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The Hammer and The Flute - Women, Power and Spirit Possession
The Hammer and The Flute - Women, Power and Spirit Possession
The Hammer and The Flute - Women, Power and Spirit Possession
The Hammer
and the Flute
Women, Power, and
Spirit Possession
Mary Keller
The Johns Hopkins University Press
Baltimore & London
:oo: The Johns Hopkins University Press
All rights reserved. Published :oo:
Printed in the United states of America on acid-free paper
8 ; o : r
The Johns Hopkins University Press
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Library of Congress Cataloging-in-Publication Data
Keller, Mary, ro
The hammer and the ute : women, power, and spirit possession /
Mary Keller.
p. cm.
Includes bibliographical references and index.
isn o-8or8-o;8;-8 (alk. paper)
r. Spirit possession. :. WomenReligious life. I. Title.
nt8:.k :oor
:r.:dc:r
:ooroo:or
A catalog record for this book is available from the British Library
Contents
Preface vii
Introduction r
Part r. Reorienting Possession in Theory :r
Chapter r. Signifying Possession :
Chapter :. Reorienting Possession
Chapter . Flutes, Hammers, and Mounted Women ;
Part :. The Work, War, and Play of Possession ro
Chapter . Work ro
Chapter . War r:
Chapter o. Play(s) ro:
Conclusion ::
Notes :r
Bibliography :;r
Index :8r
Preface
This book is a methodological argument about how contemporary scholar-
ship approaches bodies that are possessed by ancestors, deities, or spirits. It
began as a question of feminist historiography when I was rst introduced
to Greek maenads during a seminar with Professor Patricia Cox Miller on
gender in Greek antiquity: How might one evaluate the agency of a womans
body in fth-century Athens that is possessed; a body that is running freely
and not conned to a traditional womens space but free only because it
is a body that is overcome by a divine agency? What began as a problem for
feminist historiography then entered into an interdisciplinary conversation
with contemporary anthropology, psychology, and sociology as I became
aware of the extensive literature on spirit possession. Most contemporary
examples of possession are found where indigenous traditions are still
strong, either in rural areas or among immigrant communities in urban
areas. Possessed bodies are extremely dierent from the contemporary
Western model of proper subjectivity. They are volatile bodies that attract
the eye of observers, and often their volatility is related to erotic or outra-
geous activity. Possessed bodies are not individual bodies. They are not often
held personally responsible for their actions by their communities. Within
their communities, possessed bodies are rigorously scrutinized in order to
determine that in fact an ancestor, deity, or spirit had overcome them; how-
ever, that is an interpretation that would be dicult if not impossible for
most scholars to represent as the truth of the matter. By and large, schol-
arly approaches to possessed bodies have reinterpreted them as repressed
psychological bodies, oppressed sociological bodies, or oppressed womens
viii Preface
bodies. What I have tried to do is to deliver a religious studies approach to
these bodies that can incorporate indigenous interpretations into a mean-
ingful, critical interpretation of the power relationships these bodies nego-
tiate.
As I look back to the history that produced my engagement with pos-
sessed bodies, I want to thank the incredible collection of teachers that
brought me to this niche, which lies at the intersection of feminist philoso-
phy and critical methodology in the study of religion. From my introduction
to feminist theory with Wendy Brown and Rosemary Tong to the introduc-
tory units in religious studies run by Mark C. Taylor and H. Ganse Little,
Jr., from Jewish feminism with Judith Wegner to gender studies in Judaism
with Charlotte Fonrobert via Daniel Boyarin, from history of religions
methodology with Charles Long and Jorunn Buckley to postmodern theol-
ogy with Mark Taylor and Charlie Winquist, from nothingness with David
Miller to emptiness with Dick Pilgrim, I have had an incredible opportunity
to study with people whose intellectual concerns inspired me.
More specically, the research in this book was rst pursued as a disser-
tation that began when I was taking courses in Greek antiquity with Patricia
Miller simultaneously with an anthropology and postcolonial theory unit
taught by Ann G. Goldboth of which included stories about possessed
women. Professor Miller supported the development of my argumenta
task that required her to give extensive feedback, which she did so rigor-
ously and graciously. Ann Gold read and commented upon several papers
and drafts of chapters, always oering support and providing a critical read-
ing of the theory I was using based on her exhaustive study and experience
of the practice of anthropology. Professor Phillip Arnolds lecture to the
department on place was important as I thought about the place-taking
of the Malaysian spirits discussed in Chapter , Work, and also the impor-
tance of land and the Shona ancestors discussed in Chapter , War. Pro-
fessor Micere Mugo took time to listen to my ideas and then fatefully told
me of the Nehanda mhondoro in Zimbabwe, opening up a new area of study
that was far too compelling to leave behind. In pursuit of research into Afri-
can traditional religions I received information from Christina Le Doux,
subject librarian for gender studies at the University of South Africa. Claire
Jones of the University of Washington and Douglas Dziva from the Univer-
sity of Natal both read earlier drafts of Chapter and generously provided
ix Preface
me with technical as well as methodological critiques. Douglas kindly
shared sections of his dissertation manuscript, and both scholars provided
me much-needed support as I stepped into their areas of expertise. Chapter
, Play(s), was inuenced by Professor David Millers play on lectures and
lectures on play. Professor Ken Frieden read an earlier draft of the section
on The Dybbuk, which was also a new area of research for me. His careful
critique and advice regarding technical as well as methodological issues in
the study of Yiddish arts were very helpful. I take his concern seriously
about the problems raised when nonspecialists draw from resources that
require nuanced and developed study.
The risk I have taken in this book is to raise a very specic question about
how scholars represent and evaluate the agency of possessed bodies, and I
have applied the question to areas of study in which I am not an expert. I
would like to think that I have asked my question well enough that it will
be of interest to those people who are experts and who can engage with my
argument, bringing it to greater precision and depth. What is exciting for
me is that the unique linguistic, geographical, historical, and cultural ele-
ments of each place in which I have studied possessed women broaden the
horizons by which one can conceive of subjectivity; this is an area that fur-
ther scholarly research and argument can bring to greater accuracy. I have
beneted from the expertise of others as I pursued my research; any short-
comings are my own.
There have been many important friends and colleagues whose support
was vital for health and sanity and also for their questions and critiques.
These include Judith Poxon, Robert Glass, Yianna Liatsos, Corinne Demp-
sey Corigliano, Craig Burgdo, Heath Atchley, Mehnaz Afridi, Judy Clark,
Kathryn Lanier, Sebrena McBean, Dean David Potter, Nancy Vedder, Di-
onne Smith, and the gang in the academic advising oce where I worked
for two years. I began my rst teaching position at the University of Stirling
in Scotland as I nished this manuscript and want to thank the Religious
Studies Department for their support. While the larger university system
in Britain is driven to distraction by RAE deadlines, which for the sake of
measuring research output push scholars to publish before they feel their
manuscripts are ready, Keith Whitelam and Richard King as my heads of
department continued to express their condence in this project and en-
couraged me to focus my energies on completion of the manuscript. Richard
x Preface
King and Jeremy Carrette read chapters and inspired me with their intellec-
tual debates, while Yvonne McClymont and Julie Dawson helped me to
keep all the res going. The department encouraged us to teach our areas
of research, and I want to thank the students at the University of Stirling
who participated in my rst attempts to teach these ideas back in . As
a class they taught me how to present the progression of my argument. Fi-
nally, the team at the Johns Hopkins University Press has been very helpful
and I want to thank Carol Ehrlich, who copyedited the manuscript with the
greatest care and attention to detail.
To my parents and grandparents, who have supported me throughout
my many years of education with humor, perspective, and scal hugs, I ex-
tend the deepest gratitude. I am often writing to you as I work. Tom Kee-
gan, new husband and new father, acted as the most important editorial
force any student of critical theory could have by repeatedly asking me what
I was trying to say. If readers nd the argument to be clear and the text to
be useful for classrooms, it has been the product of many revisions guided
by colleagues and my husband.
Vivian Benton provided me with housing throughout seven years of post-
graduate study, and it is to her that I dedicate this book. She provided impa-
tiens in the summer (for the owerbed) and two oors of her house for my
dog to roam. Educator, devoted member of her congregation, devoted wife,
she also provided me a room of ones own, as Virginia Woolf described the
material support necessary to feed body and soul in the pursuit of academic
studies. It is hard times for students who want to pursue degrees in the
humanities and it is thanks to Vivian that I did so.
I want to thank the National Archives of Zimbabwe for their permission to
publish pictures from their archives (gs. . and .). James Currey Pub-
lishers granted kind permission to publish David Lans picture (g. .).
The Staatliche Antikensammlungen in Munich granted permission to pub-
lish gure .. The Museum of the City of New York granted permission
to publish gure ..
Introduction
In the s, hundreds of incidents were recorded in the free-trade zones of
Malaysia in which women who worked in the technologically sophisticated
manufacturing plants were possessed by hantu, spirits, often harmful to
human beings, associated with a place, animal, or deceased person.
1
Fifteen
women, possessed by a datuk, an ancestral male spirit associated with a sa-
cred place, closed down an American-owned microelectronics factory in
.
2
The possessed women were so volatile that ten male supervisors
could not control one woman. In a woman at a Japanese-owned factory
saw a weretiger, screamed, and was possessed. She ailed at the machine on
which she worked and fought violently as the foreman and technician pulled
her away. Her supervisor recounted that the workplace used to be a burial
ground, implying that the shop oor was likely to be haunted by angry spir-
its and that women who had weak constitutions needed to be spiritually
vigilant so they would not be possessed.
3
The juxtaposition of technology
and spirits suggests that a complex and profound interaction of worlds was
occurring, centered in the volatile bodies of possessed women.
Some patterns were prevalent in these incidents: The onset was sudden
and the women could later recall only that they had been pounced upon or
attacked abruptly and could not remember anything that had happened
once they were possessed. Those who witnessed the possessions spoke about
the erratic and violent actions of those possessed. The womens voices would
change and they would sob, laugh, and shriek. They were transformed as
they raged and endowed with incredible strength. It often took several men
to subdue the possessed women, removing them from the shop oors before
Reorienting Possession
ments, and in particular deviant religious movements, because of the womens relative
deprivation in career and other public opportunities, and because of their solitary
connement in the nuclear family which turns women into social isolates. . . . My
own eldwork among elderly Kurdish Jewish women in Israel suggests that this for-
mula glosses over the actuality that many women do have nonreligious options that
would also give them a chance to get out of the house. . . . Put dierently, religiously
active women should be understood as having chosen to be religiously active.
3
Deprivation theories have served to support the general academic analysis
of religious bodies as anachronisticas deprived bodies, they have re-
gressed to the arms of religious ideology for (false?) solace. Implied in depri-
vation theories are negative evaluations of womens agency as religious sub-
jects, which feminist theorists have criticized.
Though I am in agreement with Sereds point that womens religiosity,
and especially possession, has been misrepresented as a symptom of disem-
powerment, Sereds argument does not aid in the process of interpreting the
agency of possessed women in that Sered continues to employ a language
reective of the modern individual who chooses to be religious. Only in
rare cases does a possessed person express a desire to be possessed. The
shift needed for the analysis of the agency of possessed women requires that
we move beyond models of subjectivity that are based upon the choices of
individual, conscious subjects. A closer examination of her argument as seen
from a postcolonial perspective suggests that it is based on Enlightenment
notions of religion and subjectivity, which locate religious practice within
the domain of individual choices. Sereds work is very important, and it is
only as an argument regarding models of subjectivity that I wish to engage
in a critique.
Postcolonial Critiques of the Agent
Postcolonial scholarship sheds an important light on the philosophical as-
sumptions underlying the category of choice and suggests that important
alternative constructions of agency can be found in both historical Euro-
pean religious history and a comparative study of religions. One of these
postcolonial theorists, Talal Asad, argues that the contemporary study of
religion is based on a model of subjectivity that reects only contemporary
Western congurations of religion. He argues that it is only in modern times
Reorienting Possession in Theory
and through the inuence of recent understandings of Christianity that reli-
gion has been understood as an individuals beliefs. Ones religiousness is
compartmentalized as a distinct symbolic entity for personal reection, sep-
arate from other practical forms of everyday life. Scholars have assumed
incorrectly that this understanding of religion can be applied across history
and cultures, according to Asad, and therefore they have not understood the
relationship of religion to struggles for power. If religion is about symbolic
beliefs, why should religious lives mix religion with politics? Because this
universalizing tendency has misled anthropologists, Asad provides a rehis-
toricized approach to religious bodies, which can account for the relation-
ship of religious bodies to power.
Asad tracks the transformation of the words religion and ritual in Western
European history and argues that models of subjectivity have been trans-
muted and homologized over time to reect the contemporary Western in-
dividual. He returns to the example of Augustine to argue that, prior to the
Enlightenment, even Christianity considered human subjectivity to be at
the disposal of Gods will. Augustine was quite clear that power, the eect
of an entire network of motivated practices, assumes a religious form be-
cause of the end to which it is directed, for human events are the instru-
ments of God. It was not the mind that moved spontaneously to religious
truth, but power [disciplina] that created the conditions for experiencing
that truth.
4
Unlike Sereds argument that women should be understood as having
chosen to be religiously active, this Augustinian interpretation of the rela-
tionship between human agency and Gods will describes a world-view in
which humans are instruments that, through a process of disciplina, could
be tempered to experience religious truth. Asad states: This was why Au-
gustine eventually came around to the view that insincere conversion was
not a problem (Chadwick , ).
5
To paraphrase Asad, it was not
that the mind could choose to move toward religious truth but rather that
power, directed to the end of producing religious truth, could create the
conditions for experiencing religious knowledge. Conversion would follow
if the body underwent the proper discipline.
It was only later in Western history that religion became a thing sepa-
rated from power; religion came to be thought of as a symbolic essence that
could be entered into through belief. Beginning with the Reformation doc-
Reorienting Possession
trine that correct belief must be more highly valued than correct practice,
a distinction was being forged that separated religious practice from reli-
gious belief in favor of belief as the true or real ground of religiousness.
Protestant criticisms of ritual practice coincided with the reections of En-
lightenment philosophers and theologians who began to distinguish the
epistemological foundations by which they dierentiated knowledge from
belief, belief being the realm of religiosity. This emphasis on belief meant
that henceforth religion could be conceived as a set of propositions to which
believers gave assent.
6
Religiosity was allocated a proper epistemological
sphere as a matter of individual choice, not a matter of power, which wielded
humans as instruments of God. In the world of the Enlightenment philoso-
phers, one needed to believe in the Reasonableness of Christianity, to petition
John Lockes paradigmatic work, in order to be authentically religious.
Asad argues that the contemporary study of religion is based on the
modern, privatized Christian conception of religion to the extent that it
emphasizes the priority of belief as a state of mind rather than a constituting
activity in the world. He describes the shift from the Augustinian model to
the modern model as a mutation of the conceptualization of religion that
was part of a larger shift. In this movement we have . . . the mutation of a
concept and a range of social practices which is itself part of a wider change
in the modern landscape of power and knowledge. That change included a
new kind of state, a new kind of science, a new kind of legal and moral
subject. The new subject was a self-constituting subject, able to assent to
religion as a matter of belief, or, subsequently, able to choose not to believe.
Belief was relegated to the land of symbolism and reection, and, as psy-
chology developed, religiousness slid anachronistically toward idlike and
primitive associations. The ongoing ramication of this categorization, as
Said and Asad have both noted, is that a tradition such as Islam is looked at
suspiciously because it seems to combine both religion and politics. Asad
comments that religious discourse in the political arena is seen as a disguise
for political power.
7
With the bifurcation of religion and power came a philosophy of subjec-
tivity and agency. Asad argues that through the Enlightenment
[a] new philosophy of agency was also developed [with a philosophy of progress],
allowing individual actions to be related to collective tendencies. From the Enlighten-
Reorienting Possession in Theory
ment philosophes, through political development in the latter half of the twentieth
century, one assumption has been constant: to make history, the agent must create
the future, remake herself, and help others to do so, where the criteria of successful
remaking are seen to be universal. Old universes must be subverted and a new uni-
verse created. To that extent, history can be made only on the back of a universal
teleology. Actions seeking to maintain the local status quo, or to follow local models
of social life, do not qualify as history making. From the Cargo Cults of Melanesia to
the Islamic Revolution in Iran, they merely attempt (hopelessly) to resist the future
or to turn back the clock of history.
8
The critique of teleology as it underpins the construction of agency as de-
scribed by Asad becomes terribly important for the evaluation of possession.
Teleology is intricately tied to the evaluation of agency. When confronted
with the subjectivity of a possessed woman who is likely to be spoken
through in ways which follow local models of social life, many analyses of
possession tend to evaluate possession as a regressive symptom of inequality,
and self-identied feminist scholars are likely to be concerned with any so-
cial practices that do not further the agenda of increasing womens auton-
omysomething possessions do not do.
The following chapters present several examples where possessed
women function paradoxically to transgress traditional gender hierarchies
and to conserve traditional order. The result of this paradox for the scholars
interpreting the possession is that the women do not qualify as history-
making agents and thus are described with terms that pathologize their pos-
sessions as regressive. The assessment of their agency, to date, has been built
upon the model of a universal progress toward which their possessions are
not taking them. The feminist desire for the increase of womens power is
evident in some possession accounts that nd possessed women lacking be-
cause their volatile power is understood merely to reinforce their oppres-
sion: they are not progressing. Their possession is interpreted as a symbol of
their deprivation.
Returning to Asads argument, the bifurcation of real power versus sym-
bolic religiosity allowed many early anthropologists to argue that the univer-
sal experience of religion is an experience of belief. Asad notes: The sug-
gestion that religion has a universal function in belief is one indication of
how marginal religion has become in modern industrial society as the site
for producing disciplined knowledge and personal discipline. As such it
Reorienting Possession
comes to resemble the conception Marx had of religion as ideologythat
is, as a mode of consciousness which is other than consciousness of reality,
external to the relations of production, producing no knowledge, but ex-
pressing at once the anguish of the oppressed and a spurious consolation.
9
This insight helps to explain the awkward relationship that most possession
studies construct between scholars and the persons they are studying. If the
religious life is understood to be beliefs that are not perceived to reect
consciousness of reality, then the scholars job is to provide a real interpreta-
tion of the event, to explain how the real power of the possessions (as op-
posed to the belief in possession) is located in relations of production and
exchange that create a traumatized psychic space. Sociological and eco-
nomic forces are presented as an objective and real description of the forces
that possess the person.
Through his genealogy of religion, Asad arrives at an insight that is ex-
tremely important for the interpretation of the agency of possessed women:
when issues of religiosity and power coexist, the Enlightenment perspective
is likely to devalue possessions because () religious activity is perceived to
be symbolic instead of an expression of meaningful power; () the posses-
sions do not further a progressive agenda; and () perceived as an anachro-
nism, the possessed person is treated as a signier of regressive or repres-
sive conditions.
Paralleling Asads concern with the evaluation of agency in postcolonial
situations, scholars such as Janaki Nair who identify themselves under the
rubrics of feminist and postcolonial theory have recognized that the evalua-
tion of the agency of third-world women requires a rethinking of the cate-
gories of agency and subjectivity. Because she and other postcolonial femi-
nists do not want to devalue womens agency as has happened in the past,
they have had to reexamine womens agency in conditions of colonial and
patriarchal oppression. As epitomized in Nairs article On the Question of
Agency in Indian Feminist Historiography, feminist and postcolonial dis-
courses not only are attempting to enter the world of knowledge produc-
tion but also aim for a reinvention of the historical archive
10
in their
eort to write histories that accord honor and respect to the struggles of
people that traditional histories forgot and to reconceptualize the agency of
people who have been discounted as lesser agents, specically, third-
world people and especially women.
Reorienting Possession in Theory
Nair documents the development of theories of agency that have pre-
ceded her own work. In the early phases, an eort was made to add the
stories of silenced persons to the record. But as Nair points out,
The project of redressing the biases of bad history by discovering women in history,
however, soon runs aground on the categories of history-as-usual that are clearly
insucient to analyze gender. These categories are inextricably linked with the hier-
archies and privileges of patriarchy; no amount of methodological rigor can redress a
problem which calls for a reconceptualization of the categories of the historical enter-
prise itself. It is in this sense that feminist historiography cannot be just additive,
for if such historiography is already hampered by the nature of the archive, which
disproportionately reects the interests and concerns of the dominant classes, the
search for fresh evidence could obscure the need for a critique of the techniques,
and even disciplines, by which patriarchies remain resilient.
11
As they have grown more nuanced in their critiques, feminist and postcolo-
nial theorists are striving not only to discover fresh evidence but also to see
the evidence for its radical alterity. Once recovered, how do the histories of
silenced and marginalized peoples broaden our understanding of the human
and reshape the categories of academic discourses?
Nair describes how an early assessment of women-as-victims has taken
several new turns, the rst prompted by more sophisticated analyses of
power and the second by the postcolonial suspicion of the liberal and indi-
vidualistic bias that undergirded early feminist eorts.
The woman-as-victim paradigm has been an empowering one for feminist historians,
but, as Linda Gordon has pointed out, it is false and impossible to see the history
of female experience as powerless. Being less powerful, after all, is not to be power-
less, or even to lose all the time. Still, the point is not to put a canny subaltern in
place of the victim, for the paradigm of rebellious heroine could become just a
compensation for reductive conceptions of female agency. Developing a complex and
dynamic conception of female agency which does not pose these paradigms as contra-
dictory or exclusive is essential for feminist historical knowledge, especially as it con-
fronts the gure of woman as always already victim.
12
The second turn has been facilitated by the perspective of scholars who
have argued that the concept of agency is largely constructed according to
a liberal model that privileges autonomous agents. As Nair describes this
problem, [T]he rethinking of female agency that has been prompted by
Reorienting Possession
post-structuralism cannot easily be transposed to the Indian context, since
the emphasis on the subjectivity of victims of oppression could, and does,
pave the way for liberal assertions of the freedom of the individual to act
against or despite oppressive conditions.
13
Both Nair and Asad, therefore, arrive at the question of agency with the
aim of deconstructing the model of subjectivity that undergirds much of
Western scholarship (which is based on the conscious choices of a rational
agent) in order to represent more accurately the agency of those whose
power is aected by patriarchal and colonial systems. What these scholars
are pointing to is not only pertinent for theorizing agency in colonial and
postcolonial situations but also for theorizing agency more adequately in
general. A related approach is developed by the anthropologist Susan Carol
Rogers, who argues that until anthropologists can see other forms of power,
they will miss the very real ways in which women exercise power in their
communities.
14
If anthropologists cannot see other kinds of power, they are
likely to perpetuate what Rogers calls the myth of male dominance and will
describe women as victims of masculine domination.
What is not useful is to remain within the victim-agent dichotomy. Asad
documents and critiques the current trend in postcolonial studies, which is
driven by a reaction against the idea that persons in the third world are
victims. This trend develops motifs of subversion, transgression, and ap-
propriation by which the supposed victims of colonialism are celebrated for
their creative agency in the face of oppression. Many of the second-wave
studies of possession have been inuenced by this trend and interpret pos-
sessions as evidence of creative resistance on the part of performative actors
who are reinventing their worlds. Asad states his concern with the existing
chorus of scholars who are celebrating the agency of the oppressed. Ex-
amining the work of Marshall Sahlins, James Cliord, and Eric Wolf, he
notes that the reevaluation of indigenous agency was central to their eorts
to reimagine the historical archive. According to Asad, though it is not use-
ful to write of others as passive objects, the alternative should not be to
assume that, within systematic oppression, the other is an author.
Thus, when Sahlins protests that local peoples are not passive objects of their own
history, it should be evident that this is not equivalent to claiming that they are its
authors. The sense of author is ambiguous as between the person who produces a
Reorienting Possession in Theory
narrative and the person who authorizes particular power, including the right to pro-
duce certain kinds of narrative. The two are clearly connected, but there is an obvious
sense in which the author of a biography is dierent from the author of the life that
is its objecteven if it is true that as an individual (as an active subject), that
person is not entirely the author of his own life. Indeed, since everyone is in some
degree or other an object for other people, as well as an object of others narratives,
no one is ever entirely the author of her life. People are never only active agents and
subjects in their own history. The interesting question in each case is: In what degree,
and in what way, are they agents or patients?
15
Asad indicates that a spectrum of agency is required for an improved anal-
ysis of the agency of the oppressed. He gives an example of his problem
with Sahlinss notion of cultural logic. To take an extreme example: even
the inmates of a concentration camp are able, in this sense, to live by their
own cultural logic. But one may be forgiven for doubting that they are there-
fore making their own history.
16
He also takes issue with James Cliord,
who proposes a cosmopolitan picture of the world in which all human be-
ings share the same cultural predicament, that one no longer leaves home
condent of nding something radically new, another time or space. Dif-
ference is encountered in the adjoining neighborhood, the familiar turns
up at the ends of the earth.
17
In this world, according to Asads analysis,
Everyone is dislocated; no one is rooted. Because there is no such thing as
authenticity, borrowing and copying do not signify a lack. On the contrary,
they indicate libidinal energies and creative human agency. For everyone,
Cliord insists, cultural identity is mixed, relational, inventive. Asad states
his concern with this position: What is striking, however, is the cheer-
fulness with which this predicament of culture is proered. Indeed, in spite
of frequent references to unequal power (which is explored only in the con-
text of eldwork and ethnography), we are invited to celebrate the widening
scope of human agency that geographical and psychological mobility now
aord.
18
Such cheerfulness, according to Asad, serves to gloss over the sys-
tems of terror that have been served by the geographical mobility of imperi-
alism and global capitalism. Feminists have raised a similar line of argument
against the celebration of the decentered subject. It is not only highly incon-
venient that, as they are beginning to gain a voice, the authorizing discourse
mounts a critique against authority, but they are suspicious that the celebra-
Reorienting Possession
tion of the decentered self is a new patriarchal strategy for silencing womens
voices once again.
