram remained invisible to her camera. Like our YouTube exorcism, Hastrup's failed photography seemed to point at the lack of invisibility in the visually mediated recasting of reality: look, here

in Descending with angels

films, differences must be taken at face-value; in writings the context-values that are embodied in the visible differences can be assessed’ (Hastrup 1992 : 21). Hastrup provides the example of a series of photographs she took of an exhibition of rams in Iceland. Even though the exhibition was open only to men, she managed to get access to what she soon realised was a competition of sexual potency focused on measuring the size and weight of the ram's testicles. Later, when she developed the photographs – ill-focused, badly lit, lopsided

in Descending with angels
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capitalist system, but in many ways capitalisation is also found in Islamic practices of worship. Thus it was often emphasised to me how the only sphere of life where competition is relevant and worthwhile is religion: one should do everything in one's powers to maximise one's prospects for a good place in the afterlife. Thus it is said that a Friday prayer performed by a man in the mosque will be rewarded with twenty-seven times as many blessings ( ḥasanāt ) compared to if he had done the prayer at home. Furthermore, additional blessings are added if one has a long way to

in Descending with angels