Can Witchcraft Be Seen Merely As A Manifestation Of A Society That Feared Marginal Women

Seminar paper from the year 2000 in the subject History Europe - Other Countries - Middle Ages, Early Modern Age, grade: 1,0, University of Sussex, language: English, abstract: Beginning in the 14th century, witchcraft-persecution in Europe reached its peak in the 16th and 17th centuries and gradually ended in the 18th century. Apart from this broad local and temporal framework, in the Historic sciences several elements of uncertainty still exist. For instance, the number of accused people varies from over 100,000 to a million, and their geographical and chronological distribution was extremely uneven. Moreover, the phenomenon of witchcraft can hardly ever be linked with a specific group of society, as "it involved both the educated classes and the common people". In this essay, however, we will firstly consider the appreciation of witchcraft by the elite as well as by the populace (section II). Thereupon, section III describes the preconditions for and the functions of witchcraft-beliefs. Then, section IV shows the interaction of traditional popular sentiments and contemporary authoritarian views and its results. Finally, section V. examines the causes for the transformation from a "private" handling of witchcraft to formal accusations, the affected people and the expansion of their number.

This books draws on feminist commentary from the disciplines of anthropology, history, law, politics and sociology in order to deal with the phenomenon of modern-day witchcraft. It focuses on the re-emergence of witchcraft beliefs in contemporary society, suggesting that witchcraft accusations and persecution are being used as a marginalisation mechanism of women. The re-emergence of witchcraft beliefs in contemporary society and the prevalence of the violence associated with such beliefs has received little attention within academic literature, yet witchcraft-related violence against women is, progressively, becoming one of the most pervasive forms of violence facing women today. This book addresses this gap in the literature, discussing the return of witchcraft beliefs to contemporary society, whilst assessing the effectiveness of international human rights law in protecting women from witchcraft accusations and persecution.

Volume III of A History of Women draws a richly detailed picture of women in early modern Europe, considering them in a context of work, marriage, and family. At the heart of this volume is "woman" as she appears in a wealth of representations, from simple woodcuts and popular literature to master paintings; and as the focal point of a debate--sometimes humorous, sometimes acrimonious--conducted in every field: letters, arts, philosophy, the sciences, and medicine. Against oppressive experience, confining laws, and repetitious claims about female "nature," women took initiative by quiet maneuvers and outright dissidence. In conformity and resistance, in image and reality, women from the sixteenth through the eighteenth centuries emerge from these pages in remarkable diversity.

Throughout West African societies, at times of social crises, postmenopausal women—the Mothers—make a ritual appeal to their innate moral authority. The seat of this power is the female genitalia. Wielding branches or pestles, they strip naked and slap their genitals and bare breasts to curse and expel the forces of evil. In An Intimate Rebuke Laura S. Grillo draws on fieldwork in Côte d’Ivoire that spans three decades to illustrate how these rituals of Female Genital Power (FGP) constitute religious and political responses to abuses of power. When deployed in secret, FGP operates as spiritual warfare against witchcraft; in public, it serves as a political activism. During Côte d’Ivoire’s civil wars FGP challenged the immoral forces of both rebels and the state. Grillo shows how the ritual potency of the Mothers’ nudity and the conjuration of their sex embodies a moral power that has been foundational to West African civilization. Highlighting the remarkable continuity of the practice across centuries while foregrounding the timeliness of FGP in contemporary political resistance, Grillo shifts perspectives on West African history, ethnography, comparative religious studies, and postcolonial studies.

The Malleus Maleficarum is a seminal treatise regarding witchcraft and demons, presented here complete with an authoritative translation to modern English by Montague Summers. At the time this book was published in 1487, the Christian church had considered witchcraft a dangerous affront to the faith for many centuries. Executions of suspected witches were intermittent, and various explanations of behaviors deemed suspect were thought to be caused by possession, either by the devil or demon such as an incubus or succubus. Kramer wrote this book after he had tried and failed to have a woman executed for witchcraft. Unhappy at the verdict of the court, he authored the Malleus Maleficarum as a manual for other witch seekers to refer to. For centuries the text was used by Christians as a reference source on matters of demonology, although it was not used directly by the Inquisition who became notorious for their tortures and murders.

Renaissance Drama, an annual and interdisciplinary publication, is devoted to drama and performance as a central feature of Renaissance culture. The essays in each volume explore traditional canons of drama, the significance of performance (broadly construed) to early modern culture, and the impact of new forms of interpretation on the study of Renaissance plays, theater, and performance.

The essays in this Handbook, written by leading scholars working in the rapidly developing field of witchcraft studies, explore the historical literature regarding witch beliefs and witch trials in Europe and colonial America between the early fifteenth and early eighteenth centuries. During these years witches were thought to be evil people who used magical power to inflict physical harm or misfortune on their neighbours. Witches were also believed to have made pacts with the devil and sometimes to have worshipped him at nocturnal assemblies known as sabbaths. These beliefs provided the basis for defining witchcraft as a secular and ecclesiastical crime and prosecuting tens of thousands of women and men for this offence. The trials resulted in as many as fifty thousand executions. These essays study the rise and fall of witchcraft prosecutions in the various kingdoms and territories of Europe and in English, Spanish, and Portuguese colonies in the Americas. They also relate these prosecutions to the Catholic and Protestant reformations, the introduction of new forms of criminal procedure, medical and scientific thought, the process of state-building, profound social and economic change, early modern patterns of gender relations, and the wave of demonic possessions that occurred in Europe at the same time. The essays survey the current state of knowledge in the field, explore the academic controversies that have arisen regarding witch beliefs and witch trials, propose new ways of studying the subject, and identify areas for future research.

Warriors, Witches, Whores: Women in Israeli Cinema is a feminist study of Israel’s film industry and the changes that have occurred since the 1990s. Working in feminist film theory, the book adopts a cultural studies approach, considering the creation of a female-centered and thematically feminist film culture in light of structural and ideological shifts in Israeli society. Author Rachel S. Harris situates these changes in dialogue with the cinematic history that preceded them and the ongoing social inequalities that perpetuate women’s marginalization within Israeli society. While no one can deny Israel’s Western women’s advancements, feminist filmmakers frequently turn to Israel’s less impressive underbelly as sources for their inspiration. Their films have focused on sexism, the negative impact of militarism on women’s experience, rape culture, prostitution, and sexual abuse. These films also tend to include subjects from society’s geographical periphery and social margins, such as female foreign workers, women, and refugees. Warriors, Witches, Whoresis divided into three major sections and each considers a different form of feminist engagement. The first part explores films that situate women in traditionally male spheres of militarism, considering the impact of interjecting women within hegemonic spaces or reconceptualizing them in feminist ways. The second part recovers the narratives of women’s experience that were previously marginalized or silenced, thereby creating a distinct female space that offers new kinds of storytelling and cinematic aesthetics that reflect feminist expressions of identity. The third part offers examples of feminist activism that reach beyond the boundaries of the film to comment on social issues, particularly those which affect women. This section demonstrates how feminists use film (and work within the film industry) in order to women’s position in society. While there are thematic overlaps between the chapters, each section marks structural differences in the modes of feminist response. Warriors, Witches, Whores considers the ways social and political power have impacted the representation of women and looks to how feminist filmmakers have fought against these inequities behind the camera, in the stories they tell, and in the ways women are depicted on screen. Students and scholars of film, gender, or cultural studies will appreciate this approachable monograph.