19
Asad argues that the underlying problem with the celebration of agency
in conditions of oppression is that such a celebration imitates the very
construction of subjectivity upon which the oppression rested: the self-
constituting or autonomous agent. He notes that some radical critics within
anthropology, such as Rosalind OHanlon, have begun to attack the Enlight-
enment idea of autonomy, but because they fail to question the idea that
agent equals subject they repeat the problem they are trying to correct.
20
He argues that a fundamentally dierent concept of subjectivity is needed
in order to reimagine history. The theory of an autonomous or self-
constituting agent must be deconstructed:
The essence of the principle of self-constitution is consciousness. That is, a meta-
physical concept of consciousness is essential for explaining how the many fragments
come to be construed as parts of a single self-identifying subject. Yet if we set aside
the Hegelian concept of consciousness (the teleological principle starting from sense-
certainty and culminating in Reason) and the Kantian concept of the transcendental
subject, which Hegel rewrote as consciousness, it will have to be admitted that con-
sciousness in the everyday psychological sense (awareness, intent, and the giving of
meaning to experiences) is inadequate to account for agency. One does not have to sub-
scribe to a full-blown Freudianism to see that instinctive reaction, the docile body,
and the unconscious work in their dierent ways, more pervasively and continuously
than consciousness does. This is part of the reason why an agents act is more (and
less) than her consciousness of it.
21
Asad is not only suggesting that the concept of consciousness is inadequate
to account for agency, but also that because Western models have consis-
tently assumed this equation, they have exaggerated and constructed a
world whereby conscious agents author their histories. Determining how
and when an act belongs exclusively to its initiator is an obvious and prob-
lematic reduction of agency and also leads to a bifurcating analysis of power
as being a matter of either consent or repression.
22
In contrast to this chorus of postcolonial scholarship, Asad argues that
agent does not equal subject. My argument, in brief, is that contrary to the
discourse of many radical historians and anthropologists, agent and subject
Reorienting Possession in Theory
(where the former is the principle of eectivity and the latter of conscious-
ness) do not belong to the same theoretical universe and should not, there-
fore, be coupled.
23
Through this decoupling, Asad makes room for alterna-
tive notions of agency in which power is not located in the individual
consciousness of an agent but rather in systems that authorize discourses
and in disciplinary practices such as are found in religious traditions. The
body that navigates these systems is understood to be instrumental rather than self-
constituting; it is tempered by social and biological forces.
His argument has further ramications as well, which are important for
the analysis of the agency of possessed women. As he analyzes the way that
ritual has functioned for scholars, he poses the rhetorical question, Ev-
ery ethnographer will probably recognize a ritual when he or she sees one,
because ritual is (is it not?) symbolic activity as opposed to the instrumental
behavior of everyday life. He constructs a genealogy of the academic use of
the category of ritual to argue that the contemporary employment of the
category has functioned to separate real activity from symbolic activity. He
argues that changes in institutional structure and in organizations of the
self make possible, for better or for worse, the concept of ritual as a universal
category.
24
The organization of the self to which he refers is an organization
based on an internal conscious self and its external displays, which can be
read to reveal and conceal the internal self. Inherent in this concept of a self
is the sense that humans represent and invent images of themselves as a
social display, which both reveals and reveils the individuals real self. The
real self is the locus of real or instrumental activity, while external displays
such as ritual are symbolic manifestations that are to be interpreted as sym-
bols or symptoms of an internal reality.
With this problematic understanding of the self in place, one can look
across religious traditions and see rituals as symbolic behavior; rituals are
outward representations, which might be either guises for or symptoms of
human needs. But, Asad argues, this model of subjectivity is a Western,
individualized model that again locates religiosity in the mind (an individu-
als beliefs) rather than understanding rituals as practices that are part of a
lifelong endeavor of moral development and constituting activity in the
world. Symbols, as I said, call for interpretation, and even as interpretative
criteria are extended, so interpretations can be multiplied. Disciplinary
practices, on the other hand, cannot be varied so easily, because learning to
Reorienting Possession
develop moral capabilities is not the same thing as learning to invent repre-
sentations.
25
Consistently when scholars propose interpretations of posses-
sion they have done so as if possession were symbolic of an individuals
psychosocial situation. In reorienting the study of possession, we recognize
the embodied discipline and practices that develop moral capabilities. This
means understanding ritual as instrumental activity, constitutive of identity.
Asads critique opens the door to a reinvestigation of the subjectivity of
possessed women, women whose blotted consciousness would otherwise al-
ways be constructed as less than that of the agent who analyzed them. To
date, possessions have by and large been interpreted as symbols rather than
as disciplinary practices that produce knowledge and develop moral capabil-
ities. This shift toward an analysis of the power and knowledge produced
through disciplinary practices does not, however, eliminate our ability to
interrogate how these practices have an impact on individual bodies. In-
stead, the shift makes a distinction between individual bodies that function
within systems of power and individualsthe autonomous agents who con-
stitute the progressive march of Western history.
Ritualization
To further the analysis of individual bodies that are not individuals to-
ward the goal of being able to analyze the agency of possessed women, I
turn to Catherine Bells notion of the social body. Her work provides an
alternative model for analyzing the dynamic relationship of bodies to sys-
tems of power, specically the interactions of bodies in religious practices.
26
Her methodological argument shifts the question of agency away from a
focus on the agent and toward the way that religious practices constitute
subjectivities in relation to powers thought to transcend human actors. Her
notion of the ritualized agent takes us one step closer to the analysis of
the agency of possessed women, though I will argue for a further step.
Like Asad, Bell nds the category of ritual to be problematic, depen-
dent upon the reinforcement of dichotomies that elevate the status of the
scholar as thinking subject and devalue the status of the ritual participants
as less agentive (molded, controlled, doing-without-reecting). She cri-
tiques the work of Durkheim, Turner, Geertz, performance theorists, and
contemporary ritual studies scholarship by arguing that they share a prob-
Reorienting Possession in Theory
lematic circular logic: their theories are based on a mind-body dichotomy
and a thought-action dichotomy that divide thinking scholars from acting
religious subjects. [T]here is a logic of sorts to most theoretical discourse
on ritual and this discourse is fundamentally organized by an underlying
opposition between thought and action. Although initially employed to
aord a heuristic focus on ritual as a type of activity, this fundamental di-
chotomy helps to generate a series of homologized oppositions that come to
include the relationship between the theorist and the actors.
27
The circular
logic allows the scholars (the minds) to study the rituals of the other (the
bodies) with a predetermined conclusion: we can interpret the meaning
of the rituals, but the participants cannot.
28
Her critique helps to explain
why the muted consciousness of the possessed woman has rarely been un-
derstood as a type of developed capacity for religious knowledge but has
instead been understood to be a psychological symptom of trauma or re-
pression. Because scholars arrived on the scene of analysis with a mind-
body dichotomy at work in their logic, the possessed woman fell into the
category of body whose symbolic representations required interpretations,
which she was incapable of providing.
In contrast, Bell develops an alternative logic that is not based on a mind-
body dichotomy. Her goal is to reorient the study of religion based on con-
temporary theories of subjectivity, which propose interconnections between
embodied knowledge and social practice. She draws from the work of femi-
nist theorists such as Julia Kristeva and Luce Irigaray, the cognitive scien-
tic work of George Lako, and the sociology of Pierre Bourdieu to develop
a notion of a sociobiological body, which she calls the social body.
29
Through
the use of these authors she brings critical theory, cognitive science, and
practice-oriented sociology to the study of religious bodies:
Lako . . . nds that the body is not a tabula rasa upon which society can inscribe
anything it wishes. Without attempting to distinguish between the social and biologi-
cal experiences of the body, he describes a preconceptual structuring of experience,
which in turn structures the conceptual categories with which human beings think.
In contrast therefore to Hertz, Mauss, Durkheim, and Douglas, for whom basic logi-
cal categories are social in nature and acquired in practice, Lako argues that they
are fully rooted in the sociobiological body. The import of this approach suggests
the primacy of the body over the abstraction society and the irreducibility of the
social body.
30
Reorienting Possession
Lakos argument grants a type of agency to the body. The primacy of the
body indicates that the body is agentive in the way its preconceptual experi-
ence undergirds the ordering of perception and knowledge. Because Lako
situates the birth of conceptual categories after the preconceptual struc-
turing of experience, the primacy of the body is a matter neither of biology
nor of culture (the nature-culture debate), but rather, the body determines
the conditions for the possibility of experience, which pregures the struc-
tures of knowledge. The body is not clay to be molded, but instead is
eecting the molding.
Bell expands her notion of the social body with the work of Pierre Bour-
dieu in order to include the agency of daily practices that coordinate con-
ceptual and physical knowledges. The body is the site where bodily, social,
and cosmological experience are mediated.
31
Bourdieu acknowledges the
agency of the body as the locus for mediations that are not dichotomous,
and Bell brings this concentration on the practice of bodies to her analysis.
She argues for a shift away from the category of ritual to an analysis of the
practice of bodies when their activities are making distinctions that are priv-
ileged as more powerful or more special than mundane practices.
Rather than impose categories of what is or is not ritual it may be more useful to
look at how human activities establish and manipulate their own dierentiation and
purposesin the very doing of the act within the context of other ways of acting.
With this approach in mind, I will use the term ritualization to draw attention to the
way in which certain social actions strategically distinguish themselves in relation to
other actions. In a very preliminary sense, ritualization is a way of acting that is de-
signed and orchestrated to distinguish and privilege what is being done in compari-
son to other, usually more quotidian, activities. As such, ritualization is a matter of
various culturally specic strategies for setting some activities o from others, for
creating and privileging a qualitative distinction between the sacred and profane,
and for ascribing such distinction to realities thought to transcend the powers of
human actors.
32
Several inversions are produced with this shift. Rather than looking for ritu-
als that symbolize the sacred, one analyzes social activities that produce dis-
tinctions between what is and what is not sacred. Rather than analyzing
repetition as a symptom of the obsessively neurotic nature of rituals, one
assesses that repetition is one strategy that has often been employed to stra-
Reorienting Possession in Theory
tegically re-create the conditions for experiencing power thought to tran-
scend human actors.
33
In terms of possession studies, this shift in analysis oers several impor-
tant improvements. Firstly, events that might otherwise never qualify as rit-
uals can be understood to be events of ritualization. This is important for
the study of possessed women because they are often found on the margins
of traditional religious discourse. By examining the activity of the posses-
sion rather than whether or not the possession is a ritual possession, one
can then examine the ways that the community negotiates with the posses-
sion. That is, if we approach possessions as ritualizations rather than ritual,
we can note the power or lack of power each example exerts to create dis-
tinctions that the community regards as authentic or powerful.
Secondly, this shift deates the idea that there is a pattern to ritual and
that a correct or successful ritual will follow this pattern. There has been a
structuralist tendency in possession studies whereby scholars describe the
ritual elements that structure the action. For instance, in a very interesting
article on possession that occurs predominantly among men in the North
Indian village where she was doing eldwork, Susan S. Wadley nevertheless
perpetuates the problems that arise when possessions are discussed as ritu-
als. She begins by distinguishing two broad patterns of possession which
are dened by the nature of the spiritual beings causing possession. In this
instance, does the possession require an exorcist because it is malevolent or
does it require an oracle because the spirit is benevolent? Malevolent beings
ride their hosts, and benevolent beings come to their hosts. After out-
lining the structures for the tradition, she then describes in careful detail a
specic example of a possession that does not follow the rules. She gures
out what the anomaly is (the possessing snake spirit is both evil and good)
and can then say that, though the ritual was anomalous, the ambivalent attri-
butes of snakes makes this peculiarity sensible.
34
This is the circular logic
against which Bell has argued. By thinking of the possession as ritualization,
one no longer needs it to follow rules as though the event were a controlled
event with a predetermined outcome, which the participants must follow.
Each event is understood to have a life of its own, and the specicities of
the event are not anomalous. Rather, the specicities and dierences of each
event are understood to be the very making of distinctions, which gives ritu-
alization its ecacy.
Reorienting Possession
There have been endless structural debates hovering around the study of
possession, shamanism, and witchcraft in which scholars attempt to dene
what is magic, what is a sorcerer, what is a shaman, and so forth. By shifting
the theoretical ground as Bell does, these arguments begin to look hollow.
The concern is not to nd a universal pattern by which to catalogue the
phenomena but rather to note the dynamics by which each event makes
distinctions, which are themselves the work of ritualization.
In contrast to theories of ritual that describe the participants as con-
trolled or molded, Bell argues that the notion of ritualization allows her
to see the embodied logic of the participants. She describes ritualization as
an arena for the embodiment of power:
[T]t is my general thesis here that ritualization, as a strategic mode of action eective
within certain social orders, does not, in any useful understanding of the words, con-
trol individuals or society. Yet ritualization is very much concerned with power.
Closely involved with the objectication and legitimation of an ordering of power as
an assumption of the way things really are, ritualization is a strategic arena for the
embodiment of power relations. Hence, the relationship of ritualization and social
control may be better approached in terms of how ritual activities constitute a specic
embodiment and exercise of power.
35
Bell develops the relationship of ritualization to power drawing from the
work of Bourdieu, Jameson, and Foucault. The active-passive dichotomy
does not suce from this perspective. In sum, it is a major reversal of
traditional theory to hypothesize that ritual activity is not the instrument
of more basic purposes, such as power, politics, or social control, which are
usually seen as existing before or outside the activities of the rite. It puts
interpretive analysis on a new footing to suggest that ritual practices are
themselves the very production and negotiation of power relations. . . .
[R]itualization as a strategic mode of practice produces nuanced relation-
ships of power, relationships characterized by acceptance and resistance, ne-
gotiated appropriation, and redemptive reinterpretation of the hegemonic
order.
36
Bells argument ushers ritual studies into conversation with critical the-
ory and cultural studies, bringing a dynamic theory of power to the study
of religious bodies and their practices. Her argument has important conse-
quences for the eld of women and religion in general and for evaluating
Reorienting Possession in Theory
the agency of women in religious traditions. For example, whereas prior to
Bells argument it was common for a feminist theorist to look suspiciously
at womens participation in male-dominated religions (e.g., Jewish women
behind the mekhitse or Muslim women behind the veil), after Bells argu-
ment is incorporated womens participation in religious traditions is under-
stood to be the very production and negotiation of power relations.
Examining possessions as events of ritualization means that power is un-
derstood dynamically, and the possessed persons are understood to be nego-
tiators with power, not agents or victims. Possessions are negotiations with
power at the interstices where bodily, social, and cosmological experience
interrelate. The primary axes of power that aect the possessed womans life
might include race, class, gender, forces of economy, desire, and politics
all of which are understood to be intimately related to ones religious life
rather than the real power behind the possession. The possession is un-
derstood to constitute relationships of power that privilege the sacred and
incorporate the power of the sacred instrumentally into the world. The
agency of the possessed body is not evaluated as a self-constituting agent,
but rather the possessed body is an instrumental agency for ritualization.
To paraphrase Bell, possessions do not reect reality more or less eectively,
they create it more or less eectively. Possessions are understood to be con-
stituting activity, occurring in social bodies as they negotiate systems of
domination and subordination.
What is unique about the body of the religiously possessed is that the
negotiations that constitute subjectivity also block consciousness. Possessed
persons do not appropriate the world, but rather their bodies appropriate
the world, serving as instruments for the ancestors, deitys, or spirits will.
Bells notion of the redemptive hegemony of practice almost describes this
situation.
Bell develops the notion of redemptive hegemony as a characteristic of
the practice of ritualization that has to do with the motivational dynamics
of agency, the will to act, which is also integral to the context of action.
She adopts Gramscis notion of hegemony: Gramscis term recognizes the
dominance and subordination that exist within peoples practical and un-
self-conscious awareness of the world. . . . This awareness is a lived system
of meanings, a more or less unied moral order, which is conrmed and
nuanced in experience to construct a persons sense of reality and iden-
Reorienting Possession
tity. . . . A lived ordering of power means that hegemony is neither singular
nor monolithic; to be at all it must be reproduced, renewed and even resisted
in an enormous variety of practices. She then combines the notion of hege-
mony with Kenelm Burridges notion of the redemptive process, a term
she states can be interpreted as a more dynamic rendering of the notion of
cosmology used in history of religions. She argues that the redemptive pro-
cess brings into focus the actual working of this notion of hegemonic
power because the redemptive aspect of ones practices, as construed
within a moral order, is the motivating dimension. Like a Freudian drive or
Lacanian desire, redemption is understood to be a force with the real poten-
tial to exert aective and eective force. This produces a notion of religious
subjectivity in which [p]eople reproduce relationships of power and domi-
nation, but not in a direct, automatic or mechanistic way; rather they repro-
duce them through their particular construal of those relations, a construal
that aords the actor the sense of a sphere of action, however minimal.
37
It could be useful to analyze the agency of possessed women in terms of
the redemptive hegemony of possession practices and to argue that the
women are not victims of psychological trauma or sociological oppression
but rather that the practices of possession aord the actor a sphere of action
that is unique in that it includes the blotting of consciousness, altering the
status of subjectivity from actor to acted. But is there a residual actor
and a residual agent in Bells argument? Is there a tension between Bells
notion of the ritual agent and Asads argument that subject does not equal
agent and the two belong to dierent registers? If will is the element of
agency she is looking for that drives the redemptive hegemony of practice,
are we not back to an individual that looks suspiciously Enlightened? How
would the will of the ancestor, deity, or spirit gure in Bells analysis?
At this point I propose a modication of Bells conceptual framework
because her work is ultimately modeled on the residual agent, literally
and philosophically. She argues that the ultimate purpose of ritualization
(which is misrecognized by its participants) is nothing other than the pro-
duction of ritualized agents, persons who have an instinctive knowledge of
these schemes embedded in their bodies, in their sense of reality, and in
their understanding of how to act in ways that both maintain and qualify
the complex microrelations of power.
38
Though this description constructs
a sophisticated analysis of an agent who maintains and qualies complex
Reorienting Possession in Theory
microrelations of power with instinctive knowledge embedded in its body,
it is dicult to divorce the category of agent from its metaphysical baggage
as the recognizable subject of Western teleology.
Underlying her choice of the term ritualized agent there remains a meta-
physical shifting of agency away from the ancestors, spirits, or deities and
toward the thoughts of the community and the body of an individual agent.
Using Bells analysis, the only way for the ancestors, spirits, or deities to be
invested with agency, which is what the people being studied say is the case,
is as the power thought to transcend human actors. As subtle and impor-
tant as her work is in its development of the agency of social bodies that
practice ritualization, Bells designation of the locus of power in human
thought and her argument that ritualization produces ritualized agents mark
the limit of the usefulness of her work for the interpretation of the agency
of possessed women from the perspective of postcolonial concerns with sig-
nication. While I do propose we study possessions as ritualization, I do not
suggest evaluating the agency of the possessed bodies as ritualized agents,
for the term suggests that the subject is the agent. In Chapter I put forth
a dierent approach. Having reframed our perception of the relationship of
religious bodies to multiple axes of power, I now focus on the problem of
representing the power of possessing agencies and evaluating the agency
of the possessed body.
Chapter 3 Flutes, Hammers, and Mounted Women
In the last chapter I introduced two lines of argument to improve method-
ological approaches to possessed bodies. The rst, represented by Asad and
Nair, is the argument for evaluations of agency as nonvoluntaristic and non-
individualistic. Asad and Nair do not dene agency as an individuals capac-
ity to act of her or his own will or choice (as so often happens in Western
notions of agency), but rather they argue that agent should not be equated
with subject. Agency does not reside in individual subjectivities; it resides in
the interrelationships of bodies with systems of power such as economic
systems and religious systems with their regimes of disciplina. Understand-
ing their arguments is imperative in order to account for the agency of a
body whose consciousness is overcome. It is an especially important line of
argument in relation to bodies that must negotiate multiple axes of oppres-
sion. The second line of argument, represented by Bell, is to adopt a prac-
tice-oriented approach to religious bodies, informed by a Foucaultian anal-
ysis of power and recent theorizations of bodies and practice. Rather than
thinking of religious bodies as molded or controlled bodies, Bell argues that
they are developable bodies negotiating with multiple axes of power and
relating themselves to the politics of making dierences regarding what is
sacred and what is mundane. We can now approach the possessed body as
a paradoxically powerful body rather than as an agent or a victim.
We are still left with an elegant problem as we approach possessions.
How does one evaluate the agency of a body that is being wielded by pos-
sessing agencies when those agencies cannot be weighed, registered, or oth-
erwise veried according to modern standards of real force? When a woman
Play(s)
time of cultural upheaval in which traditional religious and political author-
ity was being called into question. And both were written by playwrights
who are now recognized as cultural critics who resided on the margins of
their communities. Both authors embraced challenges to religious authority
that were fermenting at the time, but rather than reject religious traditions
they engaged them through the character of the possessed woman. Because
of her transgressive and conservative agency, Euripides and Ansky used a
possessed woman to deliver cultural critiques that worked with and against
the received traditions of each play. The appearance of possessed women as
central characters suggests that a transgressive potential resides in the role
of the possessed woman. If we approach these plays from the perspective of
instrumental agency, we arrive at a better understanding of the agency these
women, who were neither autonomous agents nor psychological victims,
have exerted. I will address the plays individually, beginning with the histor-
ical context of the play with specic reference to gender and then engaging
with critical interpretations of possessed women within the religious tradi-
tion. I then engage with critical interpretations of play based on the argu-
ment that the possessed women are used by the playwrights as instrumen-
tal agencies.
Euripides, The Bacchae
Synopsis
The Bacchae tells the story of the tragic confrontation between two cousins,
Dionysus and Pentheus. Their mutual grandfather, Cadmus, was once the
powerful king of Thebes. His daughter Semele had a fatal tryst with Zeus,
who fathered Dionysus. Angered and jealous, Hera tricked Semele into de-
manding of her lover that he reveal his true nature to her. Compelled by his
vow to answer any demand she might make, Zeus showed himself as light-
ning, killing Semele. Zeus rescued the unborn child (Dionysus) and carried
Dionysus in his thigh until his birth. Cadmus has handed on the crown to
his grandson Pentheus, whose mother is Agave, sister to Semele. Dionysus
returns to Thebes to avenge his mothers memory and to demand honor
from Thebes. The play begins with a prologue by Dionysus (), which
depicts the tensions between the sisters in a patriarchal culture where
The Work, War, and Play of Possession
women were required to be chaste and to produce legitimate heirs for
male citizens:
My purpose is to end the lies
told by Semeles own sisters,
who had the least right to speak them.
They swore to Thebes that Zeus was not
my father, that some man shed loved
made Semele pregnant, and that her claim
Zeus fathered her child was a gamble
Kadmos forced her to take
a blasphemy, her sisters crowed,
which made Zeus in a ash of rage
crush out her life.
Figure .. Early fth-century Athenian cup depicting maenad.
Play(s)
The play moves in three ascending parts leading to the peripeteia, in which
Dionysus and Pentheus confront each other, followed by three descending
parts. The rst part introduces Dionysus and his band of loyal maenads
(women who are devotees of Dionysus and are possessed by him) who have
followed him across Asia
2
(see g. .). They are the tragedys chorus, and
in their rst choral ode they sing of the happiness that devotion to Dionysus
brings. They remain on stage throughout the play, a feature that adds ten-
sion to the plot, since Pentheus is trying to stop all Bacchic revelry.
3
A sec-
ond group of maenads, the Theban maenads, has been possessed by Diony-
sus, but we do not see this group because they are up on Mount Cithaeron.
Among them are Agave, Inoe, and Autonoe, Semeles sisters and Diony-
suss aunts.
In the second part we are introduced to Pentheus, son of Echion and
Agave and domineering young king of Thebes, who has returned from his
travels to nd that the women of his city have all ed to dance with Bacchus.
He sees his grandfather, Cadmus, and the blind prophet, Tiresias, dressed
in fawn skins and castigates them for participating in the Bacchic revelry.
Unlike Agave, Cadmus honored Semeles memory, maintaining her tomb,
which is visible on stage throughout the play. Tiresias is his equally aged
friend; together they represent the wisdom of old age but are ineective in
their appeals to Pentheus and therefore unable to alter the inevitable tragedy
of the conict between the cousins. The old men argue with Pentheus about
what wisdom is and suggest that Pentheus mistakes intellectual power for
wisdom before they exit to join the maenads on Mount Cithaeron.
Dionysus enters the stage with his hands bound, having been captured
by Pentheuss men, who indicate that he did not resist. He is in the form of
a man who has long hair and whom Pentheus both admires and criticizes
for his eeminate beauty. Again Pentheus is met in dialogue with challenges
about the dierence between wisdom and intellectual wit. Pentheus at-
tempts to jail Dionysus, but after leading him into the castle, an earthquake
and a re shake the castle, a scene referred to as the palace miracle. Dionysus
emerges from the smoke and re to tell his maenad chorus that Pentheus
was thwarted by a phantasmagoric battle with a bull.
The third part is the messengers speech, describing the wonders of the
maenads on the mountain. We learn that the women are performing miracles,
suckling wild animals and causing honey and wine to spring from the
ground. But when they are interfered with by Pentheuss men, their bucolic
The Work, War, and Play of Possession
nurturance turns into violence and they defeat the men in combat and tear
apart the mountain villages livestock for sacrices and food.
The peripeteia of the play is a masterpiece of character and gender trans-
formation that reinforces the Greek association of femininity with posses-
sion. In what begins as a blustering dialogue by the shaken Pentheus as he
emerges from the crumbling castle, we see Dionysus slowly but surely pos-
sess Pentheus. In full reversal of his previous militaristic character the pos-
sessed Pentheus coquettishly dresses as a maenad in order to spy on the
errant women of Thebes rather than leading his army to the mountains to
conquer them. Where once he mocked Cadmus and Tiresius, Pentheus now
primps and prances through town on his way to spy on his mother and aunts.
