This is a paper from a few months ago. Writing on the (academic) study of ”Gnosticism” was challenging, especially because I barely knew anything about the field when I started my research. The final effort still contains some flaws that I’m well aware of – specialists will certainly be able to spot them, which is also one of the reasons I ultimately didn’t succeed in publishing the paper. It’s interesting to reread and to see how quickly views can change and evolve – my thought experiments on the subject matter were different from how they are now. Still wanted to publish it though, it might be an interesting trip for those of you who are interested.Lees verder Genesis 2-3, Canonical Interpretation and the Challenge of ”Gnosticism” [Paper]
This essay was written in the context of a RMA course on Materiality and the Body in the study of religion, spring 2019.Lees verder Beyoncé: Iconic Power in the Human Realm [Essay]
In the course of March and April 2019, I wrote seven essays on topics ranging from a supposedly blasphemous song to the relationship between subjectivity and anthropological fieldwork. Today I publish the first essay, on Robin Hardy’s 1973 cult classic The Wicker Man.Lees verder In Pastures Green He Leadeth Me: The Reconfiguration of Space and Authority in The Wicker Man (1973)
In the first semester of 2018/19 I wrote an extensive paper on the academic study of religion and film. A condensed outline of my argument was presented at a student conference of the UvA and the UU in January 2019. I publish the full paper right here.Lees verder Interdisciplinary Glances: the study of religion and film [Paper]
The following essay was written for the course Theories and Methods in the Study of Religion. Utrecht University & UvA, autumn & winter 2018/2019.Lees verder Religion or ”Religion”: Universality and Particularity in Religious Studies
I recently wrote an academic book review for one of my research master courses. I took a publication of the Canadian Religious Studies scholar Douglas E. Cowan, entitled America’s Dark Theologian: the Religious Imagination of Stephen King.Lees verder Academic Book Review: Stephen King, America’s Dark Theologian [Douglas E. Cowan]
What happens when you’re suddenly asked to write an exegesis on a particular set of biblical verses? I did so for a RMA course on Religious Texts and Interpretative Practices, and you’ll be able to find the result in this post.Lees verder Lost in Translation: 1 Timothy 2:9-14 [Paper/Exegesis]
In the autumn of 2018, I attented the yearly conference of the NGG (Nederlands Genootschap voor Godsdienstwetenschap). The overarching theme was ‘Interpreting Rituals’. Keynote lectures and paper sessions shed a light on a broad variety of topics, challenging me and the other research master students on the spot to search for challenging perspectives. The paper that I am sharing serves as a reflection on the conference and one of its pivotal themes. I wrote it in the aftermath of the event, but the case study that I used will be the starting point for another paper on David Bowie and performativity, which I will hopefully produce this spring.Lees verder Essay: Performing Death (NGG Conference Religious Studies, 2018)
In the early 1970s, the ‘angry young man’ manifested itself as a central character in Indian films. Mostly played by star persona Amitabh Bachchan (1942-), the angry young man expressed themes of anti-establishment and socio-political disturbance. In his characteristic role as a criminal anti-hero (Deewaar, 1975, Muqaddar Ka Sikandar, 1978), Bachchan often became the victim of either his own passionate love for a woman or the socio-financial hardships of family life in Bombay.Lees verder (It Happened On) A wednesday: The angry young man and the common stupid man in (New) indian Cinema [Essay]
A World of Immersion
The blind perspective in Salvo
An essay on film style, fear, immersion and identification in the Italian film Salvo (2013).
A new chapter on Italian neorealism is written in the cinematic underworlds of Napels and Sicily, where formalistic filmmakers find their entrances to the harsh realities of daily mafiosi life. This bold hypothesis may sound completely arbitrary, but it actually connects to compelling insights in recent scholarship. A significant deal of literature has been written about the films of, among others, Roman filmmaker Matteo Garrone (1968-), whose oeuvre is regularly connected to ‘a new trend in Italian cinema’. Antonio Rossini and Carmela Bernadetta Scala state that ‘’ …the old school of neorealism blends perfectly with the new trends in Italian cinema which we have called ‘’new neorealism’’’’. For Roberta di Carmine, the films of Garrone ‘’ signal Italian cinema’s recovery from a state of ‘creative stagnation’’’.