Ukrainian Witchcraft Trials

Ukrainian Witchcraft Trials is an analysis of early modern witchcraft trials and legal procedures in Ukrainian lands, along with an examination of quantitative data drawn from the different trials. Kateryna Dysa first describes the ideological background of the tribunals based on works written by priests and theologians that reflect attitudes towards the devil and witches. The main focus of her work, however, is the process leading to witchcraft accusations. From the stories of participants of the trials she shows what led people to enunciate first suspicions then accusations of witchcraft. Finally, she presents a microhistory from one Volhynian village, comparing attitudes towards two "female crimes" in the Ukrainian courts. The study is based on archival research together with previously published witch trials transcripts. Dysa approaches the trials as indications of belief and practice, attempting to understand the actors involved rather than dismiss or condemn them. She takes care to situate Ukrainian witchcraft and its accompanying trials in a broader European context, with comparisons to some African cases as well.

"This book provides the first systematic overview of witchcraft laws and trials in Russia and Ukraine, combining scholarly commentary with primary source materials translated from Polish, Russian, and Ukrainian, most of which have never before been published" --

By spring 1645, two years of civil war had exacted a dreadful toll upon England. People lived in terror as disease and poverty spread, and the nation grew ever more politically divided. In a remote corner of Essex, two obscure gentlemen, Matthew Hopkins and John Stearne, exploited the anxiety and lawlessness of the time and initiated a brutal campaign to drive out the presumed evil in their midst. Touring Suffolk and East Anglia on horseback, they detected demons and idolators everywhere. Through torture, they extracted from terrified prisoners confessions of consorting with Satan and demonic spirits. Acclaimed historian Malcolm Gaskill retells the chilling story of the most savage witch-hunt in English history. By the autumn of 1647 at least 250 people--mostly women--had been captured, interrogated, and hauled before the courts. More than a hundred were hanged, causing Hopkins to be dubbed "Witchfinder General" by critics and admirers alike. Though their campaign was never legally sanctioned, they garnered the popular support of local gentry, clergy, and villagers. While Witchfinders tells of a unique and tragic historical moment fueled by religious fervor, today it serves as a reminder of the power of fear and fanaticism to fuel ordinary people's willingness to demonize others.

"Witches are gathering." When most people hear the word "witches," they think of horror films and Halloween, but to the nearly one million Americans who practice Paganism today, witchcraft is a nature-worshipping, polytheistic, and very real religion. So Alex Mar discovers when she sets out to film a documentary and finds herself drawn deep into the world of present-day magic. Witches of America follows Mar on her immersive five-year trip into the occult, charting modern Paganism from its roots in 1950s England to its current American mecca in the San Francisco Bay Area; from a gathering of more than a thousand witches in the Illinois woods to the New Orleans branch of one of the world's most influential magical societies. Along the way she takes part in dozens of rituals and becomes involved with a wild array of characters: a government employee who founds a California priesthood dedicated to a Celtic goddess of war; American disciples of Aleister Crowley, whose elaborate ceremonies turn the Catholic mass on its head; second-wave feminist Wiccans who practice a radical separatist witchcraft; a growing "mystery cult" whose initiates trace their rites back to a blind shaman in rural Oregon. This sprawling magical community compels Mar to confront what she believes is possible-or hopes might be. With keen intelligence and wit, Mar illuminates the world of witchcraft while grappling in fresh and unexpected ways with the question underlying every faith: Why do we choose to believe in anything at all? Whether evangelical Christian, Pagan priestess, or atheist, each of us craves a system of meaning to give structure to our lives. Sometimes we just find it in unexpected places.

The author, one of the most highly respected scholars of historical anthropology, has undertaken extensive research on folk beliefs related to communication with the supernatural sphere. In this book, she examines the systems of such communication known by early modern Hungarians, and the role these systems played in the everyday life of the village. New types of mediators are identified such as "the neighborhood witch, " the healing witch, and the demons seen in dreams. Representing a major contribution to the most up-to-date international research, Eva Pocs draws on significant East European material and literature not previously coordinated with that from the West. In so doing, she makes a valuable contribution to a subject that has recently attracted the attention of several leading scholars.

