How Did Adam's First Wife Metamorphize From A Demon Spirit Into An ...

Log InSign Up

• Log In
• Sign Up
• more
• • About
  • Press
  • Papers
  • Terms
  • Privacy
  • Copyright
  • We're Hiring!
  • Help Center
  • less

Outline

keyboard_arrow_downTitleAbstractKey TakeawaysFiguresConclusionReferencesFAQsAll TopicsAnthropologyAnthropology of Religiondownload

Download Free PDF

Download Free PDFLilith’s Evolution: How Did Adam’s first wife Metamorphize from a Demon Spirit into an Icon of Women’s Liberation?Amy Drakevisibility

…

description

15 pages

descriptionSee full PDFdownloadDownload PDF bookmarkSave to LibraryshareShareclose

Sign up for access to the world's latest research

Sign up for freearrow_forwardcheckGet notified about relevant paperscheckSave papers to use in your researchcheckJoin the discussion with peerscheckTrack your impact

Abstract

This paper discusses the ancient demon spirit to modern femme fatale evolution of Lilith, the first wife of Adam in Jewish folklore. Focusing on imagery, my research suggests a turning point in the thirteenth century when Lilith transitions from an evil spirit into a temptress in the popular imagination. This image reemerged in the 1970s and has carried through the twenty-first century in the media and advertising even though her identity may not be recognized by the general public

... Read more

Key takeaways

AI

1. Lilith's transformation from a demon to a symbol of women's liberation occurred significantly in the 13th century.
2. The 1970s saw a resurgence of Lilith's image as a femme fatale in media and advertising.
3. Lilith's identity and power evolved from ancient demon spirit to a contemporary icon of feminism.
4. Scholars debate Lilith's origins, linking her to various ancient cultures and myths.
5. Visual representations of Lilith have shaped perceptions, merging her with the serpent in the Garden of Eden.

Figures (1)arrow_back_ios

arrow_forward_ios

Related papers

How scholars use the figure of Lilith within Jewish FeminismPenelope Diamantopoulos

Master's Thesis for the program 'Religious Roots of Europe' - Theology School, University of Copenhagen

downloadDownload free PDFView PDFchevron_rightLILITH: FROM POWERFUL GODDESS TO EVIL QUEENCMaria Fernandes

And God created man to his own image: to the image of God he created him: male and female he created them. And God blessed them, saying: increase and multiply, and fill the earth, and subdue it, and rule over the fishes of the sea, and the fowls of the air, and all living creatures that move upon the earth.

downloadDownload free PDFView PDFchevron_rightThe Coming of LilithHagar Lahav

NASIM, 2005

Reviewed by Hagar Lahav Given that the field of feminist Jewish studies is expanding, the limited production of theological thinking is most noticeable. In the last international conference of Kolech (The Religious Women's Forum), 1 for example, only one lecture dealt directly with theological questions. Similarly, during the recent, teeming 14 th World Congress of Jewish Studies, 2 there was no theological panel that addressed feminist perspectives. In both cases, as in many similar forums, feminist and gender sensitive discussions focus on halakhic issues, women's history, liturgy and sacred texts, etc. At the same time, a wide range of important theological topics are ignored, such as-questions about the sense of God's presence in Jewish life and it's gendered causes and effects, the sex(s)/gender(s) of images of the Divine and their applications, etc. In other words, discussions about divinity, Jewish humanity, spiritual beliefs, and the relationship between those components tend to be gender-blind, at best, or stated more bluntly, androcentric, at worst. To be sure, one of the reasons for this state of affairs is the relatively limited role of theology in Jewish religious life. 3 However, I suspect that a deeper reason is the reluctance of many feminist Jewish scholars to "touch" the "Kodesh Ha'Kodashim" (The holy of the holies), either because they are afraid of a harsh backlash of the patriarchal Jewish establishment or because too many women have internalized the enduring message that "it is not our place" to enter this realm. Accordingly, any contribution to the feminist-Jewish theological discourse should be welcomed with great pleasure and gratification, all the more so when it is a significant contribution to feminist discourse as well as contemporary theological thought. Such is the new book of Judith Plaskow, a Jewish-American theologian whose previous book, Standing Again at Sinai: Judaism from a Feminist Perspective," 4 has already become a milestone in the feminist discussion.