The descending nal half of the play begins with a choral ode by the
maenad chorus addressing vengeance and wisdom. This is followed by the
second messengers speech, in which we learn of Pentheuss fate. Crouched
in a tree on the mountain, Pentheus appears to the Theban maenads to be
a wild beast. Led by Agave, they triumphantly tear him apart with their
bare hands. Agave carries the lions head to town mounted on her thyrsus.
She enters the stage boasting to her father how proud he can be of her
triumph (). The terrible irony of this overdetermined speech high-
lights the power dierentials between mens and womens lives in an accurate
reection of gender in Athens at the time:
Father, now you can boast that youve fathered
the bravest daughters a man could!
I say daughters but the daughter I mean is me.
I quit my loom and found more serious work
now I hunt wild animals barehanded. Heres one
still warm, cradled here in my arms.
You must be fearless to kill this animal.
Hes something to hang up over our doors.
You hold him, Father. Dont you love him?
Dont you want to call our clan together?
Well celebrate! Youll all share the glory of my success.
In a touching dialogue, Cadmus brings his daughter back to her senses and
the realization that she has murdered her son. They both face Dionysus,
now appearing as a god, who delivers their fates. They depart from the stage
Play(s)
banished from Thebes, never to be together again. Cadmus is promised
happiness in the end, but Agave is doomed to wander in exile with her sis-
ters. Through the instrumental agency of Agave, the city of Thebes has
been made to honor the memory of Semele and to honor Dionysus as a god.
The Bacchae was one of Euripides nal plays, written in ...
shortly before his death and produced posthumously in Athens shortly
thereafter by his son, the Younger Euripides.
4
Euripides is likely to have
written the play while in self-imposed exile at the court of King Archelaus
in Macedonia. His withdrawal from Athens has generated scholarly specu-
lation that it was politically expedient for the playwright to leave the city
that would soon put his acquaintance Socrates to death.
5
Euripides had
faced charges of impiety at least once, from which he was exonerated, but
his disdain for the ongoing Peloponnesian War was well known, and he is
said to have left the city in grief as others rejoiced over his misfortune.
6
The rst major production of the play was at the Greater Dionysia, a
ve-day theatrical festival performed by men to a male audience.
7
Tickets
to the theater were distributed to citizens in good standing, and the audience
sat by tribe, as they would at other political events. The festival served sev-
eral purposes. [H]onors voted to citizens and to foreigners were pro-
claimed in the theater; the tribute from Athens allies was exhibited in the
theater; [and] the orphans of war who had been raised at the citys expense
were paraded in the theater in full panoply in the year when they reached
their majority.
8
The ve days of performance began with a contest of boys
and mens dithyrambs (one from each tribe) on the rst day, a contest of ve
comedies on the second day, and a contest of three tragic ensembles (each
with three tragedies and a satyr play) on the nal three days. The same
two or three actors performed all the speaking parts of a tragedy, with ap-
propriate changes of mask and costume, so that the actors were almost con-
tinuously speaking and moving through four elaborate performances.
9
Over
time, the actors daily requirements were reduced, but the chorus members
continued to be responsible for the singing and dancing of four plays on the
same day.
Winkler argues that the Greater Dionysia was a festival occasion for the
elaborate symbolic play on themes of proper and improper civic behavior,
in which the principal component of proper male citizenship was mili-
tary. . . . A central reference point for these representationsthe notional
The Work, War, and Play of Possession
learners of its lessons (paideia) about the trials of manhood (andreia)were
the young men of the city, and they were also the choral performers at least
of tragedy, and perhaps also of comedy. Winkler argues that the tragic
chorus was an aesthetically elevated version of close-order drill composed
of the same ephebes who would march in the same prole, in the same the-
ater, as military cadets. He concludes that as a ground-plan for the City
Dionysia, these features of the original presentation and social occasion show
us that the audiences experience of tragedywas built ona profoundly political
core, and that Athens youngest citizen-soldiers occupied a central (though
in various ways masked) role in this festival of self-representation.
10
For this festival of self-representation, the self-exiled Euripides created
scenes that challenged the male actors and ephebic chorus to play the role
of their symbolic opposites. Longo argues that the chorus must be recog-
nized in its role as representatives of the collective citizen body.
11
Euripi-
des chose the Asiatic maenads as his chorus, bringing possessed women to
the center of cultural reection at the Greater Dionysia, challenging bound-
aries between men and women as well as boundaries between theater, reli-
gion, and politics. The play won the festival prize for tragedy, which Euripi-
des had been previously denied, and the play also went on to great celebrity
as one of the plays repeatedly reproduced with lavish expenditure on the
Athenian stage. It would also appear to have become a favourite play in Mac-
edonia.
12
That The Bacchae has attracted and continues to attract wide audi-
ences is undeniable.
13
Historical Context
Athens was an exhausted city by the nal decade of the fth century. Having
been involved in the Peloponnesian War since , the sometimes dominant
city was on the verge of surrendering to Sparta and her allies when The
Bacchae was performed. Though the fth century is called the Golden Age
of Athens, it was a century of major upheavals. Prior to the time that the
war started, democratic leaders (Ephialtes and Pericles) created reforms
that deposed the wealthy Areopagus of its power and more fully democra-
tized the government. In the intervening years, oligarchs struggled with
democrats, causing numerous transfers of power between aristocracies and
democratic political bodies. These struggles for power coincided with a
Play(s)
broader owering of intellectual and artistic creativity. Democritus, Anti-
phon, Hippocrates, Pythagorus, and Protagoras respectively laid the foun-
dations for the development of a philosophy disposed of its Gods, oratory
as a literary genre, and mathematical paradigms of the cosmos.
14
These de-
velopments led to the rise of rationalism and science, modalities of thought,
begun by the pre-Socratics and epitomized by the sophist movement, that
challenged traditional beliefs in gods and aristocratic claims upon the power
to govern.
In ... and for years afterward, Athens suered from a plague that
devastated the city, decimated the army, and took the life of Pericles, argu-
ably the one leader of the city who recognized Athenss strengths as well as
its weaknesses. He had led Athens strategically into a limited but secure
power. Those who followed him (a dicult genealogy to reproduce, given
the constant struggle to dene the government, but including Cleon, Cleo-
phon, and Alcibiades), did not share his strategic foresight. They strove
for empire but depleted Athenss strength. This same period of time also
produced a religious fervor in Athens. Challenges to tradition were coun-
tered by Athenians reverence for their city and its deities as represented in
the great temples.
15
That Euripides had developed a reputation for speaking
out against the war and against demagoguery helps to explain his self-exile
at this point in Athenss history.
16
The religious life was therefore intimately related to the governing power
and the social life of the polis. The approach to religious bodies for which I
have argued in the previous chapters works well with approaches developed
by classicists because again the modern divisions between religion and poli-
tics do not apply to the Athenian polis.
17
Ritualization was practiced in re-
gard to war, politics, theater, sport, commerce, and marriage in the form
of acknowledging and propitiating the gods whose wills would be seen as
responsible for the successes and failures of human endeavors. In her de-
scription of Greek religion in antiquity, Jane Ellen Harrison draws from
Platos Euthyphron, where Socrates leads Euthyphron to acknowledge that
[i]f we give to the gods they must want something of us, they must want
to do business with us. Holiness is then an art in which gods and men do
business with each other. This appraisal by Socrates of Euthyphrons idea
of religion is markedly instrumental in its function and purpose. Expanding
her study of Greek representations of religion, Harrison reects upon the
The Work, War, and Play of Possession
writings of Xenophon ( ...), a contemporary of Euripides:
Burnt-sacrice (qusia), feasting, agonistic games, stately temples are to
him the essence of religion; the word sacrice brings to his mind not renun-
ciation but social banquet; the temple is not to him so much the awful dwell-
ing-place of a divinity as an integral part of a beautiful and ample city.
18
Religion permeated the world of the polis in practical and instrumental ex-
changes in all facets of human life, from war to love.
The unique cosmology of the Greek polis produced a unique social body,
intimately intertwined with the interventions of the hierarchical Greek pan-
theon. Greek subjectivity was therefore understood to be permeable to the
intrusions of the gods; or for those who dismissed the gods as anthropomor-
phic, human agency was related to the more powerful agencies of fate and
destiny. Using Agamemnons Apology from the Homeric poems to exem-
plify a representative view of the relationship between humans and the
agency of deities in early Greek antiquity, Dodds explores the term ate, used
by Agamemnon and throughout the Iliad when humans are explaining their
relationship to the interventions of deities. Ate is a partial and temporary
insanity; and, like all insanity, it is ascribed . . . to external daemonic
agency. In regard to his stealing of Achilles mistress, Agamemnon de-
clares: Not I was the cause of this act, but Zeus, Moira and the Erinys
who walks in darkness: they it was who in the assembly put wild ate in my
understanding, on that day when I arbitrarily took Achilles prize from him.
So what could I do? Deity will always have its way.
19
Human agency was
constrained by and subject to a dynamic conguration of deities and Moira
(portion, lot), producing a complex sense of the subjects agency. In Euripi-
des time, a cultivated sense that humans were instrumental agencies for
divinity was combined with daily acts of ritualization to produce a pervasive
sense of divine intervention in all facets of human lives.
While Agamemnon laments his instrumental agency in this speech, the
gendered structures of Greek life suggest that men had much greater free-
dom to evaluate and interpret their ethical responsibilities and culpability
than women. On the Greek spectrum of subjectivity, gender gured heavily.
To be precise, Greek women were not enfranchised citizens. They were to
be emulated only in their almost resistanceless availability or permeability
with respect to truth, a permeability compatible with their sexual vocation,
which was to receive, to take into themselves.
20
Greek women were the ob-
Play(s)
jects of medical, legal, and philosophical discourse, not the subjects, and
were exchanged between men without having legal rights to ownership of
themselves or their belongings. Their activities included weaving cloth,
managing the household, and bearing and caring for children. Most women
were not given an education beyond training in the household duties. Those
women who wrote or engaged in philosophical discourse, such as Sappho
and Hypatia, were extremely rare exceptions to the rule.
21
As Page du Bois
has argued, there are shifts in the metaphors used over time to describe
women, but, whether it be eld, furrow, or tablet, in all cases they were to
be worked with a phallic plow or stylus in order to produce. Nevertheless,
if we do not impose a model of the modern subject as our sole standard
for evaluating their agency, the representations of their ambivalent religious
power can become a resource that informs and expands contemporary theo-
ries of agency.
22
In the otherwise strictly segregated world of the Greek polis, religious
observances were the one arena in which women had public responsibilities.
Sue Blundell notes, Religion was the one area of activity where a section
of the population that had been ideologically conned to the private sphere
was allowed to emerge into public prominence.
23
Blundell suggests that this
was in part due to the presence of female deities in the Greek pantheon;
consequently, priestesses were needed to tend to their temples. Women ex-
ercised important roles in three areas of Greek religion that relate to the
evaluation of the possessed women in The Bacchae: care of the dead, as or-
acles, and in festivals in which women had segregated ceremonies. Relating
to the rst, Blundell writes: The performance of services on behalf of the
dead continued to be an important aspect of womens religious activities in
the Classical as in the Archaic Age. . . . Women also appear far more fre-
quently than men as the bearers of oerings of food, wine, oil, and garlands
to tombs, which suggests that the duties owed to the dead during the period
of mourning and at certain annual festivals fell largely to the females of the
family.
24
It is signicant that Euripides began the play at Semeles tomb. It
was primarily womens business to take care of the dead, and it was Semeles
sisters who most egregiously dishonored her memory. In the prologue, Dio-
nysus describes the tomb as a sacred place that no one enters (), but by
the end of the play he has revivied its power such that the tomb will com-
mand the ritualizations that will honor Semeles memory.
The Work, War, and Play of Possession
According to Hammonds argument regarding the demise of family reli-
gion, owing largely to Athenss ongoing wars, the Greek audience is likely
to have empathized with this scene and to have suered from a similar cos-
mological distress: Family religion, on the other hand [in contrast to the
civic rituals], suered. For centuries its ceremonies had been held at the
shrines in the demes, but with the evacuation of the countryside they were
discontinued for long periods. The eect was serious, because the average
Athenian derived his or her stability more from this side of personal religion
than from the Eleusinian Mysteries or Orphic tradition. Family traditions,
such as respect for parents and the marriage-bond, were correspondingly
weakened. Family land, hitherto inalienable, came on the market under the
stress of economic need. The standards of the younger generation were fur-
ther shaken by the strain of the plague, the revolution, and the long war.
25
Euripides emphasized family religion by depicting Dionysuss grief over his
mothers dishonored and forgotten memory. The tomb remains on stage
beside the castle throughout the play, its ame growing in size, indicating
that sacred power is increasing as Dionysus achieves his goal of bringing
honor to his mothers memory and with it the subsequent acknowledgment
of his divinity. Symbol of an all-important thread in the fabric of Athenian
life, Semeles tomb is transformed from a forgotten relic to a revitalized
social obligation.
In contrast to the more domestic rituals of caring for the dead were the
institutional religious roles, such as the Pythia at the Delphic Oracle, which
were held by women (sibyls) who received and spoke the words of the gods,
which were then recorded by priests and disseminated. In Burkerts discus-
sion of the Delphian sibyls we see the women depicted as instruments em-
powered by the force of the god.
26
There is no oracle of which so much is
known or about which so much is in dispute as that of Pytho, the sanctuary
of the Delphians. Originally, it is said, the god gave responses here only
once a year at the festival of his advent in the spring; but as a result of the fame
of the oracle, services came to be oered through the entire year; indeed, at
times three Pythiai held oce at once. . . . In addition there is the tradition
about the sibyls, individual prophesying women of early times who admit-
tedly are known only through legend. . . . Heraclitus assumes as well-known
that the sibyl with raving mouth . . . reaches over a thousand years . . . by
force of the god. The Delphian sibyl also called herself the wedded wife of
Play(s)
the god Apollo.
27
The solitary practice of the Pythia contrasts with Bacchic
revelries in which groups of women participated. What is common to mae-
nads, sibyls, and Pythiai is that all were considered possessed and shared
the status of being instrumental agencies for the gods.
28
These women
gained power not through their prowess and integrity as orators, a skill
highly developed and praised among men, but through their capacity to be
spoken through.
Maenadisms dening feature was its devotion to Dionysus, the god of
wine and theater, both of which can transform persons beyond their normal
personality. Dionysus was a multifaceted God characterized by the power
of ambivalence, spanning chthonic depths and Olympian heights, crossing
the boundaries of identity, which were important to Greeks.
29
From the Ho-
meric Hymn to Demeter (. ), the oldest literary allusion, we can assume
minimally that women in some cities at some times practiced a ritual that
led them from the connes of the oikos to the surrounding mountains ritual-
izing the ambivalent God.
30
Dressed in long robes with a fawn skin draped
across the shoulder, crowned with wreaths of ivy, carrying a thyrsus or beat-
ing a tympanum, Bacchae are depicted in art, literature, and law. Accompa-
nied by kettledrum and ute, their ecstatic dancing ran through the night
and lasted for several days and nights. It is to this recognized phenomenon
that Euripides refers.
31
Once congregated, the maenads had greater freedom
of movement than women otherwise experienced, and they could move be-
yond the city walls and into the night.
Several scholars have interpreted maenadism according to modern psy-
chological and sociological models of subjectivity, which, as I read them,
reduce the alterity of maenads.
32
This reduction occurs because such
scholars are working with a model of the autonomous individual as their
norm, and from this norm the women of Greek antiquity fall short. Many
examples of important feminist scholarship apply the resolution of hysteri-
cal tension hypothesis to maenads, thus subtly erasing what might be
dierent about Greek women and their relationship to divine agency from
modern notions of psychological subjects. Ross Kraemer draws from Lewis
and Kenelm Burridge in her analysis of womens participation in maenad-
ism and suggests, following Burridge, that women would be more likely to
seek to heighten their status at times of sociobiological changes (puberty
and menopause) because that is where their identities are recognized. She
The Work, War, and Play of Possession
suggests that this is why Agave, nearing menopause, is a representative can-
didate for possession. Following Lewis she states, Possession thus appears
to neutralize the potentially destructive emotions felt by oppressed individ-
uals of a society permitting them to be vented through highly institutional-
ized, regulated forms. And ultimately she describes possession as a pathol-
ogy to which the oppressed Greek women were vulnerable: [T]he overall
status of women in ancient Greece comes into play. As many historians have
noted, the status of women in classical Greece ranks among the worst of
women in Western society at any time. It is likely that many women could
not meet their societys measure of a good woman. Even if they did, a
tremendous disparity remained between the rewards a successful woman
could expect and those awarded to the successful man. This disparity may
have threatened the entire social fabric of ancient Greece and increased
the vulnerability of Greek women to the cult of Dionysus.
33
Kraemers lan-
guage implies that Dionysiac possession is a pathology. Though her concern
is to note the very real legal and ideological oppression of Greek women,
which is an important cultural specicity to acknowledge, she does not look
to maenadism as a resource for thinking about alternative models of agency.
She instead describes the women as vulnerable, that is, as victims or pa-
tients of a pathology.
Others who concur with this type of analysis include Lilian Portefaix,
who proposes that Euripides depiction of the experiences of the maenads
during the trance can be explained anthropologically as a regression to an
earlier state of culture, as opposed to a civilized state.
34
Much of this schol-
arship argues that Dionysus is the synthesizer of tensions, breaking down
dichotomies, but that maenadism is in the end an ineectual vehicle for
increasing the agency of Greek women. In their collection of writings about
women in antiquity, Mary R. Lefkowitz and Maureen B. Fant state: The
politically oppressed often turn to ecstasy as a temporary means of pos-
sessing the power they otherwise lack: orgiastic ritual, secret cults, trances,
and magic provided such outlets, especially for women who could not justify
meeting together for any other purpose.
35
My point is not to argue against
the idea that women were oppressed in Greek society but rather to show
that the feminist framework for interpreting possession has adopted Lewiss
sociological analysis and has inscribed the Greek maenads as regressive
or vulnerable.
36
Even feminist scholarship is willing to reinscribe Greek
Play(s)
women as less than subjectivities, perpetuating the rational agent as the
standard of analysis.
Maenadism is thus better understood as a gendered representative of the
profound philosophical and theological exploration made by the Greeks of
forces that imposed themselves upon human experience and exceeded the
grasp of rational understanding. Dodds describes four types of divine
madness, as elucidated by Socrates in the Phaedrus, to support his claim
that the Greeks were involved in rigorous and creative investigations of the
divine interventions that aected their lives irrationally: () Prophetic mad-
ness, whose patron God is Apollo; () Telestic or ritual madness, whose pa-
tron is Dionysus; () Poetic madness, inspired by the Muses; and () Erotic
madness, inspired by Aphrodite and Eros.
37
These distinctions can be read
as evidence that the Greek horizon exceeded anthropologistic limits. This
is not to say that intellectual challenges to religion were inconsequential but
rather to indicate that a longstanding philosophical tradition existed that
engaged seriously in an eort to comprehend extrahuman interventions into
daily life. In the context of Greek popular religion in general, the Pythia,
the sybils, and maenadism indicate the gendered power, the instrumental
agency, of possessed Greek women, who were vulnerable to, but therefore
made powerful by, the intrusions of forces far beyond the control of ratio-
nal masculinity.
38
Women on Stage
The relationship of Athenian women to dramatic representations of women
on the Athenian stage is anomalous. In Foleys eort to devise a methodol-
ogy sucient for relating theatrical depictions of women to the actual lives
of Athenian women she uses the Bacchae as an example because it raises so
many questions about womens power and about Euripides intentions with
regard to representing women. Athenian women had few legal rights and
were largely excluded from economic or political social interaction, but they
gured prominently as characters in Athenian theater. Foley describes the
dramatic dierence between what we can discern about womens lives and
the theatrical representations of women: While women in daily life appear
to have been conned to the internal spaces of the household, to public si-
lence, and to non-participation in the political life of Athens, women play
The Work, War, and Play of Possession
an exceptionally prominent role in drama. They speak for themselves, lay
claim to a wide-ranging intelligence, criticize their lot, and inuence men
with their rhetoric. They leave the household and even take action in the
political sphere denied to them in life. She suggests two sources for the
representation of strong female characters. First is the mythological tradi-
tion, whose inherited plots emphasize intrafamilial crises. Second, The
informal power that women exercise within the domestic sphere should not
come as a surprise in any culture.
39
But, she concludes, neither of these
suggestions suciently explains why the role of women in Athenian tragedy
often transformed the received myth and expanded upon womens agency
in such a public setting.
Ruth Padel argues that possessed women were a powerful symbolic gure
in myth, literature, and drama, representing a male fantasy that associated
women with dark, inner spaces. Athenian males in particular were preoccu-
pied with increasing their empire, possessing foreign lands, and constraining
their women to the oikos. Padel proposes that the symbolic association of
women with possession exemplies several of Greek males greatest fears:
losing control of their women, losing control of themselves, and being in-
vaded. She argues that representations of possessed women served their
eort to control women in social life and cult. In reference to The Bacchae
she argues that the very presence of the maenads on stage (rather than in-
side, where they should be) indicate(s) something wrong in the state of
Thebes. The ultimate purpose for employing possessed women, she ar-
gues, is that they speak best to humanitys condition. Women are the pos-
sessed; natural victims in the human system, as humanity is the natural vic-
tim in the divine world. A ctive female voice can most sharply express
the pain and resentment against the apparently unjust system productive of
such pain.
40
Though the symbol might be a powerful symbol relating to all of human-
ity, her nal analysis is pessimistic regarding the emancipatory potential of
possessed women when they are employed symbolically by Greek authors,
especially tragedians. She speculates that womens suering is used by the
Greek tragedians to exploit misogynist sentiment and that the continuing
success of tragedy should be analyzed for its reproduction of fantasies of
womens suering: Female suering, within the male system, is a useful
Play(s)
tragic instrument. . . . This instrument is used by a male dramatist aiming
exclusively at male sensibilities, meaning to write a good play and gain the
prize. His aim is not to emancipate contemporary women, but to nd a
useful image of suering: not so much imaginative sympathy with, as liter-
ary exploitation of, womens victimized position. Female gures in tragedy
are there partly as a natural site for inner pain, a social and sexual emblem
of private parts (Blair, ) suering invasion, human and daemonic, by
the outer world.
41
From Padels perspective, we should be very suspicious
of the way that Euripides has employed the gure of Agave.
In a related argument, Zeitlin argues that Greek tragic theater uses the
feminine for the purposes of imagining a fuller model for the masculine self,
and playing the other opens that self to those often banned emotions of fear
and pity. She looks specically to The Bacchae as a paradigmatic example of
playing the other: [T]he fact that Pentheus dons a feminine costume and
rehearses in it before our eyes exposes perhaps one of the most marked fea-
tures of Greek theatrical mimesis: that men are the only actors in this civic
theater; in order to represent women on stage, men must always put on a
feminine costume and mask. What this means is that it is not a woman who
speaks or acts for herself and in herself on stage; it is always a man who
impersonates her. According to Zeitlin, however, the ramications of
playing the other are not very signicant for altering perceptions of or
attitudes toward women: Women as individuals or chorus may occupy cen-
ter stage and leave a far more indelible emotional impression on their spec-
tators than do their male counterparts (as does Antigone, for example, over
Kreon). But functionally women are never an end in themselves, and nothing
changes for them once they have lived out their drama on stage. Rather,
they play the roles of catalysts, agents, instruments, blockers, spoilers, de-
stroyers, and sometimes helpers or saviors for the male characters. When
elaborately represented, they may serve as antimodels as well as hidden
models for that masculine self . . . and concomitantly, their experience of
suering or their acts that lead them to disaster regularly occur before and
precipitate those of men.
42
Zeitlin argues that womens roles functioned instrumentally for the male-
centered story lines of Athenian tragedy. Like Padel she levels her critique
at all tragedy. If, however, the Greek model of subjectivity is such that both
The Work, War, and Play of Possession
men and women are understood to be catalysts, agents, and instruments,
then the question might be whether any characters are functionally an end
in themselves. Perhaps Padels point is well taken herethat the possessed
woman speaks best for humanitys instrumental condition. Instrumentality
itself is being dramatized in the play in at least two distinct forms: the Asi-
atic maenad chorus and the possessed Thebans (including Agave and Pen-
theus). Dierent kinds of instrumental agency produce dierent kinds of
results. The role of the Asiatic maenads could hardly be equated with the
role of the Theban women, whose function in the play is much more similar
to that of Pentheus.
It has been argued that Euripides was writing to transgress and challenge
Athenian gender politics. Zeitlin credits Euripides in general with having
greater interest in and skill at subtly portraying the psychology of female
characters.
43
In her article Euripides the Misogynist? Jennifer March
studies three of Euripides plays to support her claim that he was not a mis-
ogynist, but rather that his innovations on traditional myth were centered
on his female characters;
44
thus he was introducing women as levers of
innovation in the religious imagination. She suggests that Euripides intro-
duced the innovation of the death of Pentheus at the hands of his mother
in order to intensify a myth that depicted the struggle between physis and
nomos (the terms of a familiar debate among the Sophists) by forcing the
ultimate breakdown in civilization, a mother tearing apart her son. She ar-
gues that he does so not to reinforce misogyny but rather in order to concen-
trate on Agaves brave acknowledgment of human frailty as she comes to
recognize her role in Pentheuss death.
45
Foley examines Euripides innovation on the myth of Pentheuss death
as his statement against dichotomous thinking and against the polarity
woman : nature :: male : culture.
