Sheep to Slaughter: The Afghan Tragedy in Five Acts
This essay seeks to articulate the process by which sacrifice took on new meanings, symbols, and practices in the context of the war in Afghanistan. It does so by examining five acts and the ‘axial figures’ associated with each of these acts, the first of which centers on the early efforts of Afghan...
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| Format: | Electronic Article |
| Language: | English |
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| Published: |
Philosophy Documentation Center
2019
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| In: |
Journal of religion and violence
Year: 2019, Volume: 7, Issue: 2, Pages: 158-188 |
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Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
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| 520 | |a This essay seeks to articulate the process by which sacrifice took on new meanings, symbols, and practices in the context of the war in Afghanistan. It does so by examining five acts and the ‘axial figures’ associated with each of these acts, the first of which centers on the early efforts of Afghan political parties to change the focus of popular esteem from brave deeds to heroic deaths and the axial figure of veneration from the Warrior to the Martyr. The second act is associated with ‘Abdullah ‘Azzam who infused the figure of the Martyr with a sanctity long associated with the Sufi Saint by documenting miracles observed during and after the death of Afghan Arabs who died in the Afghan jihad. The third act involves the Taliban’s deployment of public rituals that altered the focus of sacrificial violence from collective veneration of the Martyr to the punishment of criminals who had defiled the purity of the jihad. The fourth act is associated with Osama Bin Laden who exploited the potential of using bodies as weapons of mass destruction, in the process turning the figure of the Suicide Bomber into one of the key symbols of our age. The fifth and final act discussed here involves the rise of the Islamic State and its synthesis of diverse forms of sacrificial violence, expanding and recasting these elements in a symbolic register derived from popular media and centered around the figure of the Slaughterer. | ||
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