Tormented girls writhing in agony, stern judges meting out harsh verdicts, nineteen bodies swinging on Gallows Hill. The stark immediacy of what happened in 1692 has obscured the complex web of human passion, individual and organized, which had been growing for more than a generation before the witch trials. Salem Possessed explores the lives of the men and women who helped spin that web and who in the end found themselves entangled in it. From rich and varied sources—many previously neglected or unknown—Paul Boyer and Stephen Nissenbaum give us a picture of the events of 1692 more intricate and more fascinating than any other in the already massive literature on Salem. “Salem Possessed,” wrote Robin Briggs in The Times Literary Supplement, “reinterprets a world-famous episode so completely and convincingly that virtually all the previous treatments can be consigned to the historical lumber-room.” Not simply a dramatic and isolated event, the Salem outbreak has wider implications for our understanding of developments central to the American experience: the breakup of Puritanism, the pressures of land and population in New England towns, the problems besetting farmer and householder, the shifting role of the church, and the powerful impact of commercial capitalism.

In the courtrooms of seventeenth-century Russia, the great majority of those accused of witchcraft were male, in sharp contrast to the profile of accused witches across Catholic and Protestant Europe in the same period. While European courts targeted and executed overwhelmingly female suspects, often on charges of compacting with the devil, the tsars' courts vigorously pursued men and some women accused of practicing more down-to-earth magic, using poetic spells and home-grown potions. Instead of Satanism or heresy, the primary concern in witchcraft testimony in Russia involved efforts to use magic to subvert, mitigate, or avenge the harsh conditions of patriarchy, serfdom, and social hierarchy. Broadly comparative and richly illustrated with color plates, Desperate Magic places the trials of witches in the context of early modern Russian law, religion, and society. Piecing together evidence from trial records to illuminate some of the central puzzles of Muscovite history, Kivelson explores the interplay among the testimony of accusers, the leading questions of the interrogators, and the confessions of the accused. Assembled, they create a picture of a shared moral vision of the world that crossed social divides. Because of the routine use of torture in extracting and shaping confessions, Kivelson addresses methodological and ideological questions about the Muscovite courts’ equation of pain and truth, questions with continuing resonance in the world today. Within a moral economy that paired unquestioned hierarchical inequities with expectations of reciprocity, magic and suspicions of magic emerged where those expectations were most egregiously violated. Witchcraft in Russia surfaces as one of the ways that oppression was contested by ordinary people scrambling to survive in a fiercely inequitable world. Masters and slaves, husbands and wives, and officers and soldiers alike believed there should be limits to exploitation and saw magic deployed at the junctures where hierarchical order veered into violent excess.

Satan comes to Soviet Moscow in this critically acclaimed translation of one of the most important and best-loved modern classics in world literature. The Master and Margarita has been captivating readers around the world ever since its first publication in 1967. Written during Stalin’s time in power but suppressed in the Soviet Union for decades, Bulgakov’s masterpiece is an ironic parable on power and its corruption, on good and evil, and on human frailty and the strength of love. In The Master and Margarita, the Devil himself pays a visit to Soviet Moscow. Accompanied by a retinue that includes the fast-talking, vodka-drinking, giant tomcat Behemoth, he sets about creating a whirlwind of chaos that soon involves the beautiful Margarita and her beloved, a distraught writer known only as the Master, and even Jesus Christ and Pontius Pilate. The Master and Margarita combines fable, fantasy, political satire, and slapstick comedy to create a wildly entertaining and unforgettable tale that is commonly considered the greatest novel to come out of the Soviet Union. It appears in this edition in a translation by Mirra Ginsburg that was judged “brilliant” by Publishers Weekly. Praise for The Master and Margarita “A wild surrealistic romp. . . . Brilliantly flamboyant and outrageous.” —Joyce Carol Oates, The Detroit News “Fine, funny, imaginative. . . . The Master and Margarita stands squarely in the great Gogolesque tradition of satiric narrative.” —Saul Maloff, Newsweek “A rich, funny, moving and bitter novel. . . . Vast and boisterous entertainment.” —The New York Times “The book is by turns hilarious, mysterious, contemplative and poignant. . . . A great work.” —Chicago Tribune “Funny, devilish, brilliant satire. . . . It’s literature of the highest order and . . . it will deliver a full measure of enjoyment and enlightenment.” —Publishers Weekly