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In this, Jesus resembles another figure invoked by Agamben, one that refers to the Nazi concentration camps. ”52 But even in this space a resistant figure may be found, the inhabitant known in the camp’s jargon as “the Muslim,” der Muselmann, a figure whose very reduction to bare life is itself resistant to power. “Because of this, the guard suddenly seems powerless before him, as if struck by the thought that the Muselmann’s behavior—which does not register any difference between an order and the cold—might perhaps be a silent form of resistance.

Medieval representations of the Passion sequence, both visual and verbal, fetishize the objects associated with the suffering and death of Jesus to an extent rarely encountered elsewhere. 1 As Caroline Walker Bynum observes, the line between these objects and their images or representations could be blurry; she cites a Bohemian Crucifixion painting that “has bits of the cross and of the arma Christi embedded in it. ”3 It includes descriptions and images not only of the instruments of torture and crucifixion, such as the swords and staves, the reeds, the slapping hands and spitting mouths, the blindfold, the rods and whips, the crown of thorns, the column to which Jesus is bound, the vessel of gall and the sponge, the hammer and nails, the lance, the ladder, the forceps that withdrew the nails, and the cross itself, but also of the vernicle, the knife of circumcision, the 30 pieces of silver, the seamless garment, and the sepulchre, and, additionally, several purely allegorical symbols such as the pelican and the lantern.

As Latour suggests, this unpredictable efficacy can be only a momentary effect: as the new collective is consolidated— before our eyes, one might say—the same objects are quickly reified into intermediaries, or icons. Before turning to the banners and the cross—the mediators in the York, Arras, Revello, and Alsfeld plays—it should be useful to investigate the context. Passion plays, as we have seen in Chapter 2, are always about power because that is a concern of their biblical sources, though as Jutta Eming points out, “[d]ie Darstellung von Gewalt ist besonders im Passionsspiel drastisch und geht nur bedingt auf die Vorgaben des Neuen Testaments zur ück”22 [“the representation of power is particularly drastic in the passion play and refers back to the New Testament predecessor only conditionally”].

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