The confluence of different Jewish traditions in the Qumran library is evident. The Enochic traditions are not only counted as the oldest influences in Qumran, they also give it a certain theological unity. This is even more true in the case of demonology. Belial’s figure brings together a rich lexicographic heritage in which different traditions are integrated under the characteristics of the Watchers and Giants of the Enochic tradition (1 En 6—8). This study analyzes the theological characterization of (...) the demonological figures found in Qumran to specify the Enochic influence on it. (shrink)

La question du sexe des résidents du site de Qumrân a longtemps été ignorée, comme s’il allait de soi qu’une telle communauté ne pouvait compter que des hommes. Longtemps aussi les spécialistes ont raisonné en utilisant uniquement les textes des manuscrits trouvés dans les grottes de la mer Morte comme si les données matérielles fournies par les fouilles du site archéologique de Qumrân ne pouvaient leur être associées. Cet article entend analyser les raisons pour lesquelles les chercheurs ont pu affirmer (...) que les femmes étaient a priori exclues de Qumran. Il entend également montrer comment les objets produits par les fouilles prouvent, au contraire, une présence de femmes sur le site. (shrink)

The idea of Greek influences on Hellenistic Judaism appears to be so deeply engrained within modern scholarship that nothing could upset this apple cart, at least as reflected in two recent books on various aspects of magic, astronomy, and medicine in Jewish sources from the Hellenistic and Roman periods. The usual frame of reference relies upon paradigms clearly outlined by Saul Lieberman and Martin Hengel, that Greek culture and science had penetrated Jewish thinking to such an extent, that even (...) Hebrew and Aramaic texts from Qumran or the Mishnah were eventually integrated into an undefined Hellenistic-Greek Jewish episteme. The present review article advocates an alternative Near Eastern context for Jew- ish writings in the period, one that did not reflect Hellenism in any form. (shrink)

: The controversy about research on human embryonic stem cells both divides and defines us, raising fundamental ethical and religious questions about the nature of the self and the limits of science. This article uses Jewish sources to articulate fundamental concerns about the forbiddenness of knowledge in general and of knowledge thought of as magical creation. Alchemy, and the turning of elements into gold and into substances for longevity, and magic used for the creation of living beings was at (...) stake in various Talmudic texts. Since contemporary discourse calls regenerative science magical, and makes claims about its restorative power, careful reflection on when magic is forbidden and when it is responsible allows a novel understanding of ethical questions in stem cell research. (shrink)

At some point during the last two years of his life, Robert Boyle dictated to his friend, Gilbert Burnet, Bishop of Salisbury, some notes on major events and themes in his career. Some of the information he divulged in these memoranda has become quite widely known because Burnet used it in the funeral sermon for Boyle that he delivered a month after his death, at St Martin's in the Fields on 7 January 1692. In addition, these notes were cited several (...) times by Thomas Birch in the ‘Life of the Honourable Robert Boyle’ that he prefixed to his edition of Boyle's collected works of 1744: he there describes his source as ‘Mr.Boyle'smemorandums of his own life, dictated by himself to BishopBurnet’.2 What has hitherto been virtually overlooked is that the manuscript of these notes, which is in Burnet's hand, survives among the Birch Papers in the British Library: it is this document—and particularly a substantial component of it which was publicized by neither Burnet nor Birch—that forms the starting point for this paper. (shrink)

In teaching a class on what is arguably the most "sensational" area of anthropological study, i.e., the practices, beliefs, and behaviors that have been essentialized as magic, witchcraft, and religion by western theorists, one is faced with the problem of legitimizing something that many of our students view as unbelievable. Teaching a course in this area at a small, liberal arts college in Maine, I had to come to terms with just these sorts of problems, i.e., how do we (...) get people to enter into, posit and understand other ways of seeing and being that are radically different from their own? This paper discusses the structure (emic/etic) that I use to expose my students to problems of framing and understanding various ethnographic works through performing them, interpreting them, and debating them in class. (shrink)

In The Imaginary, Sartre provides the foundation upon which the development of his theory of bad faith is built, pointing to a fundamental choice at the level of image consciousness between the unreflective projection of the image and the impure reflection upon that image constitutive of imaginative comprehension, or what he refers to in this text as pure comprehension. Pure comprehension can be seen as Sartre's early formulation of pure reflection in which thought is characterised by movement rather than the (...) reification of thought indicative of impure reflection and imaginative comprehension. This will prove to have consequences for the interpretation of Sartre's conceptualizations of desire and bad faith and consequently for Sartrean ontology, psychoanalysis and ethics. (shrink)

Fundamentals of Cognitive Science draws on research from psychology, philosophy, artificial intelligence, linguistics, and neuroscience to provide an engaging and student-friendly introduction to this interdisciplinary field. Whilst structured around traditional cognitive psychology, the book also looks at cognitive neuroscience, and magic.