downloadDownload free PDFView PDFchevron_rightDomesticated Lilith: The Integral Role of the Demonic Feminine in the Esoteric Writings of the German PietistsAnna Sierka

The Journal of Religion, 2023

This study argues for the cross-boundary role of the demoness Lilith in the writings of the medieval Jewish esotericists, known as the German Pietists. Lilith is one of many demonic forces who took on roles in both the celestial and terrestrial spheres. As demonstrated in central works such as The Book of the Divine Glory, mystical and magical speculations placed her in discussions on divine punishment, demonology, and complex questions regarding legal prescriptions. Her integration into the theosophical doctrine of the pietists is evidenced by the thorough amalgamation of various genres and topics where she is discussed. The hierarchic subservience of demons toward the angels and the Holy One is thus an important aspect of how such evil forces found their place within a cohesive system.

downloadDownload free PDFView PDFchevron_rightAnálisis iconográfico del mito de Lilith en la publicidadM. Mar Martínez-Oña

2015

Introduction: Western culture has traditionally promoted an androcentric view of women that pigeonholes the latter in different conceptual stereotypes based on the good-evil binary opposition, including the one that depicts women as evil itself: the myth of Lilith. Methods: An iconographic analysis has been performed to identify and classify the different iconographies used to depict this myth (a total of nine). After this first analysis, the study offers a quantitative and qualitative analysis of the inclusion of this myth in the advertising of the different commercial sectors. Results and conclusions: The myth of Lilith is used the most in the fragrance, audiovisual and fashion sectors. The iconography that is used the most to depict Lilith is as a woman-object of desire, 38%, followed its depiction as a serpent-woman, 21%, as a serpent's female lover, 12%, and as the personification of death, 8%.

downloadDownload free PDFView PDFchevron_rightAnalysis of the Lost Mythological Character Lilith in Biblical Translation 51 ====================================================================== Language in India www.languageinindiaAlisha Oli Mohammed

Journal in India, 2019

======================================================================= Abstract The Bible is a great confused novel. You may say, it is about God. But it is really about man alive.-Why the Novel Matters, D. H. Lawrence Intralingual Translation involves in the transformations or interpretations from one linguistic code to another. It is very difficult to attain the complete equivalence due to the complication of the codes tangled in the source language (SL) to target language (TL) and the cultural difference in two languages. Bible had been translated from the biblical language like Hebrew, Aramaic and Greek to many languages. According to the Hebrew and Greek bible, there is a reference of the character called Lilith or Lillith who was considered as the first wife of Adam. In the Jewish folklore and Mesopotamian mythology, there are many references for the presence of Lilith character who is rebellious and considered herself as equal to Adam. The character's presence is mysterious and reinterpreted as screeched owl or demon in the later Latin and English Bible. The paper focuses on the loss of the mythological character Lilith who is unknowingly or deliberately in the biblical translations of European languages. Thought the character might be real or misinterpreted, Bible is always viewed from the European Eyes, but we forget to analyse the original content of it from its own source languages.

downloadDownload free PDFView PDFchevron_right"The Figure of Lilith and the Feminine Demonic in Early Modern Literature". PhD diss. University of Edinburgh, 2012.Stephanie Spoto

2012

Spoto 21 Chapter One Early Modern Occultism and Continental Demonology From John Leslie, De Origine moribus & rebus gestis Scotorum libri decem, pg 248, showing James at the 'crown' of the tree, with Banquo as his ancestor, at the base.

downloadDownload free PDFView PDFchevron_rightLilith's Fire: Examining Original Sources of Power Re-defining Sacred Texts as Transformative Theological PracticeDvorah Grenn

This paper offers a reinterpretation of the divine as embodied by the Semitic goddess Lilith, she who has been represented and misrepresented in a variety of sacred texts. Working with Lilith as both symbol and archetype, I will analyze texts in which she appears, tracing her historical development and metamorphosis from goddess to demon to symbol of independence and open sexuality. As part of this analysis, I will discuss how Lilith's demonization was designed to keep women alienated from their own 'original sources' of power and spiritual authority. The essay concludes with an appreciation of feminist texts, including the first midrash or reinterpretation of the Alphabet of Ben Sira, and more recent work. I also bring in feminist scholars' reclamation of the Sacred Feminine through poetic/liturgical responses to damaging canonical texts. My paper argues that this literature, too, should be regarded as 'sacred text,' since these women-centered writings have become texts of empowerment for contemporary women as well as part of their spiritual practice.

