Naomi Janowitz – författare

In the waning years of the Roman Empire, Jews, Christians, and pagans alike used rituals to bridge the gap between the human and the divine. Depending on one’s point of view, however, such rituals could be labeled negatively as "magic" or positively as "theurgy." This has led to numerous problems of interpretation, including marginalizing certain ritual practices as magic or occult while privileging others as genuine or orthodox. In Icons of Power, Naomi Janowitz sifts through the polemics to make sense of the daunting mosaic of religious belief and practice in Late Antiquity. From rabbis who ascended to heavenly places, to sorcerers seeking to harm enemies with spells, to alchemists working metals to purify the soul, Janowitz reveals how ritual practitioners held common assumptions about why their rituals worked and about how to perform those rituals. Indeed, such assumptions were so much a part of the inherited mentality of the age that they were, for the most part, never explained—and this is precisely what Janowitz accomplishes in Icons of Power. By shifting the discussion out of the rhetoric of "magic" or "mysticism" and describing the mechanisms of ritual with semiotic terms, she moves us beyond the value-laden terminology of ancient polemicists and modern scholars so that we can better see how these rituals worked and how they affected the social identities of their followers. Janowitz recovers a lost world of religious expression that has been clouded by misinterpretation for many centuries. In the process, Icons of Power makes an important contribution to our understanding of society in Late Antiquity.

In the waning years of the Roman Empire, Jews, Christians, and pagans alike used rituals to bridge the gap between the human and the divine. Depending on one’s point of view, however, such rituals could be labeled negatively as "magic" or positively as "theurgy." This has led to numerous problems of interpretation, including marginalizing certain ritual practices as magic or occult while privileging others as genuine or orthodox. In Icons of Power, Naomi Janowitz sifts through the polemics to make sense of the daunting mosaic of religious belief and practice in Late Antiquity. From rabbis who ascended to heavenly places, to sorcerers seeking to harm enemies with spells, to alchemists working metals to purify the soul, Janowitz reveals how ritual practitioners held common assumptions about why their rituals worked and about how to perform those rituals. Indeed, such assumptions were so much a part of the inherited mentality of the age that they were, for the most part, never explained—and this is precisely what Janowitz accomplishes in Icons of Power. By shifting the discussion out of the rhetoric of "magic" or "mysticism" and describing the mechanisms of ritual with semiotic terms, she moves us beyond the value-laden terminology of ancient polemicists and modern scholars so that we can better see how these rituals worked and how they affected the social identities of their followers. Janowitz recovers a lost world of religious expression that has been clouded by misinterpretation for many centuries. In the process, Icons of Power makes an important contribution to our understanding of society in Late Antiquity.

Centering on the first extant martyr story (2 Maccabees 7), this study explores the "autonomous value" of martyrdom. The story of a mother and her seven sons who die under the torture of the Greek king Antiochus displaces the long-problematic Temple sacrificial cult with new cultic practices, and presents a new family romance that encodes unconscious fantasies of child-bearing fathers and eternal mergers with mothers. This study places the martyr story in the historical context of the Hasmonean struggle for legitimacy in the face of Jewish civil wars, and uses psychoanalytic theories to analyze the unconscious meaning of the martyr-family story.

Using in-depth examples of 'magical' practice such as exorcisms, love rites, alchemy and the transformation of humans into divine beings, this lively volume demonstrates that the word 'magic' was used widely in late antique texts as part of polemics against enemies and sometimes merely as a term for other people's rituals. Naomi Janowitz shows that 'magical' activities were integral to late antique religious practice, and that they must be understood from the perspective of those who employed them.

Using in-depth examples of 'magical' practice such as exorcisms, love rites, alchemy and the transformation of humans into divine beings, this lively volume demonstrates that the word 'magic' was used widely in late antique texts as part of polemics against enemies and sometimes merely as a term for other people's rituals. Naomi Janowitz shows that 'magical' activities were integral to late antique religious practice, and that they must be understood from the perspective of those who employed them.

This book represents the first English translation of Maaseh Merkabah, which is part of a body of early Jewish mystical texts known as palace (hekhalot) or chariot (merkabah) texts. Through a complex dialogue, a rabbi-teacher reveals to his student the techniques of ascent, methods for traveling up through the heavens by means of recitation of hymns. The teacher gives vivid descriptions of the heavenly realm, filled with flaming chariots and a chorus of angels engaged in praising the deity.The emphasis in the text is on language, on the correct recitation of the words to achieve the ritual. The particular focus is on the divine Name, which can be employed in unusual ways. The author relates the structures of the text to the linguistic idealogies. The complex structures of the text begin to unfold in light of the theories about the ritual function of language.The hymns include praise of the deity and voces magicae, words that have no semantic meaning, but draw attention to sounds of letters in God's name. Since God's name is used to create the world, the sounds of the name are creative, but the Name cannot be spoken. The hymns create a multiplicity of Name-equivalents, words that have the functional status of the divine Name and which can be employed in ritual. Voces magicae are not so much nonsense as they are logical extensions of the linguistic theory. The final chapter surveys recent theories of ritual language and then uses the conclusions from the study to refine the general issue of the relationship between the semantic meaning of words and their ritual efficacy.The dialogic structure of the text permits the reader to become the next student in a chain going back to the deity by means of Moses.

Centering on the first extant martyr story (2 Maccabees 7), this study explores the "autonomous value" of martyrdom. The story of a mother and her seven sons who die under the torture of the Greek king Antiochus displaces the long-problematic Temple sacrificial cult with new cultic practices, and presents a new family romance that encodes unconscious fantasies of child-bearing fathers and eternal mergers with mothers. This study places the martyr story in the historical context of the Hasmonean struggle for legitimacy in the face of Jewish civil wars, and uses psychoanalytic theories to analyze the unconscious meaning of the martyr-family story.

Ancient authors debated proper verbal and non-verbal signs as representations of divinity. These understanding of signs were based on ideas drawn from language and thus limited due to a their partial understanding of the multi-functionality of signs. Charles S. Peirce’s semiotics, as adapted by anthropological linguists including Michael Silverstein, better explains the contextual linkages ("performativity") of ancient religious signs such as divine names. Sign meaning is always dependent on processes of interpretation and is always open to reinterpretation. Focusing on these processes permits a more detailed analysis of the ancient evidence. Examples are drawn from ancient Israelite verbal and non-verbal divine representation, the apostle Paul’s linguistic letter/spirit model, Christian debates about the limits of language to best represent the deity, Josephus’ aniconic advertisement of Jewish rites, the multi-layered divine representations in the Dura-Europos synagogue, the diverse "performativity" of Jewish ascent liturgies, and—the single modern example—the role of art at Burning Man. Divine representation is the basis for ritual efficacy even as sign meaning is a constant source of contention.