They [the maenads] play the roles of hunters and nurturersthey give their breasts
to wild animalssimultaneously. They drink raw milk, and wine, Dionysus gift to
culture. But does Agaves fantasy that she has become a successful hunter pose a
greater threat than Pentheus partially willing transformation into a woman? Why is
woman most dangerous when she becomes a man? Does the dangerous transforma-
tion reect more on women than on men? Are we to interpret this transformation as
a reection of womens repressed and undervalued status in Greek society, which
Play(s)
results in a state of trance and in an absorption of the qualities of the dominant group?
Or is Euripides also consciously exploiting and subverting a set of cultural assump-
tions about sex roles and their place in the cultural system? That is, when Dionysus
removes normal cultural limits, we confront the ways in which cultural norms warp
and dangerously conne human beings of both sexes, and create cultural instabil-
ities.
46
Foley goes on to state, however, It is dicult to be certain whether the play
challenges or reinforces those distinctions which culture makes in establish-
ing its dierences from nature. . . . The nature/culture dichotomy certainly
reveals something important about the way women are envisioned in the
Bacchae. But by itself it only illuminates assumptions that the play seems to
throw into question.
47
Drawing from Michelle Rosaldos formulation that female is to domestic
as male is to public, Foley documents the shifting relationships between
oikos and polis at the close of the fth century in Athens and proposes that
drama was the place where societal tensions created by these changes were
acted out. Thus, multiple female characters who play masculinized roles
and the multiple male characters who initiate womens rebellions can be
understood as signiers that Athenians were uneasy with the nuclear family
of the new oikos in contrast to their previous system of clan-based society.
48
In the larger context of Greek dramas, Euripides not only wrote a play
where female characters played masculinized roles (Agave claimed her
prowess as a hunter) and where men precipitated womens rebellions (when
Pentheus or his men intruded upon the maenads they were transformed
from bucolic to violent). Euripides Bacchae might reect a male fantasy that
reproduces exploitative representations of possessed women for the purpose
of maintaining an ideological imperative to control women. It certainly did
not function like an act of legislation designed to increase womens rights,
and there was no visible consequence regarding womens access to economic
or political power after its production. However, several elements of the play
that have troubled previous interpreters relate directly to the interpretation
of the agency of possessed women. The problem for interpretation is that
Euripides constructed complex and compelling representations of pos-
sessed women that cannot be interpreted according to a model of subjectiv-
ity that equates agency with agents of social change or that interprets agency
The Work, War, and Play of Possession
according to a passive-active dichotomy.
49
Focusing on the maenad chorus
and their exchanges with the possessed Agave I will argue that there are
important dierences in the kinds of instrumentality the women exercise,
which Euripides has masterfully crafted in order to say to the Athenian au-
dience what they know but cannot see.
Euripides constructed two categorically dierent types of possessed
women: the Asiatic chorus and the Theban maenads. One might fruitfully
argue that Pentheus represents a third type of possessed woman, but my
greater interest is to study the chorus and Agave, neither of which have
received as much scholarly attention as has Pentheus. The maenad chorus
has a terrible power in this play, which has troubled most interpreters who
have by and large described them as irrational or primitive in their ultimate
celebration of Dionysuss triumph. It is arguable, however, that this chorus
functions traditionally as do other chorusesthey deliver the playwrights
most important messages. Drawing from Arthurs innovative analysis of the
chorus, it becomes clear that one of the things that other interpreters of the
play have evaluated negatively is womens assumption of religious power,
which they acquired through their receptivity to Dionysiac intrusion.
Arthur charts the transformation of the maenad chorus from the rst par-
odos, which emphasizes the happiness and joy of being Bacchants, through
four stasimons, which progressively align the Bacchants with Dionysuss
power to exact revenge, to the fth choral ode, which celebrates Pentheuss
bloody death. Following the progression from the quietistic rhetoric of the
prologue through their themes of escape in the early stasimons and culmi-
nating in their growing assumption of power as they realize they are in
league with a victor who can crush his enemies, her analysis nds that a
meaningful and symbolic transformation is occurring that is directly related
to their agency.
Arthur argues that throughout the play the maenads are concerned that
their thoughts and actions be wise. It is the quality of the wisdom that
changes, not their attitude. The qualitative change is one whereby at rst
they counsel that it is wise to keep ones heart and mind / away from in-
temperate men (), but gradually they increase in hostility toward
those who do not share their wisdom. The chorus of the third stasimon
celebrates the wisdom of vengeance: What is wisdom? Or what more beau-
tiful prize / do the gods grant to mortals / than to hold the hand in strength
Play(s)
above the head / of ones enemies? / What is lovely is always dear (
). Arthur states: As the chorus had identied themselves with Dionysus
in his rejection by Thebes [antistrophe of the second stasimon], so now they
come to realize that they share in his power. And the new power which they
feel is theirs eects an enormous change in their attitude.
50
In the rst cho-
ral ode, they conclude with the following simile: And then, like a colt be-
side its grazing mother, / the Bacchant runs and gambols for joy ().
In the epode of the second stasimon they refer to the riches that Dionysus
brings to the land of horses (). In the third stasimon they compare
themselves to a fawn who escapes from the hunter by leaping over a river
and into freedom, and they follow this imagery with the chorus noted above
(), indicating that once they have crossed the stream, they are identi-
fying with the hunter rather than the hunted. That which is lovely is not
passive, nor is it submissive, but instead deardemanding a price. By the
fourth stasimon, they begin by beckoning the hounds of Lyssa, and their
chorus is a violent demand for vengeance: Let justice show herself clearly,
let her carry a sword / and thrust it through the throat / of the godless,
lawless, unjust / earthborn child of Echion (). They have been
transformed from women who sang of eeing from their oppressors to
women who share in the power of Dionysus to demand vengeance. Because
they were receptive to Dionysus at the start, however, they do not enact
vengeance; they only demand that it be seen.
When Agave nally enters the stage carrying the head of her son whom
she believes to be a lion cub, she engages in a dialogue with the Asiatic
maenads. In this scene Euripides wields two types of possessed women to
an almost unbearable eect. When Agave enters the stage, the chorus main-
tains its distinction from her, though she is not aware that it is doing so.
Here comes Agave running home. Look at her eyes: shes mad ().
An ironic dialogue ensues between the maenads ():
Agave: Our hunt was lucky, now lets feast! And share!
Leader: Share what with you, woman.
Agave: This bull! Hes young. Blooming!
Feel his thick wavy mane.
It crowns him and blends
with the soft down under his jaw.
The Work, War, and Play of Possession
Leader: He is a beast, to judge by that hair.
Agave: That priest of Bakkhos
tracked him for usO he was wise!
then signaled our attack.
Leader: Our leader knows how to hunt.
Agave: Are you still praising me?
Leader: You can take it for that.
Arthurs argument begins to give meaning to what has been described oth-
erwise as cruel and gratuitous irony. The chorus is exercising the power
that it shares with its god to see truth. Its irony is pointing toward a truth
that Agave cannot yet see, though her words betray the truth she does not
see when she compares the lion cub to an ephebe with soft down under his
jaw. Through its questions, the chorus, most likely composed of ephebes,
allows Agave to declare that the sacrice of Thebes (dramatic foil for Ath-
ens) is an ephebe (the young men training to be soldiers to carry on the
Peloponnesian War). Recalling again Zeitlin and Winklers arguments that
the theater provided a place for the city to reect upon itself, Agaves re-
sponse at this climactic moment of the play encompassed a truth so awful
(we are killing our sons and proudly displaying them) that only a possessed
woman could deliver the lines in response to the probing questions of the
maenad chorus.
Though the chorus functions traditionally in Greek tragedy as the
mouthpiece for the playwright, many scholars have been troubled by the
growing power of this chorus, interpreting its celebration of vengeance as a
bad and inconsistent force, a chaotic, blind force. In his analysis of Agaves
dialogue with the maenad chorus studied above, R. P. Winnington-Ingram
claims that the chorus is partaking in a devilish play and that it employs
cruel and gratuitous irony. He argues this to support his claim that Eurip-
ides was surely anti-Dionysus and that the plays ambivalence arises only
because he employs irony so thickly throughout the play. Of the maenads,
Winnington-Ingram states: They know Dionysus indeed as the author and
sharer of their joys, their peace and their frenzy, but how he works in the
world they cannot see, for their view is deliberately restricted to the appetite
and emotion of the moment; they are blind, like the blind forces of nature
Play(s)
they so closely resemble.
51
But, clearly and consistently through their odes
they can see more clearly than the Thebans in either their unpossessed state
(epitomized by Pentheus in the early scenes) or in their possessed state
(epitomized by Agave). The Asiatic chorus maintains not only an ability to
see the truth but also an ability to understand the limits of its power: the
maenads understand the power of instrumental agency.
Dodds argues (and Arthur disagrees) that the chorus functions as a back-
drop for the action of the play, delivering commentary on what has hap-
pened and what will happen next.
52
He does note that Euripides makes a
deliberate return to a grave semi-liturgical style, which is in stark contrast
to maenadic enthusiasm, and oers the following analysis: This severity of
form seems to be deliberate: it goes beyond what the conditions of the the-
ater enforced. And in fact the plays tremendous power arises in part from
the tension between the classical formality of its style and structure and the
strange religious experiences which it depicts
53
Arthurs improvement over
Dodds is to explore the ideas presented in the strange religious experience
and to demonstrate that, in part, what Dodds has described as strange is
that women were assuming power through their permeability to divine pen-
etration.
Hans Oranje reads the choral odes as evidence that there are two dramas
being enacted in the play, a liberation drama and a vengeance drama, and
that the chorus delivers the nal exposition of these dramas. (A similar ar-
gument made by Dodds, that the chorus expounds on what happens, con-
trasts with Arthur, who argues that the chorus delivers its own related but
separate ideas.) [T]he liberation drama in the Bacchae is sealed by the
chorus invoking the god in their song to come from distant space to Thebes
to free his thiasos from the grip of oppression (;;): and the fulllment
of the divine vengeance is portrayed in the chorus vision of Pentheus jour-
ney to Cithaeron (;;o), in the prayer to the god to appear as a bull, a snake,
or a lion, and to cast his deadly net round Pentheus with a smile (ror8:),
and in the dance of joy for Agave and her gruesome prize (rro).
54
As an example of the mood of liberation, which he argues it is the
choruss function to create, he cites the song of freedom (rrrr::); how-
ever, the song of freedom is replete with paradoxical expressions of freedom
and the necessity of tradition and law (rr8r:o). The Gods work
slowly, / but you can trust them / their power breaks all / mad arrogant
The Work, War, and Play of Possession
men / who love foolishness / and pay no mind to the gods / but the gods
are devious / and in no hurry / they put / an impious man at his ease,
then / hunt him down. / Therefore: / Let no one / do or conceive / any-
thing / the ancient law forbids. / It costs little to believe, / that, whatever
divinity is, / it is power; / it costs little to believe those laws / which time
seasons, strengthens / and lets stand / such laws are Nature herself /
coming to ower. Oranje claims that the Asiatic maenads think in black
and whitea problematic claim given their ability to reveal and conceal
the truths of Dionysiac possession.
55
He then describes several instances in
which the chorus speaks paradoxically. That they speak in paradox contra-
dicts his claim that they think in black and white; thus, Oranjes analysis
fails in its dichotomous structures. Liberation for the maenads is not the
opposite of captivity. They may have escaped from their looms, but they are
possessed and they describe this condition as sweet work.
Oranje argues that the maenad chorus sets the mood for the second
drama of vengeance and reads their later odes as evidence of this. In line
with Arthur, however, I would disagree that the chorus is merely a backdrop
for the plot of the story; instead, it presents important ideas and its transfor-
mation is itself important. Though the maenads identify themselves with
the power of the victor to demand vengeance, they do not precipitate it. In
contrast to Agave they say, though I might join that hunt / my hearts not
in itits in hunting what I see / clearlythose great obvious things /
which make our lives graceful, / worth living / Day and night / to love
the gods we hold in awe, / to defend every age-old truth, / and forget all
the rest (). Of her hunt they proclaim, Vengeance! bring it out /
into the open / where every one of us may see: / with your righteous
sword / cut this godhaters / throat (). They identify them-
selves with the power to exact vengeance; they describe their hunt as a hunt
for what they can see clearly and for vengeance to be seen in its horrible
truth. Arthurs analysis demonstrates that women, exercising religious
power, can make sense, can see clearly, and can be speaking important ideas.
The receptivity to forces that are greater than human reason gives them the
wisdom to live in a relationship with the past (symbolized as Semeles sacred
and forgotten tomb) and the future (symbolized by the banishment from
Thebes of its aristocratic line). Such a challenge was facing the Athenian au-
dience.
Play(s)
The irony is tortuous and indicates how Euripides used two dierent
kinds of possessed women to heighten what Zeitlin describes as a key to
understanding tragedydiscrepant awareness: Tragedy is the art form,
above all, that makes the most of what is called discrepant awarenesswhat
one character knows and the other doesnt, or what none of the characters
knows but the audience does. Thus it is that irony is tragedys characteristic
trope; several levels of meaning operate at the same time. Characters speak
without knowing what they say, and misreading is the typical and predict-
able response to the various cues that others give.
56
What is unique to this play is the extent to which discrepant awareness
is employedand in fact it is the very nature of the possessed woman, who
is not where she is speaking, to evoke such a critical level of discrepant
awareness. A conscious woman could not carry the head of her child onto
the stage, and only a possessed woman could do so taking notice of his
downy whiskers without realizing what she was seeing and saying. The au-
dience is implicated in the choruss overdetermined and ironic dialogue be-
cause they too know what Agave does not know.
The maenad chorus functions as the mouthpiece for Euripides message,
as is traditional for the chorus, but it could never deliver the message as
powerfully as it does without the alternative maenad, Agave. Through this
dialogue, Euripides extended the audiences experience of knowing what
Agave did not know consciously but which her words betrayed; that she was
instrumental in exacting one of the most cruel and extreme punishments
ever depicted in Greek tragedy. If we think of this in terms of the metaphor
of ute and hammer, it was because Agave was rigid and unreceptive to the
wisdom of Dionysus that she could be wielded like a hammer. Agave is used
in this play like a hammer that delivers a blow of which it is unaware. The
chorus, who was receptive to Dionysus, is more exible and could not have
been wielded with such forcenor could it have delivered as powerful a
message without her. Their receptivity allowed the maenads to walk be-
tween the world of Dionysus and Agave, torquing the already tragic scene
with the power they had been awarded through their receptivity.
In the nal scene, Agaves transformation makes a nal statement for
Euripides. In contrast to the peripeteia of the play (in which Pentheus slides
into Dionysiac possession as he dons womens attire) is the moment when
Agave comes back to her senses (Agave returns from her delusion of hunt-
The Work, War, and Play of Possession
ing prowess to clear perception). Through the gentle but persistent ques-
tioning of her father, Agave comes to realize that the young lion whose head
she proudly displays as her trophy is actually her son, murdered by her.
She asks, Who killed him? How did he come into my hands? She cannot
remember what occurred during her possession, though she was used by
Dionysus to force a communal remembering of the god Dionysus. She then
asks, But what part had Pentheus in my madness?
57
I am selecting Vella-
cotts translation of line that is otherwise translated by Bagg as Why
was Pentheus punished for my crime? because the rst translation raises at
least two questions. Agave is asking why Pentheus was punished so brutally
for her failures to honor sister and god, but she is simultaneously asking a
broader question: How was Pentheus, ruler of Thebes, responsible for the
folly (in contrast to wisdom) that ultimately led to his own death? Looking
to Cadmuss response, we see that this is not Agaves crime, but their com-
munal crime against the god: Like you, he mocked and enraged the god
(). Agave was used as an individual body, not an individual, to redress
a communal disorder.
58
In the plays conclusion we are left with an exiled woman given no desti-
nation and no closure. To Cadmus, Dionysus proclaims a dire prophecy in
which Cadmus and his wife will become serpents and will wreak havoc upon
the Greek homelands but will eventually be spared and spirited to the Is-
lands of the Blest. Cadmus says to Agave, Nor can I tell you, child / where
exile must take you. / Your father is too weak to help (). He ad-
vises her to hide in the mountains. And though she may go to the mountains,
there is one mountain to which she will never go, because her subjectivity
becomes an object in its shadow: Lead me away from Cithaeron / I hate
to look at that mountain, / I dont want it to see me! (). She and
her aristocratic sisters are going nowhere to be no one together, apart from
their lineage and unable to continue the lineage. The traditional role of the
woman is denied; patriarchys desire (as symbolized by Pentheus) has been
refused.
The maenad chorus has the last words in a city that was literally about
to fall to Sparta: The gods can do anything / They can frustrate / what-
ever seems certain, / and make what no one wants / all at once come true! /
Today, this god has shown it all (). Unlike the tragic instrumental-
ity experienced by Agave, the Asiatic maenads have done sweet work for the
Play(s)
god through their words but not their deeds. In their identication with the
power of Dionysus, they are not speaking as moral agentsthat was not an
option open to women. Rather, through their instrumental agency, they de-
liver a moral to the community.
The encounter between the two types of maenads forces the interpreta-
tion of their actions beyond the category of individual agents and beyond
notions of proper female religious bodies if we are to understand their
strange religious experience(s).
59
Maenads, gendered subjects within pa-
triarchal Greek culture, are individual bodies but not individual agents.
Through their instrumental agency rather than through them as agents, Eu-
ripides delivered two messages: the message of the chorus, receptive to Dio-
nysus, to honor their gods and remember their dead; and the message of
Agave, unreceptive to Dionysus and overtaken more forcefully, brandishing
the sacrice of the lion cub that bears the whiskers of an ephebe.
S. Ansky, The Dybbuk
Synopsis
This play proceeds in four acts to tell the tale of two young Hasidic Jews,
Leah and Khonon, drawn together by a sacred vow made by their fathers.
60
As young husbands, Sender and Nissen vowed to arrange a marriage be-
tween their children should one have a boy and one a girl, but Nissen moved
away and died before either man realized that the vow needed to be honored
because a daughter, Leah, had been born to Sender, and a son, Khonon,
had been born to Nissen.
The play is set in the shtetl where Leah, her grandmother Frade, and her
father Reb Sender live. Leahs mother died when she was an infant. Reb
Sender engrossed himself in building his fortunes, leaving the work of car-
ing for Leah to her grandmother Frade. Khonon is a newcomer to town
who has immersed himself in study at the yeshiva. He has wandered to this
town from afar with no known family ties. Unbeknownst to Sender, Khonon
is the hoped-for boy and therefore betrothed to Leah. Reb Sender is com-
pelled by a haunting concern for the poor young Khonon and invites him
to share meals regularly, though he remains unaware of Khonons identity.
Khonon and Leah fall deeply in love during these encounters. Reb Sender,
The Work, War, and Play of Possession
however, has already entered into negotiations with another prosperous
family to betroth his daughter. Neither Leah nor Khonon openly express
their love and desire for marriage; Khonon knows that he is too poor, and
Leah is a good daughter who does not consider disobeying her father.
The rst act focuses on Khonon and takes place in the synagogue where
Khonon directs his ascetic devotions to any of the mystical forces that will
help him to marry Leah. Contemplating the Holy Ark he says: One, two,
three, four, ve, six, seven, eight, nine scrolls . . . they add up to the numeri-
cal values of emes, truth. And every scroll has four wooden handles that we
call the trees of life . . . again thirty-six! Not an hour goes by that I dont
come across that number. I dont know what it means, but I feel that it con-
tains the essence of the matter, the truth that I seek. Thirty-six is the nu-
merical value of the letters in Leahs name. Khonon adds ups to three times
thirty-six. But Leah also spells not God, not through god. (Shudders)
What a terrible thought! Yet how it draws me. Khonon argues with his
fellow students that [w]e need not wage war against sin, we need only to
purify it, which is what he attempts to do with his love for Leah, cleansing
it from any sinful lust and transforming it into a transcendent love through
his fervent devotions and study.
Leah enters the synagogue with her grandmother, Frade, to view the
Holy Ark hangings in order to make new ones to honor her mothers yort-
sayt, the anniversary of her death. In order to kiss the scrolls before leaving,
Leah must walk past Khonon as she goes to the Ark. The caretaker holds
the scroll for her to kiss. She embraces it and presses her lips close, kissing
it with passion. Her grandmother reacts saying, Enough, my child,
enough! A brief kiss is all one may give the scroll. Torah scrolls are written
in black re on white re! The women leave and Khonon sings the Song
of Songs. Reb Sender then enters at the end of the act to announce that
nally, after many thwarted attempts, he has betrothed his daughter. A joy-
ful drink is shared between the yeshiva students until it is realized that Kho-
non has fallen to the ground, killed by the news.
In act the focus is on Leah, whose heart is aching at both the loss of
Khonon and her impending marriage. While dancing with the poor people
in town, part of a customary feast for the poor that is thrown by the wealthy
on the occasion of a wedding, she is overcome by an ecstatic experience (g.
.). When she revives she reports to Frade: They held me, they sur-
Play(s)
Figure .. A still from Michael Waszynskys lm The Dybbuk based on the play. Here
we see Leah, played by Lili Liliana, during the dance with the beggars when she is swept
up by Khonons spirit. It was her encounter with him at the graveyard and then during
this dance that allows him to possess her and prevent the marriage from taking place.
rounded me, they pressed themselves against me and pushed their cold, dry
ngers into my esh. My head swam; I grew faint. Then someone lifted me
high into the air and carried me far, far away. This experience provides her
with the courage to speak to Frade about the souls of the too-soon de-
parted. Frade is frightened and amazed at Leahs bold talk about spiritual
matters. God help you, child! What are you talking about? Souls? What
souls? Leah speaks of souls only to Frade, saying nothing to her father
when he enters.
Before she can meet the bridegroom, Leah must invite her deceased
mother to the wedding. Frade accompanies her to the graveyard. Leah also
wants to invite Khonon. Frade does not want her to but relents.
Frade (in a low, frightened voice): Oh, my child, I am afraid! They say he died a ter-
rible death. (Leah cries quietly.): Dont cry, you can invite him, only dont cry. I will
take the sin on myself.
The Work, War, and Play of Possession
They return late from the graveyard; Frade says to Leahs companions,
She fell into a faintit was all I could do to revive her. Im still shaking.
They proceed to the awaiting wedding party.
When her bridegroom places the veil on Leahs head she tears it o,
jumps up, pushes him away, and cries out, You are not my bridegroom!
She falls upon the grave of two lovers
61
and beseeches their help, then sud-
denly with wild eyes begins speaking in the voice of a man.
Leah (dybbuk): Ah! Ah! You have buried me! but I have returned to my promised
bride and will not leave her!
(Nahman [father of the groom] goes to Leah; she shouts at him: Murderer!)
Nahman: She is mad!
Messenger: A dybbuk has entered the body of the bride.
62
The scene concludes with the messengers prescient testament.
The third act takes place at the Miropolye temple, where a powerful Ha-
sidic rabbi lives, Reb Azriel, to whom Sender brings his daughter.
63
Upon
hearing that Sender has arrived begging for help he says, as if to himself:
To me? To me? How could he have come to me when the me in me is no
longer here?
Sender and Frade enter the rebbes room. Leah remains at the door in
spite of their nervous gesticulations urging her to enter the presence of the
powerful rebbe. In an obedient voice Leah says that she is trying to enter
but cannot. Reb Azriel commands her to come in. She crosses the threshold
and sits dutifully, then suddenly jumps up and storms at him with a mans
voice. The rebbe and dybbuk begin a circuitous dialogue, matching wits as
the dybbuk slowly reveals information about himself. The rebbe commands
him to leave the body of this maiden so that a living branch of the tree of
Israel will not wither and die. The dybbuk roars back that he must stay with
Leah or else his anguished and harried soul will have no home, then begs
the rebbe to pity him. Reb Azriel does pity him but nevertheless gathers a
minyan to ask their blessings as he exhorts the spirit to leave. The dybbuk
makes deant challenges to the rabbi and appeals to his sense of justice with
sophisticated religious argumentation.
This scene exemplies the transgressive and conservative dimension of
the possession. As the instrumental agency for Khonon, Leah is found in
Play(s)
the center of a male sacred space (the minyan) making religious arguments
and defying the authority of the rebbe. Nevertheless, none of the other char-
acters attributes this power to her, and in no way does her speaking challenge
gendered Hasidic doctrines regarding womens spiritual authority.
The dybbuk is strong enough to withstand the prayers of the minyan, so
the rebbe dismisses Leah from the room and prepares the men of the minyan
for an excommunication ceremony. The messenger reminds the rebbe that
the chief rabbi, Reb Shimson, needs to be called to give his consent for this
critical procedure. When Reb Shimson arrives, he intercedes on behalf of
Nissen and Khonon instead. He recounts that the previous night he saw
Nissen ben Rivke, Khonons deceased father, in his dreams. Nissen ap-
peared three times in his dream, demanding that the rabbi bring Sender
before a rabbinic court. Reb Azriel agrees to hold the trial for Nissen and
calls Leah back into the room. Without telling either the dybbuk or Leah
about the dream or the trial, he tells the dybbuk that he has one day to leave
her body. Leah is left frightened and confused. Grandma, I am afraid.
What will they do to him? What will they do to me? Her confusion indi-
cates her gendered location in the discourse of the rabbis. Though she is
carrying Khonons soul, her absence from the discussion between Reb
Shimson and Reb Azriel indicates that the ocial transactions are being
argued between men, dead and living (Nissen and Sender) as facilitated by
the powerful rebbe. Leah is not told of the new turn of events (the rabbinic
court) and is not invited to the rabbinic court in which men will hear the
charges of the dead man against her father.
In act , the synagogue is prepared with a curtain behind which Pure
Dead Nissens soul is commanded to reside. Pure Dead Nissens speech is
not heard but is translated by Reb Shimson. Only the slightest movements
of the curtain indicate Nissens presence. We learn from Nissen that Sender
and he were best friends who betrothed their children should one have a
boy and one a girl. Nissen moved far away and then died soon thereafter.