downloadDownload free PDFView PDFchevron_rightStolen Children and Monstrous Changelings (Banemish): Lilith as the Demon-Mother in Eastern European Jewish Manuscripts of Magic 1Andrea Gondos

Jewish Thought 6 (2025): 163–206

A small number of East European manuscripts of magic and practical kabbalah enumerate recipes directed at disabling a specific function of Lilith focused on replacing or substituting a healthy human child with a deformed, physically, or mentally disabled demonic one. Designated by the Yiddish term, banem ‫ביינעם‬ (to replace or substitute), which appears in these manuscripts with an abundance of variant spellings exposing the influence of local dialects and diverse linguistic usage. As several recipes attest, the switching could occur either in utero or within a few weeks after birth. The wealth of magical formulas, designed to chain Lilith's power to carry out child substitution or replacement, reflect pervasive anxieties among Jews concerning the mental and physical health of newborns. In constructing effective charms and amulets against Lilith, Jews in Eastern Europe drew on general Slavic beliefs, hagiographic folk traditions, and herbal cures to which they added specifically Jewish traditional, kabbalistic, and magical elements. The chapter will trace six types of curative options: nature-based formulas; the use of divine and angelic names, amplified by the ten sefirot; historiolae; diagrammatic-visual amulets; illocutionary speech acts; and combined formulas to highlight that concerns about children's wellbeing comprised a shared cultural-religious space between Jews and their Slavic neighbors and occuped a place of vital importance for the care and wellbeing of Jewish family and communal life.

downloadDownload free PDFView PDFchevron_rightDe-demonising the Old Testament: An Investigation of Azazel, Lilith, Deber, Qeteb & Reshef in the Hebrew BibleJudit Blair

2009

The subject of demons and demonology has fascinated scholars and non-scholars, ancient and modern alike; it is not surprising that much work has been done on the topic by biblical scholars too. Chapter 1 places the present study within the existing scholarship showing that the early works on 'OT demonology' were influenced by comparative religion, anthropology, and an increasing interest in Mesopotamian and Canaanite parallels as well as a concern to seek and find vestiges of ancient religious beliefs in the Old Testament. The consensus of early 20 th century scholars regarding what constitutes a 'demon' in the Old Testament has not been challenged by modern scholarship. Chapter 2 shows that biblical scholars still commonly turn to the ancient Near Eastern religions and cultures to explain difficult passages in the Hebrew Bible, to find parallels or the 'original' of difficult terms and concepts. Since it is generally accepted without challenge that azazel, lilith, deber, qeteb and reshef are the personal names of 'demons' appearing in the Hebrew Bible, the necessity arises to return to the texts in order to examine each term in its context. The present study seeks to answer the question whether these five terms are names of 'demons' in the Hebrew texts as we have them today. To accomplish its goal the present study will provide an exegesis based on Close Reading of all the relevant biblical passages in which the terms azazel (chapter 3), lilith (chapter 4), deber (chapter 5), qeteb (chapter 6), and reshef (chapter 7) appear. Attention is paid to the linguistic, semantic, and structural levels of the texts. The emphasis is on a close examination of the immediate context in order to determine the function (and if possible the meaning) of each term. The reading focuses on determining how the various signals within the text can guide towards meaning, noting how the (implied) poet/author uses the various poetical/rhetorical devices, especially personification, but also parallelism, similes, irony, and mythological elements. The present study shows that contrary to former and current scholarship there is nothing in the texts to support the view that azazel, lilith, deber, qeteb and reshef are the names of 'demons'. Azazel appears as the personification of the forces of chaos that threaten the order of creation; his role is to stand in contrast to Yahweh. The context requires that lilith is regarded as a bird, a night bird being the most plausible explanation of the term. Deber, qeteb and reshef are personifications of destructive forces and appear as agents of Yahweh, members of his 'Angels of Evil' who bring punishment (death) on the people of Israel for disobedience. There is no evidence to suggest that there are mythological figures behind azazel, lilith or the personifications of deber and qeteb. In case of reshef there is a possible connection to the Semitic deity Reshef. However, the mythological motifs are used merely as a poetic device. v TABLE OF CONTENTS DECLARATION ii ACKNOWLEDGEMENTS iii ABSTRACT iv TABLE OF CONTENTS v ABBREVIATIONS ix CHAPTER 1: INTRODUCTORY REMARKS -PLACE, AIM AND METHOD OF STUDY 1.1 The place of the present study within existing scholarship 1.2 A survey of 'OT demonology' 1.3 Summary observations and implications 1.4 Aim of the present study 1.5 Methodological and procedural remarks 1.6 Results of investigation CHAPTER 2: HISTORY OF RESEARCH OF AZAZEL, LILITH, DEBER, QETEB AND RESHEF 2.1 Introduction 2.2 The interpretation of Azazel 2.2.1 Etymology and the ancient Near East 2.2.2 Intertestamental Literature: The Book of Enoch 2.2.3 Evidence in the Hebrew Bible? 2.2.4 Summary azazel 2.3 The interpretation of lilith in the Hebrew Bible 2.3.1 Lilith in the ancient Near East and post-biblical Judaism 2.3.2 Summary lilith 2.4 History of research on deber 2.4.1 Deber in the ancient Near East 2.4.1.1 Ebla 2.4.1.2 Ugarit 2.4.2 Summary deber 2.5 History of research on qeteb 2.5.1 Qeteb in the ancient Near East and post-biblical Judaism 2.5.1.1 Assyria 2.5.1.2 Ugarit 2.5.1.3 Post-biblical Judaism 2.5.2 Summary qeteb vi 2.6 History of research on reshef 2