Contemporary ICTs such as speaking machines and computer games tend to create illusions. Is this ethically problematic? Is it deception? And what kind of “reality” do we presuppose when we talk about illusion in this context? Inspired by work on similarities between ICT design and the art of magic and illusion, responding to literature on deception in robot ethics and related fields, and briefly considering the issue in the context of the history of machines, this paper discusses these questions (...) through the lens of stage magic and illusionism, with the aim of reframing the very question of deception. It investigates if we can take a more positive or at least morally neutral view of magic, illusion, and performance, while still being able to understand and criticize the relevant phenomena, and if we can describe and evaluate these phenomena without recourse to the term “deception” at all. This leads the paper into a discussion about metaphysics and into taking a relational and narrative turn. Replying to Tognazzini, the paper identifies and analyses two metaphysical positions: a narrative and performative non-dualist position is articulated in response to what is taken to be a dualist, in particular Platonic, approach to “deception” phenomena. The latter is critically discussed and replaced by a performative and relational approach which avoids a distant “view from nowhere” metaphysics and brings us back to the phenomena and experience in the performance relation. The paper also reflects on the ethical and political implications of the two positions: for the responsibility of ICT designers and users, which are seen as co-responsible magicians or co-performers, and for the responsibility of those who influence the social structures that shape who has power to deceive or to let others perform. (shrink)

Explores the attitudes of the philosopher, Voltaire, and how they were influenced by his studies of Newton. Specifically looked at are his beliefs on physics, chemistry, astronomy, biology and even magic and medicine.

Both Andreas Libavius and Heinrich Khunrath graduated from Basel Medical Academy in 1588, though the theses they defended reveal antithetical approaches to medicine, despite their shared interests in iatrochemistry and transmutational alchemy. Libavius argued in favour of Galenic allopathy while Khunrath promoted the contrasting homeopathic approach of Paracelsus and the utility of the occult doctrine of Signatures for medical purposes. This article considers these differences in the two graduates' theses, both as intimations of their subsequent divergent notions of the boundaries (...) of alchemy and its relations with medicine and magic, and also as evidence of the surprisingly unstable academic status of Paracelsian philosophy in Basel, its main publishing centre, at the end of the sixteenth century. (shrink)

I present a detailed ethnographic study of magic and divination of the Nuosu people in southwest China and offer a cognitive account of the surprising prevalence of these objectively ineffective practices in a society that has ample access to modern technology and mainstream Han culture. I argue that in the belief system of the Nuosu, ghosts, divination, and magical healing rituals form a closely interconnected web that gives sense and meaning to otherwise puzzling practices, and such a belief system (...) is importantly supported and reinforced by individual’s everyday experiences. Contemporary Nuosu people overwhelmingly treat these practices as instruments for achieving specific ends and often entertain considerable uncertainty regarding their efficacy, which may be overestimated for a number of reasons, including the following: (1) the intuitive plausibility of divination for ghost identification and exorcist rituals is enhanced by the belief in the existence of ghosts as a result of abductive reasoning, (2) negative instances (divinatory or healing ritual failures) are underreported, and (3) people’s misperception of the probability of uncertain events’ occurrence often prevents them from realizing that the efficacies of magical/divinatory practices do not outperform chance. I conclude with some comments on the generalizability of the psychological and social mechanisms discussed. (shrink)

Leddington (2016) remains the leading contemporary philosophical account of magic, one that has been relatively unchallenged. In this discussion piece, I have three aims; namely, to (i) criticise Leddington’s attempt to explain the experience of magic in terms of belief-discordant alief; (ii) explore the possibility that much, if not all, of the experience of magic can be explained by mundane belief-discordant perception; and (iii) argue that make-believe is crucial to successful performances of magic in ways Leddington (...) at best overlooks and at worst denies. (shrink)