Nissen charges that Sender has broken this vow against heaven, resulting
in Khonons death and leaving Nissen without heirs. Reb Shimson trans-
lates the otherwise inaudible voice of Nissen: Nissen ben Rivke states that
with his sons death he has been cut o from both worlds. Nothing remains
of him, neither name nor memory; there is no one to succeed him and no
one to recite the Kaddish on the anniversary of his death. His light has been
The Work, War, and Play of Possession
extinguished forever, the crown of his head has plunged into an abyss. He
therefore asks that the court sentence Sender, according to the laws of the
holy Torah, for spilling the blood of Nissens son and cutting o the family
line forever. (Fearful silence; Sender sobs.)
64
It is only through a male heir
that Nissen can have the Kaddish recited, and only a male heir is considered
to continue the family line. The problem that tears Nissens heart apart is a
problem based on patrilineality and the heightened evaluation of males in
the Jewish tradition. Wives and daughters are not bearers of the lineage,
other than literally, so that Nissens wife and daughters are insignicant to
his fate.
Sender replies that it is the duty of the grooms family to contact the
brides family and that Nissens family never notied him of the birth of a
son. Nissen counters by asking Sender why he never asked Khonons last
name or where Khonon was from, even though he had fed Khonon many
meals at his house. Nissen charges Sender with not wanting to know that
the poor boy was Nissens son in order that he could marry Leah to a wealth-
ier man. Sender sobs and replies that indeed he was drawn to the boy but
had no way of knowing. Silence follows. The rabbi passes judgment: since
the court does not know if the children were conceived at the time of the
vow, Sender is not guilty but must give half of his fortune to the poor and
perform the lifelong duty of reciting the mourners Kaddish for Nissen ben
Rivke and his son, just as if they were his own relations. Reb Azriel then
asks Nissen to forgive Sender and for Nissen to use his parental authority
to bid his son leave Leahs body so that a branch of the fruitful tree of
Israel will not wither. Reb Azriel asks the Almighty to shine his grace on
Nissen and Khonon.
Nissen, however, never acknowledges the rebbes judgment and leaves
from behind the curtain without saying an Amen, which makes the wit-
nesses of the court nervous. Immediately Azriel calls Leah into the room.
He commences with the exorcism, but still the dybbuk will not leave of his
own volition. Azriel resolves to excommunicate the dybbuk, thereby forcing
it out of her body. Leahs body thrashes about and screams as the dybbuk
ghts against the combined wills of the minyan. When nally the dybbuks
strength is gone and he submits to leave, Azriel revokes the excommunica-
tion, saving Khonons soul. Khonon asks for the mourners Kaddish, which
Sender is ordered to say. Leah faints.
Play(s)
The rabbi orders the wedding canopy to be set up, eager to have the
marriage commence, since Leah is so vulnerable in her weakened state to
further intrusions that would prevent her from marrying. Interventions
continue to upset Reb Azriels eorts; the grooms carriage has broken a
wheel and the groom can be seen walking, just in sight of the synagogue.
Leah asks her grandmother to rock her to sleep as the men leave to hasten
the groom to the canopy. Frade sings in a rhythmic chant but sings herself
to sleep instead. Leah then hears Khonon sigh, and they begin to speak.
Leah asks why he left her a second time, and he says that he broke every
law to try to stay with her but nally left her body in order to enter her soul.
Leah beckons to Khonon:
Return to me, my bridegroom, my husband. I will carry you in my heart, and in
the still of the night you will come to me in my dreams and together we will rock
our unborn babies to sleep. (Cries) Well sew little shirts for them, and sing them
sweet songs. (Sings, weeping)
Hushaby, my babies,
Without clothes, without a bed.
Unborn children, never mine, Lost forever, lost in time.
(A wedding march is heard; Leah shudders) They are about to lead me to the wed-
ding canopy to marry a stranger. Come to me, my bridegroom!
The play closes as Reb Azriel and the others enter to see Leahs gure melt-
ing into the glow of an embrace with Khonon. Sender too is left without
an heir.
Ansky wrote this play late in his career, in approximately , and never
saw it performed. When the Vilna Troupe performed it shortly after Anskys
death in to honor him, their production was so popular that it pro-
pelled them into international fame and became their signature perfor-
mance. Consistent with his later writings, it is an armation of Jewish
religious history and consistent with his reconversion to Judaism. The
popularity of the play and its subsequent adaptations into lm and ballet by
some of the most famous artists of the twentieth century indicate its ongoing
power to attract directors as well as audiences.
65
Writing at a time of intense
cultural transformations, Ansky constructed the role of a possessed Jewish
woman whose character has since become a profound representation of Jew-
ish identity who speaks powerfully to wider audiences.
The Work, War, and Play of Possession
Anskys life (r8or:o) is characteristic of the eastern European Jews
who critically embraced and transformed Jewish traditions. As a young man
Ansky was a self-identied critical realist who sought to undermine reli-
gious ideology while he tutored Jewish students, clandestinely bringing to
them the ideas of the Enlightenment.
66
Frustrated by Jewish rejection of his
ideas and writings, he then devoted his life, from the r88os until the early
roos, to the emancipation of the Russian narod (folk). Inuenced by theo-
rists of the Revolution such as the populist Peter Lavrov, Ansky was active
in the General Jewish Labor Bund in Lithuania, Poland, and Russia.
67
The
Jewish Labor Bund encompassed the spectrum of Jewish radicals, from
atheists to practicing Jews, and elements of traditional Jewish life, such as
the calendar of Jewish holidays, inuenced Bund activities.
Pressured by the continued force of anti-Semitism and pogroms, Ansky
intellectually engaged with Zionists who argued that Jews must have a
homeland in Palestine to end their exile and free them from persecution.
Always inuenced by Lavrovs universalism, Ansky nevertheless was feeling
the inuence of growing Jewish nationalism, which he directed toward the
emancipation of the Jewish folk.
68
Between the years ror, when he read
I. L. Peretzs collected writings in Yiddish, and ro, when he met with
Zionist youth groups in Geneva, his energies were redirected to record the
history of his people and to further their freedom and rights. He conceived
of the Jewish Ethnographic Expedition, which he directed from rr: to
rr, gathering thousands of photographs, folk tales and legends, folk
songs, and Purim plays, hundreds of historical documents, manuscripts, and
sacred objects. By devoting his energy to the scholarly study of Jewish folk
culture, Ansky was able to pursue the life of a revolutionary without re-
jecting the religious tradition of his people.
Wherever The Dybbuk was performed it was received with wild acclaim
or censorious critique. Roskies describes the extremes of public response:
No Jewish drama was ever more popularor controversial. . . . Habimah,
the Hebrew repertory company founded in Moscow, made theater history
with its expressionist decor and grotesque staging, which it has since pre-
served as a living memorial. The unprecedented furor over a mere folk play
soon had professional critics in Poland and Palestine up in arms. Pseudo-
art! screamed the title of M. Vanvilds book-length diatribe against the Yid-
dish productions, its philistine audience, and its deluded admirers. In Tel
Play(s)
Aviv the recently imported Hebrew production was put on trial in and
convicted of being a pastiche of legendary, realistic and symbolist ele-
ments.
69
Judaisms concern with iconography and idolatry created a suspicion to-
ward theater expressed in the rst-century prayer I thank Thee, my Lord,
that I spend my time in the temples of prayer instead of in theaters.
70
Espe-
cially problematic from an Orthodox perspective was a woman on stage.
The stage provoked objections because of the idolatry and immoral acts
associated with it, and because of Judaisms injunctions against a female
voice being heard publicly and men impersonating women by donning their
apparel.
71
Hasidic Jews in Poland angrily boycotted its performance, in-
dicating that they were not ready for this representation of a female Jewish
role.
72
Anskys rigorous research into the lives of his people and his accurate
and sympathetic representation of a Yiddish woman served to inform the
modern public of the humanity of shtetl communities. Nevertheless, to
the Orthodox and Hasidic communities her popularity was a blasphemous
and heretical crisis.
The alternative title for this play is Between Two Worlds, which describes
many aspects of the historical context of the play as well as Anskys personal
history. Ansky lived most of his life in the Pale of Settlement, which was a
regional ghetto created by the czars. The Pale of Settlement can be pictured
as a band of land running between Europe and Russia from the Baltic Sea
to the Black Sea. Germany, Austria-Hungary, and Romania bordered it on
the west. Jews were conned to living in this region. Only the wealthiest
Jews were allowed to live outside of the Pale, and those living inside it faced
taxation and restricted dwelling rights. Jews living in the Pale of Settlement
were tied closely to Russian history and culture, though the very existence
of this borderland indicated the tenuous relationship Jews had with non-
Jewish eastern Europeans. Intellectual and political movements such as the
Enlightenment and socialism were altered as they passed through the Pale
of Settlement. Hasidism, a pietistic movement within Judaism, took hold
throughout the area. It was a crucible of sorts in which Ansky lived for most
of his life except for a few years of living with activists in Paris and Swit-
zerland.
In the eighteenth century, no European country accepted Jews as full
citizens, though Germany oered a relatively welcoming environment.
73
It
The Work, War, and Play of Possession
was from Germany in the last decades of the eighteenth century that a criti-
cal movement among Jews arose: Haskalah (Hebrew) or haskole (Yiddish),
Enlightenment. Compelled by the philosophy, sciences, and literary criti-
cism of the Enlightenment, the maskilim (the enlightened ones), intellec-
tuals of the Haskalah, embarked upon the project of bringing Jews for-
ward into the Enlightenment. The Haskalah literature as a whole based
itself on the premise that the Jews, caught within the dreams of their old,
and by then archaic, cultural traditions of legal exegesis and kabbalistic mys-
ticism, had to be awakened, jolted if necessary, into facing up to present
social and cultural realities. They had to shake o their ostensible inertia
and actively join the progressive European community of the nineteenth
century.
74
Natural sciences, evolutionary theory, and physical sciences were
infusing the intellectual air with growing excitement, and Moses Mendels-
sohn is credited with leadership of the maskilim.
Geographical dierences between western and eastern Europe inu-
enced the way that Jewish identity was interpreted among the maskilim.
Western Jews, especially German Jews, desired citizenship in Germany and
assimilation. As the movement reached the Pale of Settlement, it was trans-
formed by the dierent needs and identications of the Jews who lived
there. In eastern Europe, regional identities were of greater importance and
national boundaries were in greater ux, so that a singular national identity
was not as important. As European cultural inuences moved eastward with
the industrial revolution reaching the Pale in the nineteenth century, the
Jews of the Haskalah in eastern Europe adopted a dierent approach and
turned their reforming energy toward creating a modern humanistic Jew
rather than turning themselves into national citizens.
75
Anskys work is ex-
emplary of the way that the eastern European Jews developed their particu-
lar world-view. Ansky wrote a hymn called The Oath in for the Bund
while he was its ocial poet. As described by Henry Tobias: The old revo-
lutionary circles had had their songs, of course; but now the singing of The
Oath was a ceremonial act, more akin to the Jewish religious ritual. The act
itself was an important symbol of internal discipline in a society [the Bund]
largely lacking external enforcement. To the workers, singing the hymn was
a solemn aair, to be performed with joined hands and even at times with
the sacred scroll of the law or the prayer shawl. For them, a simple descrip-
tion of class struggle did not suce as a declaration of faith.
76
The adoption
Play(s)
and use of Anskys hymn suggests that ritualization continued to work for
eastern European Jews who transformed rather than rejected those practices
that gave meaning to their experiences. Their religious bodies were engag-
ing in negotiations with Jewish tradition and socialist activism.
Gender was a primary eld of power relations identied by socialist the-
ory, but, as Irene Klepsz notes, the term maskil (singular form of maskilim)
was never used in Yiddish in relation to a woman. A woman could be the
mother, wife, and/or daughter of a maskil, but she herself was never de-
scribed as one.
77
Research into the lives of women involved in the Bund
produced this description of their struggles:
In a society where parental authority was great in any case, women led far more
restricted and regulated lives than men. It was not unusual by now for the daughters
of the assimilated bourgeoisie to attend state schools and universities. But among
lower-class Jewish families the very idea of educating women, beyond the minimum
need for prayer, was out of the question. In these families the break with the older
generation was excruciating. It is easy to imagine the shock of parents on learning
that their daughters had attended secret meetings late at night or on the Sabbath.
Home life was likely to prove bitter indeed for a young woman who joined the move-
ment. Arguments, if not beatings, were sure to follow once her aliation was discov-
ered. The gradual move toward the emancipation of women shook the very founda-
tion of Jewish social life.
78
As the move toward emancipation progressed, Jewish women involved in
socialist activism were caught in a double bind; the responsibilities included
in their new freedoms were added to their old responsibilities. Though
many maskilim and socialists promoted an agenda of radical egalitarianism,
women were not freed from traditional domestic responsibilities, nor did
they experience long-term socioeconomic increases in their power. The
male-dominated revolutionary leaders urged Jewish women to become ed-
ucated and many critiqued the compulsory roles of housewife and mother.
Radicals, whether Zionist or communist, though diering in how they inte-
grated women in their movements and in their vision of womens roles in
future societies, called on them to become politically and socially active,
and, in some cases, sexually liberated.
79
Ambivalence toward women, how-
ever, was manifest in many ways. In her short story Unchanged, Yente
Serdatzky writes of the abuse and confusion women experienced in the early
The Work, War, and Play of Possession
twentieth century as Jewish radicals encouraged womens sexual liberation
but simultaneously expected them to perform their prior duties as help-
mates for men.
80
Within and without traditional Jewish communities women
negotiated with systems of domination and subordination in the wake of
cultural transformations that held great promise of equality but depended
conservatively on their traditional free labor as mothers and wives.
Hasidism, a pietistic Jewish movement begun in eastern Europe in the
middle of the eighteenth century, is the second of the two worlds Ansky
lived between. Its founder, the Baal Shem Tov (BeShT or Besht,
), was a rabbi, kabbalist, and healer. In the collected tales of the Besht
he is seen to have performed his wonder in the uncertain and dangerous
areas of lifehealing the sick, exorcizing dybbuks (restless souls of dead
people), and helping barren women to bear children. Upon his death, his
disciples formed dynamistic courts and established distinctive patterns of
thought, feeling, worship, dress, and custom. These changes drew the Hasi-
dim apart from the followers of the more austere rabbinic tradition, and the
Hasidim formed separate congregations in villages and towns throughout
eastern and central Europe. The major focus of Hasidic belief concerned
the omnipresence of God in all things and the desire to attain unity with
the divine by intense concentration and the abandonment of self. Most
striking was the enthusiasm and the intensity which permeated their ac-
tions.
81
Hasidism was inuenced by Lurianic kabbalism, but whereas the Luria-
nic Kabbalah appealed primarily to an esoteric audience and to the more
learned, Hasidism had its impact among the masses. In Hasidism emphasis
was placed on the mystic in relation to the community and on the transfor-
mation of the mystic vision into living experience. The mystic visionary
became the Tsaddik (or Rebbe)the righteous leader of the community.
82
The Hasidic movement brought new life and democracy to the strained and
struggling rabbinic orthodoxy, and so rapidly became the most potent force
in the lives of the Jews of Eastern Europe.
83
Gender is a primary eld of power within Hasidism. The Hasidim were
a brotherhood whose teachings threatened the hierarchy of the rabbinic tra-
dition but did not challenge patriarchal spiritual authority.
84
Men did not
work because of the intensity and fervor with which a man should devote
himself to study. The three pillars of Hasidism are kavvanah (concentra-
Play(s)
tion), devekut (communion with God), and hitlahavut (enthusiasm),
85
but
these three pillars applied to the ritualization of mens religious lives. The
pious and righteous wives and mothers of the Hasidim were likely to pro-
vide a family income in addition to bearing and raising children. This cre-
ated a role for women in Hasidism that could be interpreted as uniquely
empowering or as uniquely oppressive. In the folk story The Wife of Abra-
ham, we see the role that wives and daughters held. Note that daughter
and mother are never named except by their association to Abraham. Mes-
sengers from a famous rabbi have traveled to arrange a marriage with Abra-
hams daughter.
After they [the messengers] rested from the journey, immediately after prayer, they
went to the house of the rabbi, our rabbi and teacher Faivel. It was the custom of
that rabbi not to trouble himself with the worldly problems of earning a living, but
instead to engage himself in studying the Torah the whole day and the night as well.
His wife was the one who had to concern herself with earning a livelihood. So when
they came to his house, his wife was returning from the synagogue, and she greeted
them and said: My brethren, where did you come from? They said: From the
holy community of Mezhirich. She said: What are you doing here? Do you have
some negotiation to arrange or something else? They told her the story. Our great
rabbi sent us to propose the marriage of your daughter and his son, who recently
became a widower. She laughed at them since she did not know the rabbi and had
never heard his name. Moreover, the girl was only twelve years old, and it had never
occurred to her to seek marriage proposals. After hearing the oer repeated many
times, the idea registered in her mind, and she said: Is not my husband, thank God,
in my house? Why should I concern myself with it? He will decide what is best.
86
The story goes on to describe how Rabbi Faivel agreed to the marriage and
that the messengers demanded that the contract be made ocial as of that
day, rather than allowing the girl the customary twelve months after be-
trothal. Faivel nally agreed but did not want to leave his studies, so he sent
the wife and daughter o. The wife had the freedom to travel without him,
but her freedom is dicult to distinguish from the obligation to do all that
Orthodox women did plus provide the labor power for economic exchanges.
It also does not appear that the daughters wedding holds enough spiritual
merit for Faivel to interrupt his studies to attend.
Interpreting the representations of females in this story is a complex is-
sue because those representations are the product of patriarchal systems of
The Work, War, and Play of Possession
textual production, which leaves one to read the silence of the other half
of the Kingdom.
87
The twelve-year-old daughter appears to function as an
exchangeable token between two famous rabbis; we get no sense of how the
mother feels about losing her daughter to marriage at such a young age and
so quickly or how the daughter feels. As Daniel Boyarin has argued, how-
ever, reading androcentric texts androcentrically is itself a repetition of era-
sure.
88
Reading against the grain of the androcentrism does not deny it but
capitalizes on the armation that behind these representations a daughter
and her mother negotiated this event as best they could, neither as heroes
nor as victims, for they were not autonomous agents within the patriarchal
system of Hasidism.
89
Dybbukim (plural of dybbuk), disembodied souls that possess humans and
in some cases animals or objects such as trees, exist within a Jewish tradition
of possession that is as old as the Hebrew Bible ( Sam. :) but is espe-
cially prevalent in Hasidism. The term dybbuk became popular and recog-
nizable due to the popularity of Anskys play but appears in Jewish literature
as early as the eighteenth century.
90
Academic literature on possession in
Judaism is not extensive.
91
It is primarily women who are possessed, which
surely contributes to this lacuna in scholarship. Scholarship is beginning to
address the gendered aspects of possession in Judaism, but as I will demon-
strate below the trend in scholarship is toward employing a modern social-
psychological model of subjectivity against which possessions are thought
of as evidence of deprivation.
92
After the late-fteenth-century expulsion of Jews from Spain, references
to possession increase among ocial and popular Jewish texts. Chajes ar-
gues in line with Scholem and Ruderman that the doctrine of the transmi-
gration of souls (Gilgul) gained increasing importance in early modern
Europe as Jews sought to reconcile their received tradition with their
experience of exile (Galut).
93
As Gilgul became of greater importance, the
Kabbalistic variation of Gilgul, ibur, gained importance. Ibur literally means
impregnation and denotes that one is impregnated with a possessing deity.
Ibur possessions occurred mostly in males and were highly valued. Iron-
ically, when women were possessed it was much less likely that they were
evaluated as being impregnated by a good spirit. Starting from the Hebrew
word for cleaving, clinging, or holding fast, Ashkenazic rabbis diagnosed
womens experiences as possessions by a disembodied soul, a dybbuk.
94
Play(s)
Evidence of the increased appearance of possession is found in a genre
of stories written from the sixteenth to the nineteenth centurydybbuk sto-
ries. R. Hayyim Vital, a student of R. Isaac Luria, was a recognized writer
of dybbuk stories in the last quarter of the sixteenth century. Chajes draws
from his writings to argue that a normative possession plot is at work in
dybbuk stories:
[T]he antagonist is a disembodied soul who has occupied the body of the victim with
the apparent goal of advancing his thus far unsuccessful attempt to gain admittance
to Gehennom. Gehennom, the Jewish Purgatory, rather than Hell, was a cleansing
ground for the polluted soul. There, after death, it could rid itself of the dross
accumulated over a lifetime of sin before taking its place in the World to Come. . . .
While this purgation was a painful one for the soul undergoing it, the alternative . . .
was immeasurably worse: to wander aimlessly, tormented and suering, without the
consolation that one was, in the process, earning forgiveness and solace. According
to Vital, souls in such a position at times overcome individuals, resulting in their pos-
session.
95
By possessing a human the disembodied soul was able to avoid the erce
tormenting he faced from angels who punished him relentlessly (most dyb-
bukim were males, and many of them were being punished for sexual trans-
gressions); also, the dybbukim could use the voice of the possessed person to
plead their case to the exorcizing rabbi, begging forgiveness and asking for
admission to Gehennom. The recent and extensive anthologizing of tradi-
tional dybbuk stories by Gedalyah Nigal indicates their increasing status as
a valuable genre of Jewish literature.
The dissemination of dybbuk stories is evident in the nineteenth century,
indicating an increased interest in possession. Chajes compares the sudden
concern with dybbukim in the European Jewish community to the coinci-
dence of the Christian Age of the Demonic, roughly the years
in Europe. Chajes argues that dybbuk stories are the product of rabbis who
were in need of strategies for competing with the pressure of Christian pop-
ulations (and their possessions). In his argument, the rabbis are invested
with the agency to employ the representations of the possessed women as
components, objects, of a larger social imagination. He asks, Could the
rabbis aord to be the only clergymen unable to perform exorcisms in a
period when the reality of possession was hardly doubted by even the most
The Work, War, and Play of Possession
scientic of men? And again, Rabbis may have sensed the power of pos-
session, both good and bad, to shore up their lagging image before the
public. Noting the general homiletic nature of the dybbuk stories, he pro-
poses that they were used as propaganda to combat skepticism and laxity
and to reinforce the doctrine of Gilgul. He concludes: Possession could
thus reinforce rabbinic authority by inculcating fear of sin as well as by dem-
onstrating the rabbis ability to exorcize, and, in cases of good possession,
by transforming them into angelic beings, their every word into a revelation.
While new revelation could challenge the status quo, I believe that the rabbis
knew, at some level, that the best response to this possibility was the very
appropriation of the phenomenon. They thus became masters of both its
ends: instruments of new revelation, i.e., good possession, and expert exor-
cisers of evil possession. The new revelation and exorcism could, in tan-
dem, function as an eective reinforcement of the status quo.
96
Chajess
analysis sounds very much like Firths discussion of possession in Malaysia
and Buchers discussion of possession in Zimbabwe: both wrote that sha-
mans appear to be masters of spirits to their people, but to us they appear
to be masters of people. By crediting the rabbis with the production of these
stories, the agency of the possessed women is lost. Chajess modern frame-
work (he has found human agents) erases the powerful alterity recounted
in the dybbuk stories.
The following excerpt of a dybbuk story is taken from a collection of ac-
counts surrounding the life of Rabbi Isaac Luria () and demon-
strates the negotiating strategies typical of dybbukim in their relationship to
host and rabbi. This dialogue is occurring between a possessed widow, an
innkeeper, and a doctor who was called before the rabbis were called:
Naomi, he [the doctor] said. Naomi. Can you hear me? The womans face began
to tighten, her eyes opened wider, and she grimaced as though in great pain. She
began to speak without moving her lips. The voice was that of a male. Fool! said
the voice. How dare you call me Naomi! Schmuel [the doctor] started back, almost
knocking into Reuben [the innkeeper]. My name is Ezra, not Naomi. Naomi is
merely my temporary dwelling place. Why do you stand there terried? Have you
lost the ability to speak? Schmuel and Reuben remained trembling near the door.
Dont worry. I wont hurt you, the voice went on. I am a soul in exile, doomed to
wander this world without a home. I have no intention of harming Naomi, or anyone
else. Believe me. But what am I to do? I have been sent back to this world without
a body.
97
Play(s)
The dybbuk goes on to recount a dream Reuben had the previous night in
which he stood up in synagogue to nd himself naked. The spirit laughs
riotously at this and tells Reuben that he is trying to be lofty without cloth-
ing himself in the fundamentals of Torah knowledge. The dybbuk goes on
to embarrass other onlookers with his insight into their private lives.
Rabbi Chaim Vital is called to the room and commands the dybbuk to
reveal his sins and also to reveal to the rabbi wisdom that the dybbuk has
acquired regarding death.
98
The dybbuk, Ezra, fathered many bastard chil-
dren during his lifetime. Having served his bodily desires in life, the dybbuk
found that his soul was still enslaved to his body upon death, unable to
ascend to heaven. Rabbi Vital discovers that the dybbuk entered when Naomi
uttered the name of Satan in anger, but that it was her loss of faith in general
that made her vulnerable to the dybbuks intrusion. Ultimately and with
great pain to the widow, the dybbuk is driven out of the space between the
esh and the nail of the little toe of her right foot, so that whatever scar may
remain will be of no serious consequence to her.
99
Upon his departure,
prayers are said to minimize Ezras suering as well.