downloadDownload free PDFView PDFchevron_rightSee full PDFdownloadDownload PDF

Loading Preview

Sorry, preview is currently unavailable. You can download the paper by clicking the button above.

References (23)

1. vehicle and main character of stage and screen for the twenty-first century instigated by an unnamed thirteenth-century sculptor merging her likeness with the Serpent on the west façade of Notre Dame. WORKS CITED
2. Allen, Virginia M. "'One Strangling Golden Hair': Dante Gabriel Rossetti's Lady Lilith." Art Bulletin, vol. 66, no. 2, June 1984, p. 285. EBSCOhost, cscc.ohionet.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&AuthType=cooki e,ip,uid&db=a9h&AN=5315522&site=ehost-live.
3. Alphabet of Ben Sira https://feminism.eserver.org/theory/papers/lilith/gilgamesh
4. Cohen, Joseph. "'Emeḳ ha-Melek," p. 84b; comp. Grunwald, "Mitteilungen der Gesellschaft für Jüdische Volkskunde," v. 62
5. Colonna, M.T. "Lilith, or the Black Moon." Journal of Analytical Psychology, vol. 25, no. 4, Oct. 1980, p. 325. EBSCOhost, cscc.ohionet.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&AuthType=cooki e,ip,uid&db=a9h&AN=10721999&site=ehost-live
6. Cunningham, Graham. Deliver Me from Evil: Mesopotamian Incantations, 2500-1500 BC Freeman, Rabbi Tzvi. "Achieving Man 2.0" Chabad.org
7. Gaster, Theodor H. The Holy and the Profane (New York: William Morrow & Co., 1980) p. 27.
8. Howes, Janet Gaines "Lilith: Seductress, heroine or murderer?" Bible Review (Bitterwaters.com) http://www.bitterwaters.com/Lilith_in_Talmud.html
9. Hurwitz Siegmund, "Lilith in the Talmud" http://www.bitterwaters.com/Lilith_in_Talmud.html
10. Hurwitz, Siegmund. Lilith: The First Eve. Zurich: Daimon Verlag, 2009.
11. The Jewish Encyclopedia (1906). www.jewishencyclopedia.com/articles/9986-lilith Jewish Virtual Library, Lilith. www.jewishvirtuallibrary.org/lilith
12. Jewish Women's Archive. ""The Coming of Lilith" by Judith Plaskow ." (Viewed on February 6, 2018) <https://jwa.org/media/coming-of-lilith-by-judith-plaskow>.
13. Kaballah ,"Treatise on the Left Emanation"
14. Kadmon, Baal. The Magick of Lilith: Calling Upon the Great Goddess of the Left-Hand Path. (s.p. 2016).
15. Kohenet, and Deborah J. Grenn. "Lilith's Fire: Examining Original Sources of Power Re- defining Sacred Texts as Transformative Theological Practice." Feminist Theology, vol. 16, no.
16. 2007, pp. 36-46. OhioLINK Electronic Journal Center, doi:10.1177/0966735007082514.
17. Koltuv, Barbara Black, Ph.D. The Book of Lilith. Lake Worth, FL: Nicolas-Hays. Inc. 1986. Lesses, Rebecca "LILITH," Jewish Women's Archive Mordechai, Rebecca. "The Evil Eye," Lilith magazine blog. http://lilith.org/blog/2017/10/no- halloween-ghoul-can-compare-to-the-fear-that-this-jewish-ritual-inspires/ )