Science and religion pervade the 1973 horror The Exorcist, and the film exists, as the movie’s tagline suggests, ‘somewhere between science and superstition’. Archival materials show the depth of research conducted by writer/director William Friedkin in his commitment to presenting and exploring emerging scientific procedures and accurate Catholic ritual. Where clinical and barbaric science fails, faith and ritual save the possessed child Reagan MacNeil from her demons. The Exorcist created media frenzy in 1973, with increased reports in the popular press (...) of demon possessions, audience members convulsing and vomiting at screenings, and apparent religious and specifically Catholic moral outrage. However, the official Catholic response to The Exorcist was not as reactionary as the press claimed. The United States Conference of Catholic Bishops’ Office of Film and Broadcasting officially and publicly condemned the film as being unsuitable for a wide audience, but reviews produced for the office by priests and lay Catholics and correspondence between the Vatican and the USCCB-OFB show that the church at least notionally interpreted it as a positive response to the power of faith. Warner Bros. Studios, however, were keen to promote stories of religious outrage to boost sales and news coverage – a marketing strategy that actively contradicted Friedkin’s respectful and collaborative approach to working with both religious communities and medical professionals. Reports of Catholic outrage were a means of promoting The Exorcist rather than an accurate reflection of the Catholic Church’s nuanced response to the film and its scientific and religious content. (shrink)

