) has demonstrated that in the case of exorcism in Sri Lanka, the performative dimension of ritual is linked to its aesthetics or formal qualities. Such a phenomenological approach that places experience at its core may help to explain how a person can
An Inquiry into the Initiation Process in a Burmese Organization of Exorcists
Bénédicte Brac de la Perrière
The Virtuality of Spirit Warfare and the Actuality of Peace
Tangki spirit-medium worship is practiced in the Hokkien communities of Southeast Asia and Taiwan. Tangkis are exorcists who perform war magic using the ritual theater of self-mortification. A tangki pierces his body with rods and swords in order to be supercharged with the spirit-power of the weapons for the battle with evil. Self-mortification can also enact a bodhisattva sacrifice of the body on behalf of devotees. The virtuality of the ritual theater convinces believers of the actuality of exorcism, which will ensure peace and safety in the reality of the everyday.
The Case of Neo-Pentecostal Exorcism in Brazil
cross-cultural attention to processual moral topologies. Neo-Pentecostal Exorcism in Brazil As opposed to Afro-Brazilian spiritual contexts, wherein possession episodes are usually ephemeral ( Halloy 2012 ), the term ‘possession’ ( possessão ) is
Drawing on my experience of a Muslim version of exorcism in urban Macedonia, this article continues a methodological discussion of the implications of being an atheist anthropologist when researching religion, a situation known as 'methodological atheism'. Methodological atheism is often linked to the problem of suspending one's intellectual disregard of people's religions as delusions. This article will argue instead that there are barriers to participation in religious rituals that are not covered by questions of disbelief. The notion of 'dispositional atheism' is discussed against the backdrop of the anxieties, uncertainties, and inhibitions experienced by an atheist anthropologist caught up in a moment of religious intensity.
Gender, Literary History and the Cross-correspondences
In the last decade, literary and cultural historians’ scrutiny of relations with those who have gone before – their own dead and those of their subjects – has taken a ghostly turn. Literary history has become haunted. As Helen Sword comments in the epilogue to her Ghostwriting Modernism, ‘hauntology’ of various kinds has become a ‘crowded bandwagon’. Among critics of literary modernism, in particular, the trope of haunting has been much used to think about the period’s relation with the past, and modernists’ own obsessions with ‘the world unseen’ are increasingly being regarded, not as rather embarrassing marginalia, but as central to their aesthetic, formal and political concerns. Modernist writing could well be defined as that which attempts selfconsciously to redefine its relation with those who have gone before, to rattle the bones of literary history until they are rearranged. The trope of haunting goes further in allowing us to see modernism as both an exorcism of the past, and an uneasy possession by the past.
, for example, being buried neck deep in mud during a solar eclipse, having heavy stones placed on her girlish body, and witnessing disabled children being shackled in chains while undergoing an exorcism. While it is easy for a reader from the Global
Lu Yang's Live Motion Capture Performances
Ashley Lee Wong
transcranial magnetic stimulation (TMS) 8 technology, which also appears in the animations as weapons deities are holding. The reference to this technology is featured in the work, TMS Exorcism (2017), 9 which looks at Tourette syndrome as a nervous tic
Roads to Certainty in Two Brazilian Religions
by way of the words and actions of the Holy Spirit’ ( Macedo 2000: 18 ). There is a strong emphasis on exorcism in the Universal Church, but there is an equally strong emphasis on donation. The Holy Spirit is a gift in Pentecostalism, and in this
Shaman Alexander in context
Marjorie Mandelstam Balzer
exorcism ritual. But his arrests and reconfinement in a psychiatric clinic under punishing “close observation” conditions make that increasingly unlikely, especially given massive crackdowns on President Putin's opponents, including Aleksei Navalny and his
The Dybbuk, Shakespeare's Romeo and Juliet, and Reparative Tragedy
Lisa S. Starks
final scene of the play, Kushner adds a segment in which The Scribe, who is recording Rabbi Azriel's successful exorcism of the dybbuk , exclaims, amazed, that when he turned to start writing on a new page that had been blank just a moment before, he