18. Pelaia, Ariela, "Lilith on the Torah, Talmud and Midrash: The Legend of Lilith, Adam's first Wife." ThoughtCo. https://www.myjewishlearning.com/article/lilith-lady-flying-in-darkness/ Plaskow, Judith. "The Coming of Lilith: A Contemporary Midrash." Sacred-Texts. http://www.sacred-texts.com/jud/talmud.htm
19. Samuel, Rabbi Michael. "What does the Talmud and Kabbalah have to say about Lilith?" http://rabbimichaelsamuel.com/2008/06/what-does-the-talmudic-and-kabbalah-have-to-say- about-lilith/
20. Urban, David V. "The Falls of Satan, Eve, and Adam in John Milton's Paradise Lost: A Study in Insincerity." Christianity & Literature, vol. 67, no. 1, Dec. 2017, pp. 89-112. EBSCOhost, doi:10.1177/0148333117731098.
21. Vogelsang, E. W. "The Confrontation between Lilith and Adam: The Fifth Round." Journal of Analytical Psychology, vol. 30, no. 2, Apr. 1985, pp. 149-163. EBSCOhost, cscc.ohionet.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&AuthType=cooki e,ip,uid&db=a9h&AN=10731603&site=ehost-live.
22. Walton, Rivkah M. "Lilith's Daughters, Miriam's Chorus: Two Decades of Feminist Midrash." Religion & Literature, vol. 43, no. 2, Summer2011, pp. 115-127. EBSCOhost, cscc.ohionet.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&AuthType=cooki e,ip,uid&db=a9h&AN=71159919&site=ehost-live.
23. Witcombe Christopher L.C.E. Eve and the Identity of Women http://witcombe.sbc.edu/eve-women/7evelilith.html

View morearrow_downward

FAQs

AI

What characterizes Lilith's portrayal in ancient Jewish literature?add

Lilith is portrayed as a demon associated with infant mortality, conflicting sexuality, and defiance. Early texts, including the Babylonian Talmud and the Testament of Solomon, depict her as a child snatcher and seductress.

How did Lilith evolve from an ancient goddess to a feminist icon?add

Over centuries, Lilith transitioned from a demon in folklore to a symbol of women's empowerment. This metamorphosis was significantly shaped by Renaissance art portraying her as both temptress and victim, illustrating the complexities of femininity.

What rituals were used to protect against Lilith in historical contexts?add

Amulets inscribed with protective incantations and the names of angels were used to guard against Lilith's influence. Such practices were common among Jewish families in the medieval period, as demonstrated by numerous amulets containing biblical phrases.

How did Lilith's imagery change in Renaissance art?add

In Renaissance art, Lilith was often depicted merging with serpentine imagery, symbolizing temptation and seduction. These representations, like the sculptures at Notre Dame, transformed her from a feared demon into a more complex, humanized figure.

What implications does Lilith's narrative hold for modern feminist discourse?add

Lilith's story offers a critique of patriarchy and embodies themes of female autonomy, which resonate in contemporary feminist movements. Her legacy continues to inspire modern interpretations in various cultural sectors, highlighting ongoing struggles for gender equality.