This paper investigates the historiographical utility of psychoanalysis, focussing in particular on retrospective explanations of demonic possession and exorcism. It is argued that while 'full-blown' psychoanalytic explanations-those that impose Oedipus complexes, anal eroticism or other sophisticated theoretical structures on the historical actors-may be vulnerable to the charge of anachronism, a weaker form of retrospective psychoanalysis can be defended as a legitimate historical lens. The paper concludes, however, by urging historians to look at psychoanalysis as well as trying to look (...) through it. Full-blown psychoanalysis is a bad historical lens but it may, in some cases, be an excellent explanatory template: a thorough understanding of how psychoanalytic therapy functions in the modern world is, for example, a good theoretical preparation for historians seeking to understand the sixteenth-century's demonological universe. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:700 BOOK REVIEWS certain violations of justice can be appreciated without " any back· ground of social conventions" (p. 95). The cases he cites-racial and gender bias and the failure to return kindness-may he unproblematic for us, hut is this not because we have been tutored by the institutions of modern liberalism? A strong case can be made, moreover, that our general agreement vanishes when it comes to particular (...) cases. This raises a larger question: can character ethics-with its repudiation of impersonal decision procedures-provide a basis for even limited universalism? A less impersonal route would be that of Thomistic natural law, but Kupperman's meager attention to personhood and his emphasis upon the self as a " metaphysical term of art" makes this an unlikely route. Kupperman seems intent on securing limited universalism as a nee· essary framework for pluralism; the view is central to his thesis that moral education cannot substitute values clarification for absolutism, at least not in its initial stage (pp. 174-78). It is not clear, however, that the primacy of the language of " values " is compatible with an emphasis on strength of character. Kupperman concedes that an "antiphony of values " may make the achievement of strong character more difficult. He fails, however, to entertain seriously the possibility that the pluralism of post-modern liberalism might well generate a society of Nietzsche's last men, with no more than a " qualified loyalty to anything " (p. 137). While the argument of Character may not he fully persuasive, it nonetheless marks an important contribution to recent Hterature attempting to show that liberalism need not be indifferent to questions of the good and of human excellence. THOMAS s. HIBBS Boston College Chestnut Hill, Massachusetts The Magic of Ritual: Our Need for Liberating Rites that Transform Our Lives and Our Communities. By TOM F. DRIVER. San Francisco : Harper, 1991. Pp. 270. $19.95. Tom Driver, former theater critic and author of hooks about theater and religion, is Paul Tillich Professor of Theology and Culture at Union Theological Seminary, New York. He is also an active leader in the Ritual Studies section of the American Academy of Religion. This engagingly written book reflects all of these vocations and interests. When he writes compellingly that we suffer from a void of ritual that could give shape and meaning to human life he critiques the view that BOOK REVIEWS 701 Christianity is primarily about theology and doctrine as well as the shape and content of the liturgy as presently celebrated in many Christian churches. On the one hand, this book is an apologia for the role of ritual in Christian life; on the other, it is a trenchant critique of what and how liturgical churches ritualize their faith. In the Introduction he states that by design this work is about the " deep human longing for ritual; to interpret it in the light of our physical, social, polemical, sexual, moral, aesthetic, and religious existence; and to urge a reform of our ritual life, especially in religion, so that our longing for ritual and our longing for freedom may come together " (4). He poignantly observes that the book is a response to "ritual boredom" (7) and that much Christian liturgical practice " has become moribund " (ll). The book's fairly evenly distributed three parts concern "ritual pathways," a cursory survey of animal, human and church ritual behavior (chapters l to 3), " modalities of performance," relating ritual to theater and reflecting on ritual's relationship to confession and ethics (chapters 5 and 6), and" ritual's social gifts," reflecting on the results of ritual: order, community and transformation of participants (chapters 7 to 9). In many ways the book's Conclusion and two Appendices betray Driver's slant on the state of contemporary Christian liturgy and ritual studies by offering critiques of the celebration of some Christian liturgies (Conclusion and Appendix A) and of the work of the ritual theorist Victor Turner (Appendix B). While there is nothing really new in this last part of the book, these sections offer a particularly clear view of where Driver stands, what his prejudices are, and how current his scholarship really is. Reading these last sections first would... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The “Magic” of Music:Archaic Dreams in Romantic Aesthetics and an Education in AestheticsAlexandra Kertz-WelzelO, then I close my eyes to all the strife of the world—and withdraw quietly into the land of music, as into the land of belief, where all our doubts and our sufferings are lost in a resounding sea....1Music serves many different functions in human life, accompanying everyday activities such as working, shopping, or watching (...) TV, as well as creating an individual world of sounds in which to relax, to enjoy life, or just to escape into one's dreams. Tia DeNora describes this personal use of music as a technology for the self and quotes Mireille, a contract cleaner, who thinks that "everybody should listen to music. It helps you to be calm, relaxed, to see your life differently."2This desire to change minds or moods and perhaps to be personally transformed by music also motivates adolescents to listen to their music giving them a strong feeling of self-identity and helping to relieve boredom, get through difficult times, or reduce tension.3 Although this obviously everyday use of music is usually different from the life-changing strong experiences with music which Robert Panzarella4 or Alf Gabrielsson5 investigate in their research, it nevertheless shows the natural human desire to use music to transform emotions or experience life more intensively. Certainly, adolescents do have different kinds [End Page 77] of intensive and even ecstatic experiences with music; for example, while attending a rock concert with its pseudo-religious implications, or a Friday night dance party with friends, or while making music in a band. Gabrielsson quotes the description of a young woman, attending an outdoor concert of Prince:One feels so free somehow. At concerts one can dance, jump, scream and sing as much as one wants. You are like a part of it all, not just a spectator. Throughout the whole concert the audience was in total ecstasy. It was only one thing that mattered: the music! You are filled with the wonderful feeling that everything is all right, that you are living only for what is happening 'right now.' You are in a way 'intoxicated with joy."... You don't think about what you are doing. You do what you feel like, without even thinking about it.6This desire for intensive or even ecstatic experiences through music is not only an aspect of individual life, it is also an important issue in the history of music and aesthetics from ancient times. One origin of music and art can be found in the relationship of music with religion and ritual, using sound's emotional and ecstatic power to connect the world of human beings and the sacred. Music as magic and a means of ecstasy was a frequent conceptualization in ancient Egypt, as well as in Greece, in the rites of ancient Celts and early Christians, and also in non-Western religions today.7 Priests or shamans among the Australian Aborigines, Native Americans, and West-African tribes use the emotional power of music to evoke trance in their contemporary practices.Unfortunately, the aesthetics of Western European art music, especially since the eighteenth century, tends to eliminate this sensual "magic"8 of music only to replace an ecstatic way of experiencing music with a more intellectual approach. The idea of absolute music or the aesthetics of formalism attempts to establish a "pure" approach to listening without feeling, imagination, or sensuality. It is a claim to elitism which might be one reason why it is difficult for students to be affected by Western European art music, since it appears to be far away from their own world of intensive music experience. Not only the way of listening and performing Western European art music, but also the music itself may prevent students from further involvement in "classical" music and having the kind of intensive experiences their "own" music offers them. If a goal of music education is not only to involve students in art music but also to deepen and enhance their lives through aesthetic experiences, it may be reasonable to start with their musical experiences and to... (shrink)

