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Icons of Power: Ritual Practices in Late Antiquity. By Naomi Janowitz. Magic in History Series. University Park: Pennsylvania State University Press, 2002. xxviii + 161 pp.
In Icons of Power: Ritual Practices In Late Antiquity, the author Naomi Janowitz explores the rich and dazzling power of ritual magic and theurgy throughout the ancient world in Jewish, Christian and Greek practices. She isn't concerned with magic in general terms but with specific practices of ancient cults, secret societies, Christian mystics and Hermetic alchemists throughout the book such as chanting of heavenly liturgies to the utterance of barbarous, holy names, to the manipulation of magical amulets and the transformation of metals. I will quote specific
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Janowitz reveals that other Christian theologians like John Chrysostom advocated Christian rituals with words and prayers only. Some magicians like Apollonius of Tyana did not even need prayers, sacrifices or even words to perform miracles, much like Jesus Christ, who relied entirely on his own innate divine powers while bringing down heaven to earth. Other philosophers and dialecticians like Plotinus dismissed external magical ritual and prayers altogether and ridiculed others, like the Gnostics for the sins of hissing, melodies, shrieks and barbarous magical chanting as well as telling myths of the fall of Sophia and the creation of the world and such. But Janowtiz also reveals that Plotinus himself only appears "rational" because he admits ignorance rather than engage in the telling of myths like the Gnostics do and his holy grail quest to be "god-like" and the realization of his "divine soul" is in actuality, irrational, by today's materialist/secular standards. This is one of the better chapters in the book, so far.
In Chapter 2, "The Divine name as Effective Language," Jewish mysticism, the efficacy of words in the creation account of Genesis and the magical nation of the tetragrammaton YHWH is explored in great detail, with the "I am" proclamations and the like. She focuses more on Targums, rabbinic midrash and such to make her case. Janowitz rightly
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In particular, Janowitz focuses on Hebrew hekhalot (palace) texts or merkabah (chariot) texts, which describe the heavenly realms, liturgies of the heavenly chorus, prays to call down angels such as the Prince of the Torah (i.e. Metatron), etc. The ancient accusation by Celsus that the Jews were "addicted to sorcery" and were "angel worshipers" is made clear in this chapter. The Books of Enoch makes similar accounts where Enoch is taken a celestial tour of Heaven and Hell, respectively. She also compares these texts to the Mithras Liturgy, which also involves bodily transformation of a mortal into the immortal high heavens. Comparisons are also made to Celsus' Ophites who show magical "symbols," "seals," or "icons" to the gatekeepers or archons as they pass through the levels of heaven as well as the Ascension of Isaiah, which tells a similar story. These symbols might be related to the various Gnostic amulets that feature mystical terms and images of "IAO" "Abrasax" and the like. Although she does not mention this text (she could have easily done so), the First Apocalypse of James is all about the ascent of the soul and the astral journey through the cosmic spheres and the forceful dialogue with the
In history the pagans have been viewed as godless infidels. Many who practice paganism live in fear related to the judgment of others that hold differing views on religion. Much of the persecution of the Pagan has been related to their practice of magic. What is amazing is that much of the magic once practiced by pagans was similar to that of modern medicine (Some Basic Pagan, n.d.). Despite their apprehension and fear of persecution, it has been reported that Paganism has been described as one of the most rapidly growing religious movements in the world today (Eilers, p.
...ic meanings that still are puzzling art historians today. Some of the key symbols that Stokstad points out in the text is the dove, representing the Holy Spirit; the white lilies as a symbol of the Virgin Mary. She also points out, two rather unknown symbols to the sacrilegious, the date of the Annunciation in signs of the zodiac on the floor, as well as the lone stained glass window that is symbolizing God rising above the three windows that are placed in the background behind Mary. These three windows represent the Father, Son, and Holy Spirit.
The contentious little book titled Women, Power, Politics maintains politics to be devalued, acknowledging the fact that only few people do vote, and women are unable to achieve within the realm of Canadian politics. Sylvia Bashevkin, the author of the book argues that Canadians have a profound unease with women in positions of political authority, what she calls the "women plus power equals discomfort" equation. She evaluates a range of barriers faced by women who enter politics, including the media's biased role of representing the private lives of women in politics, and she wonders why citizens find politics is underrepresented in Canada compared to Belgium. In clear, accessible terms, Bashevkin explains her ideas on how to eliminate “low voters turn-out,” “devaluation of politics,” "gender schemas," and "media framing.” She outlines some compelling solutions to address the stalemate facing women in Canadian politics which are; contesting media portrayals, changing the rule of the game, improving legislative quotas, electoral reform, movement renewals, and so on. This response paper would addresses the reality of a political mainstream, actions which should be taken against the oppressive elements of reality, and the awareness it brings through economic, social, and political environment.