Related papers

Lilith: A Rabbinic Projection of the Demonic FemaleSusan Schept

Psychological Perspectives

Of Adam's first wife, Lilith, it is told (The witch he loved before the gift of Eve,) That, ere the snake's, her sweet tongue could deceive, And her enchanted hair was the first gold. And still she sits, young while the earth is old, And, subtly of herself contemplative, Draws men to watch the bright net she can weave, Till heart and body and life are in its hold. The rose and poppy are her flowers; for where Is he not found, O Lilith, whom shed scent And soft-shed kisses and soft sleep shall snare? Lo! as that youth's eyes burned at thine, so went Thy spell through him, and left his straight neck bent, And round his heart one strangling golden hair. It is forbidden for a man to sleep alone in a house, lest Lilith get hold of him." i Using psychological theory, this paper poses questions and proposes some answers as to why the rabbis who commented on and augmented the biblical text in the years 100-500CE inserted the Near Eastern myth of demonic female, known as Lilith, into the biblical story of creation. The name "Lilith" along with her defining characteristics are thought to be derived from the class of Mesopotamian demons called lilû (feminine: lilītu), and the name is usually translated as "night monster." ii To look at the creation of humankind as depicted in Genesis 1 and in Genesis 2, more specifically at the creation of the first woman, i.e. Eve, is to ask how was she created? Was she truly subordinate to Adam? The creation stories in Genesis 1 and in Genesis 2 are different. Why? My analysis includes a deep engagement with the relevant passages

downloadDownload free PDFView PDFchevron_rightLILITH: "ADAM'S ALTER-EGO"Marco Gherardi

Lilith , 2023

Lilith is a mysterious that has captured the imagination of many cultures and time periods. Her origins can be traced back to ancient Mesopotamia. Through Jewish folklore and tradition, Lilith has evolved into a powerful and independent woman who defies patriarchal norms and societal expectations. Her story has been passed down through the centuries, appearing in texts such as the Babylonian Talmud, the Alphabet of Ben Sira, the Dead Sea Scrolls, the Zohar, and even in the Bible, where her presence is hinted at through various passages. In this study, we will explore the chronology of references to Lilith in various texts, including the Bible, and provide examples of possible applications of Claude Lévi-Strauss's canonical formula with functions and terms.

downloadDownload free PDFView PDFchevron_rightEli Yassif, “Lilith,” in Medieval Folklore: An Encyclopedia of Myths, Legends, Tales, Beliefs and Customs (Santa Barbara, Denver, Oxford: ABC-CLIO, 2000), 598-600Eli YassifdownloadDownload free PDFView PDFchevron_rightLilith and her influence on feminismPenelope DiamantopoulosdownloadDownload free PDFView PDFchevron_rightChristophe STENER Lilith לילית un mythe juif Introduction FR ENChristophe Stener

Tome 1 Coupe d'incantation découverte à Nippur conservée par le Penn museum © B2945 dont l'inscription, en araméen, indique que « Ce bol fut préparé pour protéger Abuna bar Geribta et Ibba bar Zawithai d'une série de forces maléfiques, et son auteur tira son pouvoir du vêtement d'Hermès, le Créateur du ciel et de la terre. Il menaça ces forces destructrices des malédictions qui frappèrent le Léviathan ainsi que Sodome et Gomorrhe. « J.A. MONTGOMERY, premier éditeur des bols de Nippur, a suggéré que la figure aux pieds bandés était un démon et que l'autre figure était le sorcier » indique LEVY dans sa notice muséale. Ce bol est un des rares exemples de bol figurant deux personnages, la plupart ne montrant que un démon ou une démone voire seulement un texte. Selon le mythe de Lilith, celle-ci est condamnée par la puissance divine invoquée à être attachée pour délier le vivant, et, s'agissant des femmes en couches, le terme « délier » prend le sens de les libérer de leur infertilité en déliant leur utérus. La démone lève les bras en signe de reddition. Il s'agit ici très probablement de Lilith mais seule une traduction complète de la légende permettrait de s'en assurer. L'autre personnage, à l'air réjoui, est le sorcier qui fabriqua le bol. Les puissances invoquées sont implicitement YHWH par la référence biblique aux châtiments de Sodome et Gomorrhe et du Léviathan mais aussi Hermès témoignant du syncrétisme du commanditaire et du magicien à l'époque sassanide. Hermès Trismégiste avait été alors assimilé au dieu égyptien Toth par le Livre d'Hénoch, notamment. Un artefact à rapprocher, notamment, d'une coupe également de Nippur conservée au Metropolitan Museum et d'autres coupes étudiées dans le chapitre « Bols de Lilith », tous datés de la fin de l'époque sassanide (224-651) soit du V au VIIe siècles après J.-C. Incantation bowl discovered at Nippur, now in the Penn Museum © B2945. Its Aramaic inscription reads: "This bowl was prepared to protect Abuna bar Geribta and Ibba bar Zawithai from a series of evil forces, and its maker drew its power from the garment of Hermes, the Creator of heaven and earth. He threatened these destructive forces with the curses that struck Leviathan, as well as Sodom and Gomorrah." "J.A. Montgomery, the first editor of the Nippur bowls, suggested that the figure with bound feet was a demon and the other figure was the sorcerer," Levy notes in his museum description. This bowl is one of the rare examples of a bowl depicting two figures; most show only a demon or a demoness, or even just text. According to the myth of Lilith, she is condemned by the invoked divine power to be bound in order to "unbind" life. In the case of women in childbirth, the term "unbind" takes on the meaning of freeing them from their infertility by "unbinding" their uteruses. The demon raises her arms in a sign of surrender.