Of central importance to the dybbuk stories is the extensive dialogue that
occurs between the dybbuk and the witnesses. Through the often witty dis-
course, the dybbuk tells its story, why he was not allowed into the gates of
Gehennom, how many years he has wandered, and why he should be allowed
to stay in the body. Using the body of the woman, he reports his life history,
confesses his illicit desires, and asks for forgiveness from the audience,
which the dybbuk depends upon to hear his story. The dialogues are highly
overdetermined with much sexual innuendo, many humorous denigrations
and bold accusations. From a contemporary perspective these dialogues
look to be incipient psychoanalysis. What is radically dierent is that they
occur in a community setting, with witnesses to the dialogue playing a con-
stitutive role in the dialogue in addition to the rabbis direct role. The dia-
logues also function to determine whether the woman is really possessed
(does she have supernatural knowledge, and are her lips still as the dybbuks
voice is heard?) or whether she is suering from mental or physical illness.
The possibility of intervention by disembodied souls is taken seriously, and
a system of knowledge exists for assessing the origin of the womans
suering.
The dialogues in dybbuk stories create an intimacy and a bond of commu-
nity between the dybbuk and the gathered audience. Knowing the dybbuks
The Work, War, and Play of Possession
story, the witnesses care about the dybbuks fate at the same time that they
desire the dybbuk to leave the possessed persons body. It is likely that the
witnesses, who most often are close acquaintances of the possessed person,
sense that the person was receptive to the dybbuk, indicating that her soul
was troubled. Witnesses are likely to participate in the dialogue and ask how
or why the dybbuk chose this person in order to understand the spiritual
elements of her vulnerability. Oftentimes the dybbuk comes forward with
unsolicited information that the audience members did not want others in
the community to know, further cementing a bond of community responsi-
bility as the accused witness must now repent and help the soul of the pos-
sessed and the dybbuk. The possession serves to reawaken faith and also ex-
poses other vulnerable people in the community who need guidance, such
as Reuben and his unfounded aspirations to religious knowledge.
Only after a terrible struggle in the body of Naomi is the rabbi able to
make the demon leave and also to purge a satanic angel who immediately
replaced the dybbuk. During this exorcism we learn of Naomis body: The
woman screamed at the top of her lungs, and began perspiring heavily, her
body shaking violently beneath the bed sheet. . . . The woman turned her
head stiy away from Rabbi Vital. Leave the woman, the Rabbi com-
manded quietly, but with tremendous force of will. His eyes were still xed
on Naomis face. The widow began to whimper and her hands clutched at
the sides of the bed. She was writhing in pain, the veins of her neck becom-
ing increasingly visible. Rabbi Vital noticed a horrible swelling in her throat;
she seemed to be choking.
100
If we interpret this representation as a piece of rabbinic propaganda, we
miss the theological importance of Naomi. If we read the story against the
androcentric grain, it describes a parallel sacred space in womens lives
where their social bodies function, within and against the connes of tradi-
tional patriarchy, to deliver theology for the community. From this perspec-
tive one can see a gendered agency in the permeability of womens bodies.
It is due to the ambivalent power of womens bodies that dybbukim choose
to possess them. The popularity of the stories and their dissemination across
Ashkenazic Jewish culture indicates the eectiveness of womens bodies to
produce knowledge in the community, a knowledge that was reproduced
and disseminated, informing the larger Jewish community of a theological
crisis.
Play(s)
Functionalist analyses of possession by early modern historians incorpo-
rate the anthropological theory of E. E. Evans-Pritchard, which links witch-
craft accusations with the breakdown of the village community and the
emergence of a new set of individual values in place of the older communal
ones.
101
Reformation historiographers have recognized the repeated motif
of repentance and piety in possession accounts. D. P. Walker has interpreted
the relationship of women to the repeated appearance of the pietistic idiom
in their possessions as evidence that the possessions were the only opportu-
nity for women to preach.
102
In support of Walkers analysis, Chajes notes
that in a rabbis daughter became possessed by a dybbuk who returned
to urge the community of Damascus to repent. She [the rabbis daughter]
cut quite a gure during her possession, assuming many roles traditionally
reserved for Jewish males.
103
Historiographical evidence is pertinent for un-
derstanding the agency of the women, but if applied using a modern psy-
chological agent as the model of subjectivity, the women possessed by dybbu-
kim will continue to be signied as less than agents. To reinterpret the
historiographical evidence, I submit that the work of the possessions at the
community level addressed a breakdown and reorientation of the commu-
nity toward its departed souls. At the individual level, the work of the pos-
session engaged women in public events of ritualization. This aspect of the
possession should not be understood as a guise for preaching. The womens
agency was an instrumental agency; they were sites for theological battles
over the salvation of human souls.
The dybbuk exorcisms provide both a conservative and a progressive
venue for a Jewish womans voice, paradoxically forcing the community to
respond to the altered voice that both animates and chokes her. A closer
analysis of the role that women play in dybbuk stories indicates that they
serve as the instrumental agency for the redemption of the dybbuks soul.
The woman serves as an agency, a place through which the dybbuk can admit
his guilt, can provide information to the community about the afterlife, and
can expose the transgressions of the community, thereby bonding his salva-
tion to that of the community. The possessed woman serves as the place
where the souls redemption is won.
Many dybbuk stories are Hasidic. The predominance of womens bodies
being possessed can be understood as a gendered parallel sacred space
among the Hasidim. The social bodies of the male Hasidim were cultivated
The Work, War, and Play of Possession
for an immanent relationship with transcendental power, interpreting the
Law in the service of dvekut, the longing to fuse the soul with the divine
Source of the world.
104
Permeable human subjectivity was central to Ha-
sidic theology, and possessions occurred to both men and women but with
diering evaluations. Howard Schwartz describes dybbukim as negative pos-
sessions, associated largely with evil and mostly manifest in women, in con-
trast to ibur possessions, which occur when men become united in spirit
with a great teacher. The presence of an ibur was regarded as an exceptional
blessing by Jewish mystics, especially those of Safed in the sixteenth cen-
tury, while the same mystics strove greatly to exorcize dybbuks from those
who were possessed by them.
105
Although this gendered devaluation of womens possessions is a frequent
characteristic of Hasidic possession stories, Schwartz builds his article on
problematic dichotomies, which I have noted are often used in the interpre-
tation of possessed women. He contrasts positive (ibur) and negative posses-
sions (dybbuk), saying, Considering that the dybbuk is linked so closely to
evil and madness, it is remarkable to discover a Jewish form of spirit posses-
sion that is regarded as positive.
106
I would counter that what is remarkable
is not that there are positive and negative evaluations of possession but that
Schwartz, a scholar whose work engages gender theory, does not analyze
the dierentiation between positive and negative as a gendered evaluation.
Dybbuk stories in fact relate a sense of ambivalence; what Schwartz calls
evil possessions are not evil but rather save the soul of both the dybbuk
and its host. By interpreting this ambivalence as a patriarchal response to
womens associations with receptivity to souls, the dybbuk stories can be in-
terpreted as evidence that women participated in the religious lives of their
communities as instrumental agencies rather than as evil, illogical forces.
An additional problematic dichotomy in Schwartzs analysis appears in
his description of the great Rabbi Karo, where he suggests that logic and
possession are opposites: Yet, remarkably enough for one with such a nely
tuned legal mind, Joseph Karo was a mystic who wrote a book recounting
his possession by a spirit when he studied the Mishnah, the core text of the
Talmud. . . . On several occasions others were present when Rabbi Karo
seemed to go into a trance and this spirit spoke through him in a voice of
its own.
107
In this analysis, Schwartz nds it remarkable that the parameters
of possession do not obey distinctions between the nely tuned legal mind
Play(s)
and the possessed mind.
108
In contrast, I would argue that what is remark-
able here is the appropriation by men of the metaphor of impregnation.
Although this appropriation does not seem to have produced a change in
the asymmetrical relationships between men and women, it does indicate
that receptivity was a developed capacity among men, reecting an alterna-
tive model of gender dierences and a model of subjectivity that recognized
womens receptivity as a form of power that men desired.
The Mother Tongue
Yiddish, the jargon of the folk, became the language of Jewish emancipa-
tion through the course of the nineteenth and twentieth centuries owing to
the dynamics of the Haskala, socialism, and Hasidism. Yiddish theater be-
came a vehicle for exploring, expressing, and celebrating the transformed
Jewish identity that was a result of these movements. A hierarchical rela-
tionship exists between Hebrew, the holy language, and Yiddish, the com-
mon language of Ashkenazic Jews. Yiddish was developed in the late Middle
Ages out of Old High German, Hebrew, and Romance and other linguistic
elements. The language picked up Slavic elements as Jews emigrated east-
ward.
109
All eastern European Jews had access to Yiddish.
110
Rabbis spoke
Yiddish among themselves, corresponded, mediated conicts, interpreted
halokhe, pronounced judgments and issued laws, divorce papers and legal
settlements in Yiddish.
111
In contrast, two axes of power functioned to limit access to Hebrew: class
and gender. Jews in exile, goles, were likely to suer from abject poverty so
that many men were unable to pursue an education in Hebrew. Women were
kept from the study of Hebrew, while it was mans highest duty to study
Torah. Those women who did study Hebrew were the exception. The rab-
bis wife, the rebetsn and the zogerin/woman speaker (whose function was to
interpret for and pray with the women behind the mekhitse) were often
literate in Yiddish and Hebrew and served as sources of wisdom. They
wielded power, demanded respect.
112
Apart from these exceptions, Hebrew
was the language of patriarchal religious authority.
As the nineteenth century progressed, the Jewish question was ad-
dressed in terms of what language Jews should speak. The Hasidim adopted
Yiddish rather than Hebrew in a move that challenged traditional rabbinic
The Work, War, and Play of Possession
authority. The maskilim rst viewed Yiddish with suspicion as a jargon that
isolated Jews from economic and intellectual engagement in Europe. Never-
theless, because it was the language of the masses and of women, it was a
necessary tool with which to reach and educate them.
113
For socialists in
eastern Europe later in the nineteenth century, Yiddish was celebrated as
the language of the folk and was used to educate the masses to overcome
their oppression. Zionists, in contrast, argued that once a homeland was
created, Hebrew would be the language of the Jews. They too, however, had
to speak to the Jews in Yiddish.
114
To adopt Yiddish was thus to transform
its role in society and to revalue it.
Ambivalence toward women was evident in arguments surrounding Yid-
dish. The invitation to the First Yiddish Language Conference in
Czernowitz was addressed to Honoured Sir! Esther Frumkin of the Jew-
ish Labor Bund was its sole female representative among the famous names
of Nathan Birnbaum, Chaim Zhitlowsky (possibly Anskys closest friend),
Peretz, Sholom Asch, and Avrom Reisen. Perceived as divisive, some
blamed her for single-handedly ruining the conference.
115
Passionately
committed to the democratic adoption of the mother tongue, she stormed
out of the conference frustrated with the elitism (local Jews were not al-
lowed to attend) and with the ambivalence toward Yiddish expressed by
her colleagues.
In a contemporary study of gender and Jewish literature Anita Norich
describes an implicit understanding of Yiddish as the mother tongueas
matrilineal, matronymicand of Hebrew as the father tonguepatrilineal,
patronymic, a language in which the inuence of tradition is paramount.
116
She voices a feminist suspicion about the revaluation of Yiddish: The rela-
tive status of Hebrew and Yiddish as literary languages changed so radically
as to be nearly reversed in the twentieth centuryas have the anxieties fe-
male writers have experienced as they inscribe themselves into a culture that
can hardly be said to have embraced them.
117
Further complicating the politics of Yiddish were internal divisions
among Jews. The two movements that adopted Yiddish, haskole and Hasid-
ism, were ercely antagonistic. Haskole and hasidism were produced in the
same era, with the decline of the traditional kehile [ruling Orthodox elite];
Moses Mendelssohn and the Baal Shem Tov were contemporaries, in fact.
But the two movements took opposite routes, and maskilim and hasidim
Play(s)
hated each other as much as traditional Orthodox believers hated them
both. Literature of the time, including drama, reected the contempora-
neousness of the two movements less than it did the chasm between them.
Jewish writers who wrote about Hasidism or who depicted shtetl life in their
plays were in an odd relationship with their material, varying from antago-
nistic depictions of the Hasidim as superstitious and ignorant folk to nostal-
gic or sympathetic depictions of the Old World. Yiddish playwrights were
in an even more tenuous relationship when they were depicting shtetl life.
Theater was anathema to the Hasidim except for the springtime Purim
plays, which had been part of Jewish tradition since the fth century.
118
The existence of Yiddish theater is itself evidence of the eect that the
Haskalah had on the cultural endeavors of Jewish intellectuals. Representing
a break with orthodoxy, playwrights nevertheless drew from religious tradi-
tion. Yiddish playwrights were writing not only against Orthodox prohibi-
tions but also against anti-Semitic characterizations of Jews in popular
Christian culture. The Jew and the Jewess were stock characters for
Christian theaters from as early as medieval Christian plays. Jews had g-
ured as the foils for Christian identity for centuries in the theaters of En-
gland and Europe.
119
Yiddish theater was building a repertoire at the end of
the nineteenth century, for the rst time producing plays with Jews as sub-
jects rather than objects.
Isaac Eichel, a colleague of Moses Mendelssohn, wrote the rst modern
Yiddish comedy, meant to be read rather than performed, at the end of the
eighteenth century. It was entitled Reb Henoch, and its characters spoke
Yiddish, German, French or English according to their level of learning!
In eastern Europe, Sholem Yankev Abramovitsh (), Sholom
Aleichem (), and I. L. Peretz () adopted Yiddish and
began writing the literature and theater of the Yiddish renaissance. Travel-
ing theater troupes from the west found a popular following for Yiddish
theater in eastern Europe. Ansky inherited a tradition brought east by Abra-
ham Goldfaden, whose productions with the two Brodber singers played in
Romania in and inspired a thriving eastern European Yiddish theater.
The plays of Yiddish theater companies were performed by several small,
dedicated troupes who also studied and performed European classics such
as Shakespeare. An international Yiddish theater arose in the course of the
nineteenth century in western Europe, eastern Europe, and the United
The Work, War, and Play of Possession
States, specically New York City (where more than two million Jews emi-
grated between and ).
120
Those playwrights recognized as writers
of the Yiddish renaissance were all males: Jacob Gordin, David Pinski, Sho-
lom Asch, Peretz Hirshbein, Isaac Loeb Peretz, Sholom Aleichem, and
S. Ansky.
121
The challenge of interpreting how Ansky employed the instrumental
agency of Leah is complex, given that he transgressed Hasidic doctrine in
the writing of the play and he transgressed Orthodox doctrine by having a
woman on stage. His critical realism allowed him to challenge these doc-
trines, but again his critical realism inuenced the believable, sensitive, and
informed depiction he constructed of her world. The plays outstanding
success at the time suggests that Ansky also used her, speaking the mother
tongue, to enrich the lives of his people through a depiction of traditional
shtetl life as they confronted transformations of Jewish identity in the twen-
tieth century.
Scholarly Interpretations of the Play
In recent interpretations of the play by Roskies and Eli Yasif it becomes
clear that literary scholars are also assuming that religion is a symbolic part
of life, in contrast to instrumental or real parts of life such as romance or
psychology. Employing this assumption, their analyses provide no option
for adequately interpreting the complex character of Leah, a desiring and
religious subject in a patriarchal world.
Roskies notes that Anskys most signicant innovation of the dybbuk sto-
ries from which he drew was to have the dybbuk be in love with the woman
he possessed.
122
He argues that this romantic innovation is a secularization
of the dybbuk story. He never explains why a love story is a secular, dra-
matic story, but in several places makes the claim that this tale is secular and
served antireligious ends.
123
This problematic division between secular and
religious denudes Leahs possessed body of religious signicance and cre-
ates an articial barrier between religious bodies and sexual bodies. What is
powerful about Anskys innovation is that he develops the character of the
possessed woman with depth; she is both a desiring subject and an instru-
mental agency for a sacred vow.
Rather than describing the introduction of romance as a secularization of
Play(s)
Yiddish tradition, Ansky could be interpreted as having developed Leah as
a shtetl woman who desires. To petition the writing of Charles Winquist,
Leah is a woman desiring theology as evidenced in her passionate embrace
of the Torah scrolls, her eloquent speeches to Frade, and her nal entreaty
or invitation to the dybbuk to unite with her. This is not to suggest that she
is a modern agent. It is impossible to propose what Leahs desire might be
or to dierentiate it from the desire of the law. It would be a mistake of
subjectivity to ask what she wantedshe was an instrumental agency for a
sacred vow. Desire itself suggests instrumentality. Recalling the linguistic
meaning of instrumentality by which some levels of agency are attributed
to the subject, the possessed woman who is a desiring woman is attributed
with a complex mixture of a driving will and being driven.
Yasif argues that dybbuk stories are an example of the central role of the
body as a site of protest in Jewish literature and presents The Dybbuk as an
example of his point. He uses Oesterreich, Bourguignon, Lewis, and Prince
to inform his analysis: As the young woman could not control her life and
choose the man she loved in the real world, the entrance into an hysterical
state enabled her to achieve her will outside the framework of society and
reality.
124
By describing her possession as a hysterical state he signies
the Hasidic tradition, imposing a modern psychological interpretation. Ya-
sif s description renders null the possibility that her body was engaged with
the extrahuman agency of the dybbuk (literally and guratively) and alters
the evaluation of Leahs agency by doing so.
125
If it is important to study
Jews and Judaism from an embodied perspective, it is important to ask,
Which embodied perspective? If viewed with an eye toward the ritualization
of the possession, Leahs role contributes to critical reection about what
an individual female body in Hasidic Judaism meant and to what extent the
social body of Hasidic women created reality eectively in a world where
the souls of the too-soon departed required the interventions of their hu-
man communities.
Anskys play depicts the gendered ritualizations that Leahs religious
body underwent. When the possession disrupted the marriage ceremony, a
dierentiation was made between the power of the sacred (a disembodied
betrothed) and the worldly (the arranged betrothed). The community re-
sponded by evaluating the power struggle that ensued as a sacred power
struggle requiring the help of the most powerful rabbis, the drawing to-
The Work, War, and Play of Possession
gether of the minyan, the assembling of a rabbinic court, the performance
and renunciation of an exorcism, and the rabbis demand for lifelong retri-
bution from Sender. The social bodies of the men and women were devel-
oped in dierent relationships to union with the divine. While Leah was
kept from the privileged space that devout study occupied for the yeshiva
students, her body was recognized as a receptive space. Her spiritual poten-
tial was her embodied receptivity. Negotiating between systems of subordi-
nation and domination in which she found herself to be betrothed to two
men, one dead and one alive, Leah functioned as an instrumental agency
for the law, maintaining the sacrality of a vow made between fathers. Trans-
gressive and conservative, she was receptive to the spirit of her departed
love, but she was also fullling the original patriarchal desire between two
fathers who would arrange for her transfer from one man to another.
Within Orthodox and Hasidic traditions, girls and mothers were the
property of men; care would be taken to assure that ownership was carefully
and ocially transferred from father to husband at moments such as mar-
riage. Anskys play builds on the tension of the moment of transaction by
interrupting the successful transfer of Leah from father to groom.
126
To be
possessed outside of that marital exchange relocated Leahs life, elevating
her status as a religious subject from the less authoritative role of bride to a
role of central importance to the rabbinic leadership. The ritualizations that
occurred in response to her possession indicated her increased signicance
to the patriarchal leadership of the community. Leahs death indicated that
her options were nevertheless severely limited. Rather than creating either
a resolution to the possession or a fairy-tale ending, Leahs death indicates
that Anskys critical realism was at work. It killed Leah to be possessed out-
side of the arranged marriage.
Feminist scholarship has brought to light a critical framework for contex-
tualizing interpretations of Leahs role in the play with greater suspicion.
Klepsz claims that the male authors of the Yiddish renaissance used mame-
loshn (mother tongue) precisely because it was folksy, associated with the
common man while conveying a sentimental attachment to women and
motherhood.
127
Her argument amounts to the charge that a few male au-
thors appropriated and defeminized Yiddish, creating a patrilineal geneal-
ogy of authorship that wrote about Jewish women either nostalgically or
misogynistically. While recent Yiddish studies have revived, translated, and
Play(s)
analyzed the times and writings of Abramovitsh, Sholom Aleichem, and
Peretz for their important contribution to world literature,
128
Klepsz eyes
the designation of Abramovitsh as the zeyde/grandfather of modern Yid-
dish literature with suspicion, and she questions Sholem Aleichems claim
to be the eynikl/grandson.
Klepsz argues that because Yiddish was associated with women, these
male writers had to dissociate its previous associations with trashy wom-
ens novels and defeminize Yiddish, the mother tongue.
The aim of Sholom Aleichems famous declaration that he was Mendeles literary
heir was more than just self-aggrandizement and erasure of other serious writers.
The young writer knew that despite Mendele and despite theory and politics, Yiddish
was on shaky ground as a medium for serious writing. What better way to show that
contemporary Yiddish literature was not a continuation, but a break from its illiterate
and womens roots than to ctionalize Mendele, at fty-two, as its zeyde/grandfa-
ther and Sholom Aleichem himself, at twenty-nine, his eynikl/grandson? By mak-
ing literature in mame-loshn patrilineal rather than matrilineal, Sholom Aleichem in-
stantly created a male Yiddish literary dynasty which mirrored the rabbinical
scholarly dynasties whose legitimacy and fame were rooted in Hebrew. Just when
Yiddish was being championed as an authentic national mame-loshn, Sholom
Aleichem declaredand everyone agreedits literature now belonged to the fa-
thers.
129
Reviewing the literature of Abramovitsh, Sholom Aleichem, and Peretz,
Klepsz nds that women are constructed dierently by each author and
even dierently over time by a single author, but nevertheless she arrives at
the charge that the women characters represent mens experiences and fears
of women within a patriarchal framework. She argues that the men of the
Yiddish renaissance perpetuated a conservative agenda through their fetishi-
zation of Jewish women, whether dear grandmothers or gossiping shrews.
Leahs character, however, is more complex than a fetishization. Her
character is an exception to the traditional depiction of women in dybbuk
stories. Leah is not imbued with a faint heart, wandering intellectual inter-
ests, or selshness. She is not depicted as a spurious or irreligious woman
who could be blamed for her receptivity to the dybbuk. This story reects
upon the fathers failure to observe the Law, not hers. Frade is also an excep-
tional grandmother, and she plays a minor role with major importance in
the play. The dybbuk possessions are facilitated twice by Frades actions
The Work, War, and Play of Possession
Frade allows Leah to invite Khonon to the wedding when they go to the
graveyard, and Frade falls asleep in the nal scene allowing Leah to commu-
nicate again with Khonon.
130
A conspirator in the web of necessity that
brings the lovers together, Frade functions to allow Leahs speech to be
heard and Leahs desires to be enacted.
In contrast, the nal scene in which Leah and Khonon are united in a
glowing, heavenly embrace could be interpreted to epitomize the way that
women were nostalgically employed by the writers of the Yiddish renais-
sance. What we see is a warm and glowing embrace, a spiritual union. What
is sweetly being portrayed is that it will kill Leah to unite her soul with
Khonon. That a subtle misogyny or pleasure might accompany this glow-
ing conclusion (a devout woman is a dead woman) raises a feminist suspi-
cion. Klepsz cautions that shtetl life and Yiddish literature have been
wrapped in a veil of nostalgia which obscures their true complexity. For
feminists to indulge in such nostalgia is particularly dangerous because it
discourages criticism, fosters ignorance of the true condition of Eastern Eu-
ropean Jewish women, and, in this case, erases the magnitude of the classical
writers failures both in promoting the womens cause in their writing and
in their relations with women writers.
131
Leahs death at the conclusion of
the play could be but one more example of how womens deaths have repeat-
edly been not-quite-performed on stage and might be the perfect vehicle
for misogynist nostalgia.
132
Nevertheless, it would be a mistake not to read Anskys play against the
grain of androcentric nostalgia. Leahs death might reect Anskys critical
realism more than a nostalgic fetishization: she had no earthly option, no
earthly voice to state her desire, no religious authority with which to argue
with the rebbe. In contrast to traditional dybbuk stories, which resolve the
struggle between the disembodied soul and his host in compliance with the
rabbis will, in Anskys version the earthly resolution negotiated by Rebbe
Azriel is thwarted in favor of the spiritual resolution, which successfully
joins the lovers in a union of souls. Leah does not follow the will of the
rabbis or her father to bear fruit for the tree of Israel, but she also does not
choose her husband. She invites the penetration of his soul. More
agentive than most brides, Leah is nevertheless only able to fulll her desire
by joining the too-soon departed.
There is evidence for and against Klepszs charges. Yiddish theater in
Play(s)
general used folk culture to evoke polarities: emotion and realism, mysticism
and the critique of idealism, socioeconomic realities and supernatural
struggles. Ansky employed the character of the possessed woman within
these evocative strategies to singularly powerful eect.
133
In the following
example we can see the strategies Ansky used as Leah is being spoken
through by the dybbuk. Preceding the dialogue, Reb Azriel threatens that if
the dybbuk does not leave the body he will cover it with curses and maledic-
tions, with conjurations and oaths, but that if the dybbuk will leave, Azriel
will use his power to reclaim Khonons soul. The dramatic reply shakes the
men of the minyan.
Leah (dybbuk [Screams]): I am not afraid of your curses and threats, and I dont be-
lieve in your assurances. No power in the world can help me! There is no more ex-
alted realm than my present haven, and there is no deeper abyss than the one that
awaits me. I will not leave!
Reb Azriel: In the name of the Almighty God I make my nal petition and com-
mand you to leave the maidens body! If you do not leave, you will be excommuni-
cated and given over to the angels of destruction. (A fearful pause)
Leah (dybbuk): In the name of the Almighty God I am joined to my intended for-
ever and will never leave her.
The emotions generated in this powerful scene are many, from sympathy
for the dybbuk to fear of Leahs volatile body as it moves violently and pro-
duces altered screams. Is this nostalgic fetishization or radical politics? De-
picting Leahs instrumental agency, Ansky can play on both conservative
and transgressive registers.