We take for granted that only certain kind of things exist - electrons but not angels, passports but not nymphs. This is what we understand as `reality'. But in fact, `reality' varies with each era of the world, in turn shaping the field of what is possible to do, think and imagine. Our contemporary age has embraced a troubling and painful form of reality: Technic. Under Technic, the foundations of reality begin to crumble, shrinking the field of the possible and (...) freezing our lives in an anguished state of paralysis. Technic and Magic shows that the way out of the present deadlock lies much deeper than debates on politics or economics. By drawing from an array of Northern and Southern sources - spanning from Heidegger, Junger and Stirner's philosophies, through Pessoa's poetry, to Advaita Vedanta, Bhartrhari, Ibn Arabi, Suhrawardi and Mulla Sadra's theosophies - Magic is presented as an alternative system of reality to Technic. While Technic attempts to capture the world through an `absolute language', Magic centres its reconstruction of the world around the notion of the `ineffable' that lies at the heart of existence. Technic and Magic is an original philosophical work, and a timely cultural intervention. It disturbs our understanding of the structure of reality, while restoring it in a new form. This is possibly the most radical act: if we wish to change our world, first we have to change the idea of `reality' that defines it. (shrink)

In this chapter I trace a number of thematic connections between Wittgenstein’s Tractatus and Notebooks on the one hand, and his ‘Remarks on Frazer’s Golden Bough’ on the other. Pointing to this continuity will, I hope, bring out how the dimension of significance, central to the ‘Remarks on Frazer’, plays a role in the progress of the Tractatus, as well as elucidate how metaphysics is an expression and a distortion of the spiritual, similar to the one we find in (...) class='Hi'>magic and mythology. It would explain, as Wittgenstein puts it, “metaphysics as a kind of magic”. (shrink)

In the current American iconoclash, certain monuments are subject to vandalism and municipal removal from their pedestals. Phrases such as “the erasure of history” and “damnatio memoriae” point to concerns that iconoclasm is an attempt to censor history or even remove certain individuals from public memory altogether. Because these phrases beckon the past, this wave of iconoclasm calls for a close examination of previous image-breaking to establish motives. Drawing first from art history, we analyze Byzantine iconoclasm and anxieties over the (...) nature of icons’ power, before contextualizing these findings within image destruction from the Paleolithic to the present day. Each comparison is suggestive of an enduring aesthetic principle: that what appears inanimate is not always inert. Next, drawing from cultural anthropology, we argue that principles of sympathetic magic are at the heart of contemporary iconoclasms, but not in the way media outlets often suggest. Instead, the fear of history’s erasure betrays a deeply rooted equivalence between the representation and the represented. In perceiving their fates as shared, sympathetic magic is seen to persist in the way humans create, interpret, and desecrate images. We conclude with the speculative realist proposition that iconoclasm can produce new, original artworks, which carries implications for the autonomy of art and its distribution between artist and artwork. (shrink)

This paper explores Collingwood's and Wittgen-stein's views on magic. It argues that their insights converge at some interesting points. But this is just a tip of the iceberg. For beneath their overlapping views on magic and religion lie their notions of absolute presuppositions and hinge-propositions which also exhibit striking similarities. At bottom, this paper contends that, although Collingwood and Wittgenstein come fromdifferent intellectual backgrounds, they are essentially philosophers of kindred thought.