In ancient times, the Greeks had absolute and undeniable respect for their gods. They demonstrated their admiration by putting in place many rituals and celebrations to reverence the gods that they loved and feared in order to ensure harmony with them. In particular, the focus will be on the religious beliefs of the Greeks, including prayer and sacrifice, as well as on festivals and the arts, such as the ancient Olympic games and theatre. These aspects of their culture made a significant contribution to their quality of life. Moreover, these topics will be examined in relation to the twelve Olympian gods and their associates.
Grant, M. (1962). Myths of the Greeks and Romans (1st ed.). Cleveland: World Pub. Co.
Toni Hurley, Philippa Medcalf, Christine Murray, Jan Rolph ~ HSC Course Third Edition Antiquity 2 Interpreting The Past, Published in 2008, pages 414-443.
The wooden lintels, writing, and the unique calendar reveal clues about life in a society that thrived for over 1000 years. Many massive building are visible today, those built to pay tribute to kings and to please the deities. The M...
The first symbol was a tall, bronze ladder that was narrow and stretched all the way to Heaven. The ladder represents the path that everyone must climb in order to get to Heaven. On the ladder are iron implements, all of which were various weapons, and that if you were not careful, you would be "torn to pieces" (2). The iron implements were the tools that were used to torture people, especially in the arena where the Christians were killed. One could also see the implements as obstacles that people face while trying to live a good life and get to Heaven. The dragon found at the bottom of the ladder is representative of the temptation of the devil (2). When the dragon put his head down and Perpetua stomped on it, it showed that she had power over the devil and that she was able to resist his temptations. The huge expanse of garden symbolizes Heaven. The white-haired man milking his ewes and dressed like a shepherd is referring to God watching over all his people like a shepherd watches his flock. The thousands of people dressed in white are either representing the angels and saints in Heaven or the thousands of believers that have died before and now live in Heaven. Finally, in her vision, Perpetua is given a small morsel, and she accepts it with both hands, and the people say "Amen". These actions symbolize those of Eucharist and that she was receiving the Body of Christ. After this had happened,
All through the novel there are symbols of
Munn, Mark H. The Mother of the Gods, Athens, and the Tyranny in Asia: A Study of Sovereignty in Ancient Religion. N.p.: Berkeley: University of Califronia, 2006. Print.
GREECE & ROME. Archaeology [serial online]. November 1987;40(6):18. Available from: Academic Search Complete, Ipswich, MA. Accessed December 22, 2011.
According to Augustine, all forms of magic performed by man involves discourse with demons. Magic, even if it is effective in accomplishing positive outcomes, is not meant to be wielded by man. Augustine views Pagan ritual as heresy and superstition, stating “something instituted by humans is superstitious if it concerns the making and worshiping of idols, or the worshiping of the created order or part of it as if it were God, or if it involves certain kinds of consultations or contracts about meaning arranged and ratified with demons” (Augustine,
Damrosch, David, and David Pike. The Longman Anthology of World Literature. The Ancient World. Volume A. Second Edition. New York: Pearson/Longman, 2009. Pgs. .656-691. Print.
rituals as depicted in this Krater from 750 BCE which is characteristic of this era.
The first accounts of magic were recorded around 1700 B.C. It appeared on the Westcon Papyrus and was recorded by an Egyptian chronicler. Stories of magic were handed down for centuries (Blackstone, 12). It has made a profitable living for soothsayer and gypsies, but there are times when magic was a form of entertainment. During the seventeenth century magic has become a living for some entertainers. Jugglers, wizards, and fortunetellers often appeared as scrub than a man of talent. These respected entertainers attracted lots of attention, not only because of their flaming clothing, but also because of their talents. In time there were traveling performers. Magicians dressed up and traveled for town to town, setting up stages and booths attracting the attention of the people, as well as their money. Pretty soon this sorts of entertainment was everywhere. At fairs they perform when they attract a crowd, then they passed around a hat for donations as if they were beggars. They appeared in places like the market place, street corners, and even adult entertainment bars (Blackstone, 19).