The critical point for evaluating the representation of Leah is that she
will never be an agent of progressive change. If Klepszs concern about
nostalgia is in part based on a progressive teleology, Leahs agency will by
denition be found to be inadequate. Instrumental agency will thwart femi-
nist desires for representations of womens autonomy and will thwart the
desires of a materialist dialectic. As the plays second or subtitle suggests,
Leah is Between Two Worlds, but in neither of these worlds is she an agent.
To guard against the potential nostalgia or misogyny that she nds
haunting the founding fathers of Yiddish literature, Klepsz argues that
we should turn to examine the writings of women at the time. The female
The Work, War, and Play of Possession
authors of the Yiddish renaissance wrote about many women characters at
many dierent ages and transformations, but of those writers gathered in
Found Treasures and Gender and Text, none of them wrote plays (because
women could not), and none of them wrote about dybbukim.
134
Silence and
voice are central to their stories, but these themes are explored in terms of
a womans internal dialogue and polylogue, screaming and choking. In an
autobiographical text depicting shtetl life in the Kiev Province from to
, Dora Schulner wrote about a young woman, Reyzele, who was forced
to marry an old man. Numbness, silence, and hopelessness are the motifs
that conclude this story. Rokhl Brokhes wrote prolically between and
in Minsk but was tortured and killed by Nazis in . In her story
The Zogerin, Brokhes wrote about the angry rantings of a poor zogerin (a
female leadership role in the temple) who lashed out at her community for
using her without adequately paying her for her work. The women who
witnessed her mad diatribe left her, shaking their heads. Only her grand-
son remained by default to hear her loud remonstrations. In his shame and
helplessness he urged her to please be quiet. Depicting shtetl life in the
s, Sarah Hamer-Jacklyn wrote My Mothers Dream, a yisker bikhl or
story commemorating the destroyed Jewish communities of eastern Europe.
The story is told from the perspective of Sorele, the oldest daughter, who
prays that her mothers third child will be a boy. Yente Serdatzky portrayed
the lives of Jewish women in revolutionary Europe (circa ) and the sub-
sequent disillusionment they suered due to the abuse they experienced in
the Haskalah environment, which encouraged sexual liberation.
135
These stories consistently suggest that being possessed by men in patri-
archal institutions is a problem, but they do not turn to a model of religious
possession as a potential emancipatory resource for these women. Instead
their characters represent the association of individual women and madness,
a more modern and psychological exploration of womens experience.
Whereas Malka Lee wrote about a young girls experience of having her
father burn her poetry (her own little creations), Ansky moved an audience
to tears with Leahs lullaby about unborn children.
136
Did Ansky create a
fetish? Ansky returned to folklore after years of materialist dialectic. He
turned to folklore and the role of a possessed woman to bring something
else to the stage that promised to deliver what revolutionary activism and
the Haskalah had not: a critical reection of and creative expression of Jew-
Play(s)
ish culture and heritage. There is a transformative potential in the gure of
Leah that the institutionalized and isolated psychological women of moder-
nity do not oer.
To compare the dierence more specically I will expand upon Celia
Dropkinss story The Dancer.
137
Dropkins () was born in Rus-
sia, moved to Kiev, Ukraine, at age seventeen, and then followed her hus-
band to the United States in . Her rst Yiddish poems were printed in
, and her collected volume In Heysnvint (In hot wind) was published in
. The Dancer is a story about a young woman in Warsaw, Poland,
who struggles to express her creative and athletic abilities as a dancer and
who tragically ends up institutionalized. Gysia was called dummy as a
young girl because she was so quiet; however, her demeanor changed when
she reached adolescence. She broke into peals of laughter and ts of danc-
ing, only to have this joyous spontaneity stied in her marriage. Gysia
wanted to study dance in Warsaw but instead followed her husband to New
York. Suering from her years of silence, she was ultimately driven insane
and institutionalized. Anskys play and Dropkinss story both end in trag-
edy, but Leahs death leads the audience to a dierent sense of life, one that
is engaged outside of the anthropologistic horizon. Dropkinss character
never moves beyond the tragic connes of the isolated and institutionalized
subjectivity of madness in modernity.
As many Jewish feminists have noted, In Jewish law there is no such
thing as an autonomous woman.
138
What frameworks would be sucient
for evaluating the agency of a Jewish woman within the constraints of Jewish
legal constructions of women? More specically, what framework would be
sucient for evaluating the agency of the possessed Jewish woman who has
become so famous, repeatedly represented in text and on stage, in glaring
contrast to the absence of half the Kingdom in Jewish history? She is not
an individual, nor is she an autonomous woman nor an institutionalized hys-
teric. Through her individual body she transforms the communitys rela-
tionship to its cultural memory. Although she never challenges a womans
right to raise her own voice as a spiritual authority, she says what a woman
could never say. Iconoclastic and conservative, transgressive and reinforc-
ing, her role embodies the paradoxes of instrumental agency by remembering
a religious history that the Haskalah did not and that psychological models
of subjectivity suppress.
The Work, War, and Play of Possession
While the women writers of Anskys time did not invoke dybbukim, there
are several contemporary literary and theatrical works that do, reecting
what I am arguing is a larger contemporary interest in the gure of the
possessed woman. Ellen Galfords The Dyke and the Dybbuk and The Dybbuk
of Delight: An Anthology of Jewish Womens Poetry
139
have revisited the theme
of the dybbuk to capitalize on its transgressive potential, which suggests that
the dybbuk is a gure that promises transformation for contemporary cre-
ative writers identied with a feminist agenda.
140
Paddy Chayefskys The
Tenth Man is a dramatic appropriation of Anskys play, set in the United
States, which also promises redemption in combination with critical real-
ism.
141
Galfords The Dyke and the Dybbuk is a lesbian exploration of perme-
ability, porosity, identity, and womens agency within contemporary Judaism
and within contemporary Hasidism. It is Galfords appropriation of the pos-
sibilities such permeability holds for lesbian negotiations with patriarchal
tradition. In this story Galford juxtaposes a lesbian character, Rainbow
Rosenbloom, lm critic and taxi driver in London, with the character of a
contemporary Hasidic wife, Riva, who wears a wig and remains behind the
temple curtain. The dybbuk is also a lesbian who has been assigned the job
of possessing the rst daughter of the rst daughter of every generation in
a family line that descends from eastern Europe. By titling her story The
Dyke and the Dybbuk, Galford has appropriated the famous title of the best-
known Yiddish play and lm. Galford too will use the allure of the possessed
woman, but gives it her own blunt lesbian appropriation in order to chal-
lenge and engage a tradition that does not recognize lesbians.
So also the editors of The Dybbuk of Delight: An Anthology of Jewish Wom-
ens Poetry turned to the model of the dybbuk to identify their creative appro-
priation of the feminine modality of possession. In our research into the
meaning and manifestation of dybbuks, we were struck by two things: rst
that the impure spirit only cleaves . . . to someone who desires to cleave
unto them; secondly, that possession takes place in a moment of melan-
cholia or confusion. These two conditions for spiritual possession struck us
very forcibly as being highly analogous to the act of creative writing.
142
These writers have called on the permeating presence of dybbuk possessions
to symbolize their creative process, suggesting that receptivity is a part of
their cultivated practice as poets. Also indicated in their association with
Play(s)
dybbukim is the struggle of wills that ensues in the writing process as op-
posed to a model of an autonomous author.
In Chayefskys adaptation of The Dybbuk, rst presented in r by Saint
Subber and Arthur Cantor at the Booth Theater in New York City, the cast
reects the pluralistic American Jewish community of Mineola, Long Is-
land. David Foreman, a retired biology teacher, kidnaps his granddaughter
Evelyn and brings her to the temple, distraught with the psychiatrists prog-
nosis that she will live a life of institutionalization. Foreman is motivated in
part because he recognizes Evelyns dybbuk as Hannah Luchinsky, a woman
Foreman debased a half century earlier when he was in Europe. Through
Evelyn, Hannah identies herself as the whore of Kiev. Once in the com-
pany of other Jews at the synagogue, Hannah exposes the transgressions of
the other men, a common motif in dybbuk stories.
In order to exorcize the dybbuk, a hung-over stranger is pulled o the
street to complete the minyan. He is Arthur, the tenth man. Evelyn engages
him in conversation while her grandfather searches for the rabbi to perform
an exorcism. She realizes that he too is possessed by a dybbuk who locks up
his emotions. At rst the young rabbi refuses to lead such an anachronistic
ritual but nally relents, admitting, But it would please me a great deal to
believe once again in a God of dybbuks. The dybbuk that emerges is not
Evelyns but is Arthurs, the atheist, who then proclaims: God of my fa-
thers, you have exorcized all truth as I knew it out of me. You have taken
away my reason and denition. Give me then a desire to wake in the morn-
ing, a passion for the things of life, a pleasure in work, a purpose to sor-
row . . . (He slowly stands, for a reason unknown even to himself, and turns to regard
the slouched gure of +nr oiat) Dybbuk, hear me. I will cherish this girl, and
give her a home. I will tend to her needs and hold her in my arms when she
screams out with your voice. Her soul is mine nowher soul, her charm,
her beautyeven you, her insanity are mine. If god will not exorcize you,
dybbuk, I will.
143
As with Ansky, we are left with a transformation that is
both conservative (she now belongs to Arthur) and transformative (she
will be loved rather than institutionalized). In this adaptation, however, a
male character assumes center stage and does so with an agency that is more
autonomous than either Leahs or Evelyns.
Against these multiple backdrops, the paradoxes of Leahs instrumental
The Work, War, and Play of Possession
agency are not resolved. The critical realist depicted her role as a token of
exchange between fathers in both worlds. Leah is not a heroinethere is
no iconography to depict the woman who serves as a ute and a hammer
between two worlds. She is the instrumental agency through which a cul-
tural memory, a sacred vow, is brought to community awareness, although
she is not present for the rabbinic court in which Nissen makes this vow
known to other men. Reinforcing and challenging Jewish constructions of
women, Leah draws the eye of the audience to witness the nal possession:
Come to me, my bridegroom.
Agave and Leah, two possessed leading ladies, are not the same, and their
possessions are not the same. Neither will the relationship of theater to rit-
ual be the same across traditions. Nevertheless, approaching the interpreta-
tion of their characters in light of the cross-cultural and transhistorical role
possessed women play for a historian of religions, their importance in these
masterpieces becomes clearer. The genius of these playwrights lies in their
employment of these volatile religious bodies, which function as the instru-
mental agencies for a performance within a performance.
The Play of Possession
Having discussed the role of the possessed woman in two plays, I want to
return to the issue of the performative nature of possessions. A possession
that occurred without an audience would be a nonevent. An audience is
required to witness and interpret what is happening because the possessed
body itself is not conscious during the event. The dynamic that I have called
instrumental agency rests upon the need for an audience. In addition to the
fundamental requirement for an audience is the volatility and alterity of the
possessed bodyit puts on a good show with altered voices, transgressive
language and actions, and erotic or spurious demands. The possessed body
demonstrates incredible power, communicating knowledge that the individ-
ual body could never have known. Possessions are expressive in a puzzling
way so that witnesses are compelled to interrogate and interpret the mean-
ing of the possession. The performative force of possession, what I am call-
ing the play of possession, has attracted much scholarly argument, most of
which has been pursued using a symbolic-instrumental dichotomy so that
the play of possession has been viewed suspiciously as the real work of the
Play(s)
possession, performed by a conscious actor. Scholars who have employed
an instrumental-symbolic dichotomy in their interpretation of possessions
have found that the performative dimension of possessions is evidence of its
humanly inspired origin: the possessed are interpreted to be actors
(agents) who are manipulating a guise or illusion (creating a spectacle, as
Lan described it). The performance has been interpreted to be the real func-
tion of the possession (attracting attention or establishing a role of au-
thority).
Paul Stoller identies performance theory as one of ve dominant motifs
employed by scholars in the study of possession, one which he employed in
his ethnography of possession among the Songhay of the Republic of Niger,
Fusion of the Worlds. In his later work on possession, Stoller moved away from
performance theory, arguing that theatrical and performance metaphors
were insucient concepts, largely imposed upon traditions that did not
themselves identify their possessions as performances.
144
Ann Gold, in con-
trast, has argued convincingly that rural Rajasthanis have their own per-
formative conceptualizations of the nature and outcomes of spirit posses-
sions.
145
Not only do people refer to authentic possessions and fake
possessions but they have also developed an entire genre of theater perfor-
mances of possession, including humorous performances of fake posses-
sions. Therefore, performance theories need not be dismissed as the tool of
a Western framework. The distinguishing factor between Stollers notion of
performance theory and Golds description of the Rajasthani performance
theory is that the Western academic notion is based on the idea that a con-
scious actor is acting a part. In the case of rural Rajasthanis performance
theory, the question is whether or not the person is really overcome (not a
conscious agent). An authentic possession is one in which the possessed
person is an instrumental agency for, rather than an agent of, performance.
The volatility and expressiveness of possession create an audience. Cre-
ating an audience is part of the work or force of the possession, the play
of possession. The pun is intended and reects why it is that scholarship
employing an instrumental-symbolic dichotomy would view the play of pos-
session with suspicion. It works. It plays. Moving beyond a symbolic-
instrumental dichotomy, the play of the possession is interpreted as ritual-
ization that creates reality eectively, prioritizing the sacred and constitut-
ing subjectivity in relation to the agency of an innite reality, be it ancestor,
The Work, War, and Play of Possession
deity, or spirit. The play of possession constitutes the instrumental agency
of the possessed person whose role in society changes as he or she is recog-
nized to be wielded by an external force. And although the play might at
times include raucous humor and at other times horror (Stoller described
the Songhay possessions as horric comedy), the play of possession is seri-
ous work.
146
Conclusion
Mrs. Tan was a young mother with three children and a husband; they were
living in the village of Peihotien, Taiwan, in . Her husband had lost the
job that brought him to the area and no longer provided for the family. They
were therefore outsiders among the established families. She was known to
be a shy and reserved woman, respected for being pious and making simple
oerings to the gods even though she was poor. After several months of
erratic behavior, which intensied to the point that she began beating on
her chest because it felt on re, Mrs. Tan experienced a possession so force-
fully it drew the entire village to spectate and speculate. One of those people
was Margery Wolf, the wife of an ethnographer; she described the noises
that drew the village out to the paddy elds to witness Mrs. Tan thrashing
in the muck: I heard a sound that lowered my body temperature by ten
degrees and pulled the hair of my scalp into a knot. It started with a low
bovine moan and undulated up the scale into an intense piercing scream.
At its peak, it dropped o into almost a gargle, stopped briey, and then on
a lower scale was punctuated by a series of short hoarse shrieks.
1
While
the local women cleaned her up and cared for her, Mrs. Tans husband was
instructed to get medical help. Mrs. Tan requested incense, which she held
while mumbling strange words. A doctor came and gave her a shot to put
her to sleep. She was then brought to a makeshift hospital, where she was
tied to a bed and given further sedation for several days until her husband
retrieved her because it was costing too much.
In the following weeks, the members of the community struggled to eval-
uate the event. Was she possessed by a god? It was after all the Seventh
Notes to Pages
tions signify and that inherent in those signications are evaluations of agency, which
often include racist and sexist devaluations of the people who have attracted ones intel-
lectual interests.
r. T. K. Oesterreich, Possession: Demoniacal and Other among Primitive Races, in Antiq-
uity, the Middle Ages, and Modern Times, trans. D. Ibberson (London: Kegan Paul, Trench,
Trubner, ro), r:r. He goes on to state, Not only material coming from observers
who have seen in possession purely and simply a morbid psychic state will be regarded
as admissible; the most interesting . . . accounts come precisely fromauthors who believe
in the reality of possession . . . [and] may very well be used in spite of the writers out-
look. Oesterreichs approach to possession demonstrates the awkward and signifying
relationship that haunts most possession studies.
r. Michel de Certeau, The Writing of History, trans. Tom Conley (New York: Colum-
bia University Press, r88), ::.
ro. Marilyn Skinner, Rescuing Creusa: New Methodological Approaches to
Women in Antiquity, Helios r, : (r8;): r8.
r;. Michel de Certeau, The Mystic Fable, trans. Michael B. Smith (Chicago: Univer-
sity of Chicago Press, r:), .
r8. Chilla Bulbeck, Re-Orienting Western Feminisms (Cambridge: Cambridge Univer-
sity Press, r8), and Richard King, Religion and Orientalism (London: Routledge, r).
Chapter . Signifying Possession
r. Long, Signications, .
:. Important bibliographic resources include Erika Bourguignon, Possession (San
Francisco: Chandler and Sharp, r;o), and World Distribution and Patterns of Posses-
sion States, in Trance and Possession States, ed. Raymond Prince (Montreal: R. M. Bucke
Memorial Society, ro8); Nils Holm, Ecstasy Research in the Twentieth CenturyAn
Introduction, in Religious Ecstasy (Stockholm: Almqvist and Wiksell, r8r); I. M. Lewis,
Ecstatic Religion (New York: Routledge, r8); Oesterreich, Possession; and most recently
the survey found in Robert M. Torrance, The Spiritual Quest (Berkeley: University of
California Press, r).
. Robert Segal, Reductionism in the Study of Religion, in Religion and Reduc-
tionism: Essays on Eliade, Segal, and the Challenge of the Social Sciences for the Study of Religion,
ed. Thomas A. Idinopulos and Edward A. Yonan (Leiden, The Netherlands: E. J.
Brill, r).
. Holm, Ecstasy Research, ro.
. Ibid.
Notes to Pages
o. Oesterreich, Possession, translators preface, ix.
;. Oesterreich takes this description from Justinus Kerner, a nineteenth-century
German physician, in Possession, ::.
8. Oesterreich, Possession, r:r.
. Ibid., :o, :;, ;8.
ro. Possibly this relationship represents a religious relationship that Charles Long
describes as the religion of contact. Whereas Western scholarship has carefully logged
the religiosity of its others, it has never examined its drive to study others as a part of its
own religious practices, religious because they serve to orient the human cosmologically
vis-a`-vis its others. The current popularity of possession studies as well as the presence
of possession motifs in popular culture suggests to me that possession and permeable
subjectivities are a point of immediate anxiety and curiosity against which Western mo-
dernity is orienting itself.
rr. Bourguignon, Possession, , r.
r:. Talal Asad traces this line of argument in the anthropological study of religion,
noting Cliord Geertzs pivotal role in describing such a distinction. Asad argues that
Geertzs treatment of religious belief, which lies at the core of his conception of reli-
gion, is a modern, privatized Christian one because and to the extent that it emphasizes
the priority of belief as a state of mind rather than as constituting activity in the world.
Genealogies of Religion (Baltimore: Johns Hopkins University Press, r), ;. I discuss
this point further in Chapter :.
r. King writes: If we approach the study of religions (religious studies) as one
would approach the study of cultures (cultural studies) rather than as an investigation
of divergent truth claims (the theology of religions) one need not become especially
concerned with the question of which religion, if any, has cornered the market on truth.
We do not ask if Russian or Spanish culture is true or false, nor do we need to in order
to gain some understanding of them. Cultures are not the sort of things that are usually
thought of as true or false. Perhaps it is also important to acknowledge in religious stud-
ies that [sic] the sorts of questions that the academic study of religion can (or possibly
should) attempt to answer. I have no illusions that this approach is free of tensions or
problems of its own. Indeed, to some extent, methodological agnosticism continually
balances on a tightrope between the secular on the one hand and the various religious
traditions under examination on the other. However, the tension on the tightrope is pre-
cisely what makes the study of religion such a fascinating and worthwhile exercise (;).
r. For a specic example of the process of evaluating the authenticity of possessions
see Gold, Spirit Possession, and Margery Wolf s Thrice Told Tale (Stanford: Stanford
University Press, r:). My thanks to Ann Gold, who brought this distinction to my
attention.
Notes to Pages
r. In his analysis of cargo cults, Charles Long quotes the early work of F. E. Wil-
liams (r:). In Williamss description of Vailala Madness we see that a similar herme-
neutical problem is at work: This movement involved, on the one hand a set of prepos-
terous beliefs among its victimsin particular the expectation of an early visit from
deceased relativesand on the other hand, collective nervous symptoms of sometimes
grotesque and idiotic nature (r). Long also credits the eld of anthropology with de-
veloping new theoretical and methodological approaches to such phenomena, which
contributed to the important work of recognizing the signicance these movements held
for understanding the religious signicance of colonization. In Long, Signications, other
works he cites include I. C. Jarvie, The Revolution in Anthropology (Chicago: Henry
Regnery, ro); Vitorio Lanternari, The Religions of the Oppressed (New York: Knopf,
ro); Kenelm Burridge, Mambu (New York: Harper and Row, r;o), and New Heaven,
New Earth (New York: Schocken Books, ro); Weston Le Barre, The Ghost Dance (Gar-
den City, N.Y.: Doubleday, r;o); and Anthony F. C. Wallace, Religion: An Anthropological
View (New York: Random House, roo).
ro. Raymond Prince, ed., Trance and Possession States, Proceedings of the Second An-
nual Conference of the R. M. Buke Memorial Society, March roo, Montreal.
r;. Ibid., r8r.
r8. Asad, Genealogies of Religion, r, in reference to the tension he sees underlying
anthropological and phenomenological studies of religion.
r. In John F. Schumaker, ed., Religion and Mental Health (New York: Oxford Uni-
versity Press, r:).
:o. Felicitas Goodman, Speaking in Tongues (Chicago: University of Chicago Press,
r;:); Ecstasy, Ritual, and Alternate Reality (Bloomington: Indiana University Press,
r88); How About Demons? (Bloomington: Indiana University Press, r88).
:r. Goodman, Ecstasy, .
::. Goodman, Tongues, r:.
:. Goodman, Ecstasy, , ;, ;8, :.
:. Lewis, Ecstatic Religion, r, ::, :.
:. Enrique Dussell, The Underside of Modernity: Apel, Ricoeur, Rorty, Taylor, and the
Philosophy of Liberation (Atlantic Highlands, N.J.: Humanities Press, ro).
:o. Lewis, Ecstatic Religion, o.
:;. These phrases occur in order on the following pages: roo, ro:, ro, roo, ro,
rr, rr, r8:. Some of these descriptions reect a theory of subjectivity based on an
individual agent, such as aggressive self-assertion. Others reect Lewiss distrust of
religiosity as an ideology, similar to Marxs sense of religion as an opiate.
:8. Ibid., r. An overview of the book reveals his greater attention to the shamans
as individual men who struggle for power (central cults). His concern with oppressed
Notes to Pages
women and men who vent their frustrations (peripheral cults) receives less overall
attention.
:. Ibid., r8.
o. An apt discussion of the problem is found in Paula Cooey, Religious Imagination
and the Body (New York: Oxford University Press, r): Those who turn to hermeneu-
tical theory, socioeconomic theory, and anthropological theory as authoritative for under-
standing religious traditions presuppose a very dierent concept of religion . . . namely
that religious symbol systems are themselves human artifacts, manifestations of culture.
As products of human making religious symbol systems are governed by principles char-
acteristics of human making. As religious human beings, adherents project an ultimate
reality; thus central symbols reect and further shape what is at the core thoroughly
human from beginning to end (r).
r. Vincent Crapanzano, in Encyclopedia of Religion, Mircea Eliade, editor in chief
(New York: Macmillan, r8;), r: r:r.
:. Holm, Religious Ecstasy, r;.
. Carolyn Cooper, Something Ancestral Recaptured: Spirit Possession as Trope
in Selected Feminist Fictions of the African Diaspora, in Motherlands: Black Womens
Writing from Africa, the Caribbean, and South Asia, ed. Susheila Nasta (New Brunswick,
N.J.: Rutgers University Press, r:); Mae Gwendolyn Henderson, Speaking in
Tongues: Dialogics, Dialectics, and the Black Woman Writers Literary Tradition, in
Hilde Heine and Carolyn Korsmeyer, eds., Aesthetics in Feminist Perspective (Bloomington:
Indiana University Press, r).
. Doris G. Bargen, A Womans Weapon: Spirit Possession in The Tale of Genji (Ho-
nolulu: University of Hawaii Press, r;).
. Ann Braude, Radical Spirits: Spiritualism and Womens Rights in Nineteenth-Century
America (Boston: Beacon Press, r:).
o. Thomas J. Csordas, Health and the Holy in African and Afro-American Spirit
Possession, Social Science and Medicine : (r8;): rrr, at r.
;. See Pam Belluck, Mingling Two Worlds of Medicine, New York Times, May ,
ro. As New York Citys immigrant population balloons, doctors and hospitals are
regularly faced with patients who also seek treatment from folk healers, spiritualists or
herbalists, a practice transplanted from countries like Mexico, China, Haiti and Cambo-
dia. Doctors are used to looking at these healers, who may use pigeon blood, mercury or
animal sacrices, as purveyors of superstitious quackery, ineective at best, dangerous at
worst. But some doctors at respected hospitals have begun to condone their patients use
of both conventional medicine and folk healing, even to the point of consulting with a
healer, referring patients to one or allowing the healer to come to the hospital. They say
it can be healthier for patients because it encourages them to followdoctors instructions,
Notes to Pages
keeps them coming in for treatment, improves their attitude toward their illnesses, and
seems to allay some psychological and possibly some physical symptoms. The bias to-
ward Western science is still evident in derogatory labels such as quackery. See also Dan-
iel Goleman, Making Room on the Couch for Culture, New York Times, December ,
r. The article describes the work of Juan Mezzich, a psychiatrist at the forefront of
a new movement in psychiatry to recognize the cultural trappings that patients bring
with them. The article describes how Mezzich recognized a patients trouble as susto,
or loss of the soula Latin American interpretation of what psychiatry would have
called depression. The doctor did not prescribe antidepressants, but instead we orga-
nized a sort of wake where everyone talked about the loss of her uncle and what it meant
to them. Mezzich reports: The wake was quite powerful for her. She didnt need any
antidepressants, and within a few meetings, including two with her family, her symptoms
lifted and she was back participating fully in life once again. Prior to meeting with
Mezzich she had been misdiagnosed as psychotic.