In lieu of an abstract, here is a brief excerpt of the content:The “Magic” of Music:Archaic Dreams in Romantic Aesthetics and an Education in AestheticsAlexandra Kertz-WelzelO, then I close my eyes to all the strife of the world—and withdraw quietly into the land of music, as into the land of belief, where all our doubts and our sufferings are lost in a resounding sea....1Music serves many different functions in human life, accompanying everyday activities such as working, shopping, or watching (...) TV, as well as creating an individual world of sounds in which to relax, to enjoy life, or just to escape into one's dreams. Tia DeNora describes this personal use of music as a technology for the self and quotes Mireille, a contract cleaner, who thinks that "everybody should listen to music. It helps you to be calm, relaxed, to see your life differently."2This desire to change minds or moods and perhaps to be personally transformed by music also motivates adolescents to listen to their music giving them a strong feeling of self-identity and helping to relieve boredom, get through difficult times, or reduce tension.3 Although this obviously everyday use of music is usually different from the life-changing strong experiences with music which Robert Panzarella4 or Alf Gabrielsson5 investigate in their research, it nevertheless shows the natural human desire to use music to transform emotions or experience life more intensively. Certainly, adolescents do have different kinds [End Page 77] of intensive and even ecstatic experiences with music; for example, while attending a rock concert with its pseudo-religious implications, or a Friday night dance party with friends, or while making music in a band. Gabrielsson quotes the description of a young woman, attending an outdoor concert of Prince:One feels so free somehow. At concerts one can dance, jump, scream and sing as much as one wants. You are like a part of it all, not just a spectator. Throughout the whole concert the audience was in total ecstasy. It was only one thing that mattered: the music! You are filled with the wonderful feeling that everything is all right, that you are living only for what is happening 'right now.' You are in a way 'intoxicated with joy."... You don't think about what you are doing. You do what you feel like, without even thinking about it.6This desire for intensive or even ecstatic experiences through music is not only an aspect of individual life, it is also an important issue in the history of music and aesthetics from ancient times. One origin of music and art can be found in the relationship of music with religion and ritual, using sound's emotional and ecstatic power to connect the world of human beings and the sacred. Music as magic and a means of ecstasy was a frequent conceptualization in ancient Egypt, as well as in Greece, in the rites of ancient Celts and early Christians, and also in non-Western religions today.7 Priests or shamans among the Australian Aborigines, Native Americans, and West-African tribes use the emotional power of music to evoke trance in their contemporary practices.Unfortunately, the aesthetics of Western European art music, especially since the eighteenth century, tends to eliminate this sensual "magic"8 of music only to replace an ecstatic way of experiencing music with a more intellectual approach. The idea of absolute music or the aesthetics of formalism attempts to establish a "pure" approach to listening without feeling, imagination, or sensuality. It is a claim to elitism which might be one reason why it is difficult for students to be affected by Western European art music, since it appears to be far away from their own world of intensive music experience. Not only the way of listening and performing Western European art music, but also the music itself may prevent students from further involvement in "classical" music and having the kind of intensive experiences their "own" music offers them. If a goal of music education is not only to involve students in art music but also to deepen and enhance their lives through aesthetic experiences, it may be reasonable to start with their musical experiences and to... (shrink)

There are spells in the Greek and Demotic Magical Papyri which promise divine visitations, assistants, ecstatic states, vessel inquiries, and vivid dreams. They also require powerful psychoactive botanical ingredients. How did these spells work and what were the expectations of somebody purchasing them? Looking at the ingredients of visionary spells and relying on the pharmacology of Dioscorides and Theophrastus, I ascertain how these spells achieved the promised visions and altered states of consciousness for the user. These spells guarantee great spiritual (...) and recreational entertainment to the client who would need an abundance of money to purchase the ingredients. (shrink)

Magical thinking, distortions of reality based on fantasy, are pervasive in society and may influence patients’ healthcare decisions. These distortions can “nudge” people to make decisions using System 1 thinking (a heuristic and error-prone decisional pathway that is always “on”), rather than a slower, deliberative, and more labor-intensive process that evaluates evidence (System 2). Physicians have been castigated for subtly nudging their patients toward evidence-based decisions. Yet when patients demonstrate magical thinking in their decision making, physicians have a professional responsibility (...) to do more than nudge; they should shove patients toward decisions that will most likely achieve the healthcare goals they seek. (shrink)

The Qumran community of Essenes belongs to the religious sects of Palestine II. BC - 1st century BC not. It arose in the line of Judaism and was closely connected with the Jewish religion. This is evidenced by the spiritual library of the community and the strict observance of the law of Moses by its members. In order to get closer to the understanding of nature and the essence of spirituality, one should not only take into account the complete (...) legal features of its similarity to official or normative Judaism, but to note the differences that existed between them. These differences were determined in the social and religious isolation of the Qumran community from the Jewish community and were reflected in a desert, similar to the monastic way of life, in rejection of participation in the temple cult, a specific ritual of washing, different from the established burial ceremony, in the use of a special solar calendar. All this testifies at the same time to the specificity of the ideological views of the members of the Qumran Brotherhood. It is difficult to say whether the theological system of the Qur'an outlook has survived to date, since its essential elements were transmitted orally and not recorded. (shrink)

“Would you like to think about,” Thomas Mann famously asked Theodor Adorno, while writing his masterpiece, Doctor Faustus, “what sort of music you would write if you were in league with the devil?” Subtitled The Life of the Composer Adrian Leverkühn, As Told by a Friend, the novel presents the narrative, by humanist professor, Serenus Zeitblom, of the descent into madness of the musical genius, Adrian Leverkühn. In the story, Leverkühn achieves an avant-garde breakthrough into atonal dissonance that is modelled (...) on the twelve tone row procedure of Arnold Schönberg, as represented to Mann by the work’s “musical adviser,” Adorno. Over the space of a year, Adorno’s response to Mann went far beyond the “few significant details” requested by the author, extending to 20 pages of text and notation, and embracing not just the diabolical breakthrough of Leverkühn’s Apocalipsis cum figuris, but also the redemptive retraction of The Lamentations of Doctor Faustus. It is at this point that we must pause. The combination of the authorship controversy between Mann and Schönberg over the inspiration for the works of Leverkühn, the fact that Mann’s Leverkühn is in the main a transcription of Adorno’s Schönberg, and the fact that Adorno only wrote the second half of Philosophy of Modern Music in 1948, after the collaboration with Mann had finished, has generated a major critical lapse. The general assumption is that the music that Adorno would write in league with the Devil is the music of Schönberg. But that assumption is false. The music that Adorno would write in league with the Devil is the music of Stravinsky. Leverkühn’s diabolically-inspired masterpiece, Apocalipsis, is definitely “Stravinskyian”. By contrast, the redemptive Lamentation is clearly “Schönbergian”. I intend to demonstrate this by highlighting the distinctive characteristics of “Schönberg” and “Stravinsky” in Philosophy of Modern Music, and then comparing these characteristics with those of Leverkühn’s imaginary works. (shrink)

This volume inaugurates the publication of the biblical Dead Sea Scrolls from the main collection discovered in Cave 4 at Qumran. It contains ten biblical manuscripts from Genesis to Deuteronomy and Job. Six are written in the ancient Palaeo-Hebrew script and four are in Greek. There are also five hitherto unknown compositions. The Hebrew texts antedate by a millennium what had previously been the earliest surviving biblical codices in the original language, and they document the pluriform nature of the (...) ancient biblical textual tradition before the text became standardized. The most extensive and significant manuscript, 4QpaleoExodm, exhibits the expanded textual tradition that formed the basis for the Samaritan Pentateuch and illumines the historical and theological relationship between the Jews and the Samaritans. Fragments of an unidentified Greek text mention Moses, Pharaoh, and Egypt, suggesting some development of the Exodus theme, and further witnessing to the rich religious literature to which Rabbinic Judaism and nascent Christianity were heirs. An index of all the biblical manuscripts from Qumran Cave 4 and their distribution in other Discoveries in the Judaean Desert volumes is provided, and there are also forty pages of plates from the manuscripts. (shrink)

Sources of Evil: Studies in Mesopotamian Exorcistic Lore. Edited by Greta van Buylaere, Mikko Luukko, Daniel Schwemer, and Avigail Mertens-Wagschal. Ancient Magic and Divination, vol. 15. Leiden: Brill, 2018. Pp. xiii + 382. $132.

At least since the late nineteenth century, toy chemistry sets have featured in standard scripts of the achievement of eminence in science, and they remain important in constructions of scientific identity. Using a selection of these toys manufactured in Britain and the United States, and with particular reference to the two dominant American brands, Gilbert and Chemcraft, this paper suggests that early twentieth-century chemistry sets were rooted in overlapping Victorian traditions of entertainment magic and scientific recreations. As chemistry set (...) marketing copy gradually reoriented towards emphasising scientific modernity, citizenship, discipline and educational value, pre-twentieth-century traditions were subsumed within domestic—and specifically masculine—tropes. These developments in branding strategies point to transformations in both users’ engagement with their chemistry sets and the role of scientific toys in domestic play. The chemistry set serves here as a useful tool for measuring cultural change and lay engagement with chemistry.Keywords: Chemistry sets; Advertising; Gender; Magic; Toys. (shrink)