8. Colleen Ward, A Transcultural Perspective on Women and Madness: The Case
of the Mystical Aiction, Womens Studies International Forum , (r8:): rrr8, at
r:, r;.
. Katherine P. Ewing, The Illusion of Wholeness: Culture, Self, and the Experi-
ence of Inconsistency, Ethos r8, (ro): :r.
o. Lars Kjrholm, Possession and Substance in Indian Civilization, Volk :
(r8:): r;o, at r8.
r. Stephen Inglis, Possession and Pottery: Serving the Divine in a South Indian
Community, in Gods of Flesh, Gods of Stone, ed. Joanne Waghorne and Norman Cutler
(Chambersburg, Pa.: Anima Press, r8), 88ror, at roo, ror.
:. Elisabeth Schoembucher, Gods, Ghosts, and Demons: Possession in South
Asia, in Flags of Fame: Studies in South Asian Folk Culture, ed. Heidrun Bruchner, Lothar
Lutze, and Aditya Malik (New Delhi: Manohar, r), :o;.
. Kathleen M. Erndl, The Goddess and Womens Power: A Hindu Case Study,
in Women and Goddess Traditions in Antiquity and Today, ed. Karen L. King (Minneapolis:
Fortress Press, r;), r;8, at r8. See also Victory to the Mother: The Hindu Goddess of
Northwest India in Myth, Ritual, and Symbol (New York: Oxford University Press, r),
and Seranvali: The Mother Who Possesses, in Devi: Goddesses of India, ed. Donna Wul
and John Stratton Hawley (Berkeley: University of California Press, ro), r;.
. Erndl, Womens Power, :;.
. Ibid., ::.
o. Ibid., ::, :r.
;. Ibid., o.
8. For Japan, see Helen Hardacre, Japanese New Religions: Proles in Gender, in
Fundamentalism and Gender, ed. John Stratton Hawley (New York: Oxford University
Notes to Page
Press, ), ; and Gender and the Millennium in O
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Index
ability, possession as, : anthropologistic horizon, , , ;
anthropology, :o, r, r; feminist, Abramovitsh, S. Y., :o, :r
accounts of possession, ro:; ; myth of male dominance, or;
and possession, r, , African traditional religions, o, r:o:;,
roo Apollon, W., or
Arthur, M., r8o8r, r8, r8 Agamemnon, r;o
agency, :, o, :, ;; Butler and, 8o; Asad, T., o, 8, ;8;; and agency,
, oro, ;, ;; construction, r:; nonvoluntaristic, o,
8or, ;, 8o8;, 8; postcolonial ate, r;o
Athens, ro8o critiques, o, ;8;; and subjectiv-
ity, ;8, oo, ;r, ;, ::r audience, ::o, ::r
Augustine, Saint, o agency of possessed bodies, :, , , ::,
::, ::; Enlightenment perspective, authentic/unauthentic possessions, r,
::r , . See also instrumental agency
Albanese, C., :n autodescriptions, r
autosuggestion, :8, : Aleichem, S., :o, :r
Ali, S. H., rr, r:r
alterity, r, , ro, ro8, ::o Baal Shem Tov, r8, :o8
Bacchae, The (Euripides), ro:, ro;, ro8; fe- Amadiume, I., r
anachronistic bodies, 8, :;, , ro, :: male characters, r;8, r;; historical
context, ro8;; as liberation drama, anachronistic space, 8
ancestors, :, 8, r:;, ro; agency of, r;, r88; representations of possessed
women in, r;o, r;8, r;, r8o8;; syn- ::, ;:, ;, ;, :, ro8; hierarchy of,
r:;, r: opsis, ro; as vengeance drama, r8
backwardness, ;, :r, ;8, 8 Ansky, S., , ro, r; critical realism of,
r, :ro, :r; and Jewish folk culture, Bargen, D., o
Bazeley, W. S., rr :ro; The Oath, ro;. See also Dyb-
buk, The Beach, D., r, ro, r;
Index
belief, :, , ;; knowledge and, r, , Cliord, J., o:
colonialism, o, rr, :, :8, r:; revolt o, ;; possession and, ;, rr, :, :; re-
ligiosity and, o;, :, :, ;, 8; against, r:, r, r, ro;,
ro; women under, rr: scholarship and, r, r:, ,
Bell, C., ooo, o;, o;:, ; Comaro, J., r
community, , r:r, r:, r:;, ::8; Belluck, P., :n
Ben-Amos, D., :oon agency in, , ;:; breakdown of, :o;
cultural memory, r8o, :r;, ::o; in dyb- Bilu, Y., :oon
Blundell, S., r;r buk stories, :o, :o, :rrr:
consciousness, , r, , oo, o; agency Boddy, J., :
body/bodies: how they matter, 8o, and, r, o; altered state, 8, ;o;
blurred, , ;o, ;r; critical, r: , ; organic insuciency, 8, r, ;
and power, o;o, ;, :o. See also pos- conservative dimension, ror, :r:,
:r;, :n sessed bodies; religious bodies
bomoh (spirit-healers), :, ro;, rr; conversion, o
Cooey, P., 8 Borneo, :oon
Bourdieu, P., o; Cooper, C., o
Crapanzano, V., 8 Bourdillon, M., r:;, r:, ro, rr
Bourguignon, E., :, ro, rrorr, creativity, :, rr:, :r8
Csordas, T. J., or r:o:r
Boyarin, D., :oo cults, central/peripheral, ;
cultural memory, r:r, r:;, r8o, :r;, ::o Braude, A., o
British: in Malaysia, rro; in Zimbabwe, culture, 8, :, ror
culture/nature dichotomy, , r;8; r:, r, ro, ro
British South Africa Company, r, r,
ro dead, care of by Greek women, r;r
De Certeau, M., r, ro, ro8 Brokhes, R., :ro
Bucher, H., ror, :o: deities, :, r;o; vessels for, :,
Delphic Oracle, r;: Buddhism, 8o, 8, rr
Burkert, W., r;: deprivation theory, , :, , 8, 88
Derrida, J., 8, roo Butler, J., 88o; Cheahs critique, ;
devil, contracts with, r::
Dionysus, r;, r;, r8:8, r8o capitalism, o, :, r:r:
cattle, killing of in Rhodesia, r discipline, o, oo, ;, ;8, , rr
discrepant awareness, r8 Chajes, J. H., :oo, :or:, :o
Chayesfsky, P., :r8, :r discursive space, ::, ;;, ;8, 8:8,
ro; of theology, 88;, r:r, ::;. Cheah, P., 888, o, ;roo
choice, :, , o, ;, ror See also instrumental agency
divine madness, four types, r; Christian culture, characterization of
Jews in, :o Dobu,
Dodds, E. R., r;o, r;, r8 Christianity, rr, rr
Index
Dropkins, C., :r; feminism, ro, :, , r, , ; and
agency of women, ro, , 8, oo, dryness, ;o, ro
Du Bois, P., r;r o:o, ; and autonomy of women,
o, , ::; and The Dybbuk, :r:r;; Durand, J.-L., ::n
Dussell, E., o and maenadism, r;;; racism and,
r; and subjectivity, 88roo Dybbuk, The (Ansky): reception of, r,
r; representation of possessed Firth, R., rr, :o:
Flax, J., :rn women, r, :rr, :rr; scholarly in-
terpretations, :ro:o; synopsis, Foley, H. P., r;;o, r;8;
Ford, D., 8 r8;
dybbukim, :oo, :or, :o fraud, ro, rr
Freud, S., :8, dybbuk stories, :or, :o:, :oo, :r8
:o; dialogue in, :o:, :o; seculari- Frieden, K., :o;n
Frumkin, E., :o8 zation in, :ro
Dziva, D., r:o:;, r:8 Fry, P., ro;
Galford, E., :r8 ecstasy, , :o,
Egnor, M. T., :;n gender, :, , :, 8r8:; in Africa,
r8; in ancient Greece, r;o;r; Eichel, I., :o
Eliade, M., :; Shamanism, o and Hasidism, r8:oo, :oo; impact
of colonialism on, ro:; power and, emancipation, r;o;;, :ro
empowerment, , , 8r8:, rr8. See also men; women
Gilgul, :oo, :o: Encyclopedia of Religion, entry on posses-
sion, 8 Glass, R., 8
global neocolonialism, , o;, Enlightenment, ;8, ; Jewish, ro
Erndl, K., roo
glossalia, Eskimos, ;
ethnography, ro, r;, r:; of Korekore, Gold, A. G., , r, ::r
Goldfaden, A., :o r:, r, r; power dieren-
tials, r, ::, :: Goodman, F.,
Gordon, L., oo Euripides, r;, ro, ro;, ro, r;8. See also
Bacchae, The Greek philosophy, ro
Greek tragedy, r8; chorus, ro8, r8: Evans-Pritchard, E. E., :o
evil, :oo 8; female characters, r;o, r;;, r;8
r; Ewing, K. P., r
excess, :, Greek women: dramatic representations,
r;8;; and oppression, r;, r;o;;; explanations, indigenous, :, o, , ro,
rro and religious observance, r;r;; and
religious power, r8o, r8r, r8; status
of, r;o;r, r;, r;; as victims, r;, Fant, M. B., r;
fantasy, o, : r;o, r;;
Index
Grey, Albert Henry, th Earl, ro India, , ;;, :;n
indigenous tradition: eect of colonial- Grigg, R., 88
Gross, R., 8:, :oon ism, ror; weakening of, r:r
inequality, 8, rr8 Grosz, E., 88, r; Cheahs critique,
; inference, controlled, r, r;
Inglis, S., : guise, possession as, ;o, ro8, ro
instrumental, denitions of, ;;;
instrumental agency, ro, ::, ;, :, Hamer-Jacklyn, S., :ro
Hammond, N. G. L., r;: ro, ::8; in ancient Greece, r;o, r;;
of Deguchi Nao, 8o8r; in Malaysia, hantu, r, ro, rr, r:o, r:r; agency of,
ro8, ro, rro ro;8, rr8, rr:o; and mattering,
;8; power of possessed women, Hardacre, H., 8o8r
Harrison, J. E., ro r;; and receptivity, , 8:; representa-
tion of in plays, ro, r;8, r;8o, r8;, Hasidism, 8r, r, r8; tradition of pos-
session, :oo:o;; use of Yiddish rather ror, :o, :r:, :r, ::o; in Shona,
ro, r, ro, r8. See also discursive than Hebrew, :o;8, :o
Haskalah, ro;, :o space
instrumentality, , r:;, r;8, :rr healing, ;, or
Hebrew, :o;, :o8 instrumental-symbolic dichotomy, ;,
rro, r, ::r, ::o Hegel, G. W. F., o
hegemony, r; redemptive, ;o;r interpretation, r, r, r, ::, o; indige-
nous, , ro, rro Helie-Lukas, M.-A.,
Henderson, M. G., o interrogation, r, 8
Irigaray, L., ::, :rn Hinduism, , rr, :;n
history, possessions and, ; irony, r8
Islam, ;, ; in Malaysia, rr, rr; Holm, N., :o,
Hove, C., ro women and, 8, , roo
hysteria, :;, r, r;, :rr
James, W., , o
Japan, women in new religions, 8o8r ibur possessions, 8r, :oo, :oo
I Ching, rr Jayasuria, J. E., :;n
Jewish Ethnographic Expedition, r ideals, 8o
ideas, Jewish Labor Bund, r, ro
Jewish women, r:, r;, :r;; access to identication, 8, , o
identities: blurring, r; new, rro Hebrew, :o;; ambivalence towards,
r;8, :o, :o8; possessed, 8r, :oo; identity politics, 8, , r8
ideology, , , 8, r representations of, r:oo, :o, :oo;
status of, :r:; as writers of Yiddish lit- idioms, 8, , ;
illusion, , r: erature, :ro; and Yiddish, :o8
Jews, r, ro, :o; immanence, o, ;, r:;
imperialism. See colonialism Judaism, and gendered aspects of posses-
sion, :oo, :oo Inden, R., ;;
Index
Kachru, Y., ::n tions in, r8, rr8; possessions at work-
sites, r:, rorr, rr, rr:r; reli- Kagubi, ro, r;
Kant, I., 8 gious life, rrr; unstable people,
roo, rror; Karo, J., :oo
King, R., o Malay women: possession of, ro;rr;
susceptibility of, rr;r8, r:o; as un- Kjrholm, L., r
Klepsz, I., r;, :r:r, :r, :rro derclass, rr8
male possession, :8, :, r, r, r; knowledge v. beliefs, r, , o, ;
Korekore, r:, r, r Hasidic tradition, 8r, :oo, :or, :oo; in
India, o8; as mhondoro, r Kraemer, R., r;;
malevolent/benevolent beings, o8
March, J., r;8 Lacan, J., or; theory of the mirror,
8, o marriage, in Shona society, r;
masculinity, Western, :8, : lack, 8, r, :
Laderman, C., r: materialistic perspective, ;o, ro, rr
Matsuzawa, T., :8n Lako, G., ooo;
Lan, D., r, r:, r, r, matter/mattering, 88, , o, ;8
Mauss, M., ::n r
land: governance of, ro, roo; ownership Mayes, E. A., o
McClintock, A., of, r:;; protection of by spirit ances-
tors, r McCormick, M., :n
McDaniel, J., :;n Lee, M., :ro
Lefkowitz, M. R., r; medical approaches, or
mediums, in Shona culture, ro, r; lesbians, :r8
Levi-Strauss, C., r; agreement with guerrillas, r; duty to
protect land, r; and ritual, r; Lewis, I. M., ro, r;, :oon; Ecstatic
Religion, 8 white government and, r:
men: Greek, r;o;;, r;; in Hasidism, linguistic cases, ;o;;
Lipsedge, M., rr; r8, :oo; as mediums, r, r,
ro; permeability of, rr8; and sha- literary studies, o
Littlewood, R., rr; manism, ; in Shona society, r. See
also male possession locusts, in Rhodesia, r
Long, C., r, 8, :o, :n, :n; and Mendelssohn, M., ro, :o8
menopause, and womens status, ro, signication, rr, r:, :
Lurianic Kabbalah, r8 r;;
mental health/illness, , , , r::;
and shamanism, 8; women and, r, maenadism, r;, r;;, r8;
maenads, r;, ro, ro8, r;8, r8o8r, :ro, :r;
Mezzich, J., :on r8o8;; power of, r8r, r8:8, r8
Malaysia: Chinese in, rr, rro; coloniza- mhondoro, ro, ro, r:, ror; men as, r;
resistance against colonialism, ro;, tion, rrro; free-trade zones, rooro;
geography, rr:; oppressive labor condi- r:. See also Nehanda mhondoro
Index
mind/body dichotomy, oo, 88, r Ong, A., r;, ro, rooro, rr;, rr8,
r:o:r MLimo superstition, ro, :r:n
Mobius strip, r: oppression, , r8, , , ; creative
agency, oro; of Greek women, r;, modernity, possession in, o
moral development, ;o, r:o r;o;;; matter/form dichotomy and,
o; power and, o Morrison, T., 8
Mozambique warriors, r8 oracles, Greek women as, r;r, r;:;
Orang Asli, rr:r, rr Mugabe, R., r
multiple personality disorder, o, : Oranje, H., r88
Orientalism, roo, rror; Mumtaz, K., 8
Mutasa, D., r; Oyewumi, O., r
Mutswairo, S., r;
Mutunhu, T., r Padel, R., r;o, r;8
Pale of Settlement, r Mwari (Shona deity), r:8, r:
mystics, Jewish, r8, :oo pathology of possessions, :8, , r, rrr,
r; myth, r:, :o
Peretz, I. L., :o, :r
performance theories, r, :, ::r Nair, J., or, ;
naming, r:, : performativity of possession, r, o, ro:,
::o:: Nao, Daguchi, 8o8r
nationalism, ro, r Pericles, ro
permeability, , :8, :o; in ancient nationness, roo
Ndebele, r:8:, r; Rhodes and, r; Greece, r;o; in Hasidic theology, :oo;
lesbians and, :r8; of Malay people, Shona and, r, r8
Nehanda, ro, r;, ro, rooor; of rr;, rr8
phantasm, 8, o Karoi, r;, r8, r8; known by Zim-
babweans, r8; and nationhood, r8; piety, :o
Pioneer Column, r representations of, r;, r8
Nehanda mhondoro, r8r, r:;, r:, place: placeness, ;8o; power of, r:r;
religious body and, rrr, rrr r8, ror, ::
Nehanda of Dande, ro, r:, r, placetaking of spirits, rr:o
plays, representations of possessed r, r8, ror
Nehanda of Mazoe, r, ro, ror; women in, rr, r. See also Bacchae,
The; Dybbuk, The death of, r, r8
Nietzsche, F., ; politics and religion, o, ;8, rr, rr,
ro; in Zimbabwe, r, rr Norich, A., :o8
nostalgia, androcentric, :r, :r politics of translation, rrr:, r, ::;
politics/religion dichotomy, r:, roo nuns, r, :8
Portefaix, L., r;
Portuguese, in Zimbabwe, r: objectication, r:, :
Oesterreich, T. K., r, :o, ;; Possession: possessed bodies, ;, ;, 8:; anachronis-
tic, :;, ro; as utes, ;o; as hammers, Demoniacal and Other, :o:
OHanlon, R., :rn ;, ;o; place for remembering tradi-
Index
tion, ;8; as tempered body, ;o; work Ranger, T. O., r, r;, r;, roo
reality, o, ;o, ::r; alternate, , of, ;o
possessing agency, ;:, ;;, ;8, o, :, reason, o, 8
receptivity, , :, ;o, rr8, r:o; gender ro8
possession, , , rr:; denitions of, analysis, 8r, 8:, rrr; of maenads, r8o,
r8r, r8, r8, r8;; of women, o, :oo, ; eventual extinction, :8; reasons
for, o; religious traditions of, :; :r:
reexive methodology, , scholarship and, 8r;
possession studies, , , ro, :, 8o; re- Reformation, o;
regressiveness, 8, , r; ligionist, ::o, o; second-wave,
:, o, or, ;o; social scientic, : relationality, ro, r;, , r:, , oo, 8o,
:::o :, :o
postcolonial theory, ro, :, , ; and religion: as anachronistic space, 8; in
ancient Greece, ro;o, r;r;, r;; agency, o, ;8;; theology and,
88; belief and (see belief); historians of, :
:o, o; as ideology, ; power and, potters, :
power: Butler and, 8; dierentials in, r:, o, ;, , r8o, r8r, r8; in Western
history, o; ::, ::; embodiment of, , o;o, ;,
r:r; negotiations with, ;, , ;o, 8, religious bodies, ::, 8o, 8, rooror,
r:o, ::8:; mens and womens, ro; 8o, r:o, r:;, ro; places of, r:r; of pos-
sessed women, , , 8, r;o, r8o, and sexual bodies, :ro; as soldiers bod-
ies, r:, r8or; symbolic power of, r8r, r8:, r8, ::o; real, rr, :, , ;;
of religious bodies, r;, o, ;, , ::; r:, r8, r, roo. See also possessed
bodies and ritualization, o, ;o; symbolic, :,
:, ;, o, 8, , ;; of women, or, religiousness, o, ;, :; postcolonial per-
spectives on, 88; 8r, rr8, r;8, r8o, r8r, r8
pregnancy, metaphor of, 8r religious symbolism, r
religious traditions, ;; in Malaysia, rr primitivism, , :r, :;, :8, r:
Prince, R., : r, r:o; women in, , ;o, 8, ,
rooror projection, :;, r:, r:
psyche, possessions located in, :;, r repentance, :o
repetition, o;o8, o psychological response, ror, r:
psychology, , , o, ; reterritorialization, rr, r:o
Rhodes, C., r:, r, ro, r8 psychopathology, r, r:
psychosis, o, rr, :, r: Rhodesia, r; natural disasters in, r.
See also Zimbabwe psychotherapeutic perspective, ro, rr,
r:: Richartz, Rev. F., r
ritual, , o, oo, rr;; in Malay religion,
rrr, r:o; as practices, oo, o;o8, quest, Torrance and, o, r
o; Shona mediums and, r; as
symbolic behavior, o rabbis, :o;, :r:; use of possession stories,
:or: ritualization, o8;:, :o, :rr, ::r, ::8;
in African traditional religions, r:o, Rajasthani performance theory, ::r
Index
ritualization (continued) social scientic approaches, ::,
:o; second-wave, :, o r:;, r:, ror; ancient Greece, ro,
r;o; eastern European Jews and, r;; Socrates, ro, r;
South America, , r::; shamans in, gendered, :rrr:; ritualized agent, ;o,
;r;: 8
South Asia, possessions in, : Rogers, S. C., or
Rosenthal, J., or spectrality, 8, roo
speech of possessed women, , ;8, ro;8 Roskies, D. G., r, :ro
Rudd Concession, :orn spirits, :, rr; existence of, o; placetak-
ing of, rr:o; propitiation of, rr, Rudie, I., :on
rr, r:o; veneration of, rr, r:o.
See also ancestors sacred, :, ;o; hierophany, r; irreducibil-
ity, ;8; sacred space, 8:, rr, :o, Spivak, G., ::
spontaneity, : :o
Said, E., :on Sri Lanka, r:
stigmata, :, Samupindi, C., r;
Schi, E., :o;n, :on Stoller, P., ::r, :::, :n
subjectivity, o, 8, r:; agency and, ; Schmidt, E., r, rr, r, r;
Schoembucher, E., : 8, ;8, oo, ;r, ;, ::r; Chris-
tian, o; construction of, 8; feminist Schulner, D., :ro
Schwartz, H., :oo theory and, 88roo; Greek, r;o, r;;
;8; as illusion, r:; Malay, rr;, Segal, C., :n
self-constituting subject, :rn rr8, rr; male, 8r; nonautonomous,
rr:; placeness and, ;; of possessed Serdatzky, Y., r;8
Sered, S. S., o, :, people, o, :, ;o, rr:; of pos-
sessed women, 8r, ro, ro, r: shamanism, ;, o
Shona people, r:;:8; dryness and, ;o, ; psychological models, o, :o; and
quest, o, r; religious, ;, 8, rr, r, o, ro; land and, ror; Ndebele and,
r, r8 oo, ;r, r:o; of shamans, ;, 8; Shona,
r:, r, r; as social body, ;o; Shona women, rr:, r; power of,
r;8 and social practices, ooo;; Western
model, o, o, o, or, ro, rro, ::o signication, rrr:, :, , o, 8, rr;
and containment, :; problem of, : Sullivan, L., 8,
superstition, , ro , ::o
skepticism, o, r, rr susceptibility, :;, :8, o, rr;r8, r:o
Sweetman, D., :on Skinner, M., r
Sluhovsky, M., :o8n symbolism, oo, oo, ::o
Smith, Ian, r:, r:
Smith, J. Z., ::n Tara Devi, transformation of,
Taussig, M., r:r: social body, ;o, 8o, :o, :r:; Bell and,
ooo;, ;o; of Hasidic women, :rr, teleology, 8
theater: Jewish attitude to, r; Yiddish, :r:; of Malay women, rr8, rr
social practices, oo, o;o8 :o;, :oro, :rr
Index
theology, 8, o;, roo, :o, :rr, ::;; White, J., ::n
Wife of Abraham, The, r:oo discursive space, 88;
third-world women, ro, o, o; as vic- will, ;r; of God, o, ;, roo; of spirits,
;r, ;, r:o tims, or, o:
Tobias, H., ro willing, 8
Winkler, E. H., ro;o8 Torrance, R., o:
tradition, 8o; remembering, ;8, r:r Winnington-Ingram, R. P., r8:
Winquist, C., 8o trance, :, 8, rr;
transformation, r, o, ror, r8r; of wom- Winzeler, R. L., rror;
wisdom, in Bacchae, r8o8r ens lives, ,
transgressive dimension, ror, :r:, witchcraft, ro;, :o
witnesses, r, ::o; accounts of posses- :r;, :r8
Trinh T. Min-ha, ro sion, ro;8, ro, rro, r:o; in dybbuk
stories, :o Tsing, A. L., :;n
Wolf, M., ::, :::
women, r, r, r;8; and national identity, uncertainty, o
universal human experience, ;8, o 8, ; in peripheral cults, ;; predomi-
nance of, in possession accounts, :,
:, ; in religious traditions, , Vambe, L., :rn
Vanvild, M., r ;o, 8, , rooror; and shamanism,
; susceptibility of, :;, :8, rr;r8, Vera, Y., r;, :n
victim/agent dichotomy, o, or r:o; as victims, ooor. See also Greek
women; Jewish women; Malay women; vigilance, :, ;, ro, rr, r:o, r:r
Vital, R. H., :or Shona women
work, and religion, in Malaysia, rr, rr, voice, ro;8, r:o, :or. See also speech of
possessed women r:r
volatility of possessed women, :;, ,
ro, r, ro:, :r, ::o Xenophon, r;o
voluntary/involuntary possession, :, r,
, ror Yasif, E., :rr
Yiddish, :o;, :r:r; women and, :r:,
:r Wadley, S. S., o8
Walker, D. P., :o Yoruba, r
war, r:, r8, roo; involvement of
women, rr: Zeitlin, F., r;;;8, r8, :oon
Zezuru, witchcraft in, r; Ward, C., r
Waxler, N., r:, ::8 Zimbabwe: possessed women in, r:or;
redistribution of land, ::; revolution- Weiss, R., ro, rr, r:, r;8
West: and otherness, ; possession in, o, ary wars, r8r, r, ro, ro; ru-
ral women in, ro:. See also Rho- ;; psychosis in, r:; and superstitious
beliefs, r8 desia