downloadDownload free PDFView PDFchevron_right112. 2400, Lilith and Eve.pdfEahr Joan

Joan, Eahr Amelia. Re-Genesis Encyclopedia: Synthesis of the Spiritual Dark– Motherline, Integral Research, Labyrinth Learning, and Eco–Thealogy. Part I. Revised Edition II, 2018. CIIS Library Database. (RGS.)

Eve and all her daughters, are victims of the greatest character assassination, including centuries of unpaid labor and denied legacies. As deemed morally weak and mentally deficient, women and little girls are claimed responsible for original sin and the corruption of human nature and the natural world. (RGS.)

downloadDownload free PDFView PDFchevron_rightEve and Her Daughters: Eve, Mary, the Virgin, and the Lintel Fragment at AutunJess Sweeney

The lintel fragment of Eve from the Cathedral of St. Lazaire at Autun has been praised by art historians as one of the greatest monumental figural works of the Romanesque period. Many have viewed this work as representing the typical image of Eve as an evil, seductive, and treacherous figure responsible for the fall of man, and whom misogynistic medieval thinkers blamed for the innately evil nature of women. However a few scholars, such as Linda Seidel, Karl Werckmeister, Denise Jalabert, and Areli Marina have noted a uniqueness in the features of this Eve figure, one which strays from the "repellently ugly or hatefully seductive" Eve that most associate with the biblical figure and her depictions in art. Seidel, briefly muses over the idea that perhaps viewers could read this figure as representing both the sinful Eve and the penitent Mary Magdalene. Building on this thought, the work of the other scholars above, and my onsite work at Autun and the surrounding sites, this paper proposes the idea of a conflation not only of Eve and Mary Magdalene but of the Virgin Mary as well. I hope to reveal, by way of formal description, short histories of the scorn of Eve, the cults of the Virgin and Mary Magdalene,

downloadDownload free PDFView PDFchevron_rightSexualizing Evil Inclination in Early Judaism: Eve as YetzerAndrei Orlov

Although some previous studies argued that the evil inclination (yetzer) was only sexualized and gendered for the first time in post-Amoraic rabbinic sources this article demonstrates that this process might occur already in the pseudepigrapha.

downloadDownload free PDFView PDFchevron_rightAnne Lapidus Lerner, Eternally Eve: Images of Eve in the Hebrew Bible, Midrash, and Modern Jewish Poetry, Hanover, N.H.: University Press of New England, 2007, in Review of Biblical Literature, July 2008.Lieve M TeugelsdownloadDownload free PDFView PDFchevron_rightFeminist Theological Themes in the Biblical Art of Lilian Broca: From Lilith to Mary MagdaleneMary Ann L Beavis

Feminist Theology, 2004

For three decades, the Canadian artist Lilian Broca has been creating art featuring biblical women: Lilith/Eve, Esther, Judith and Mary Magdalene. These are not single artworks, but series, presenting these women in the contexts of their narratives. In contrast with traditional artistic representations of these figures, dominated by the male gaze, Broca brings a feminist lens to their stories. Broca's work not only converges with feminist theology and biblical studies, but she also uses this scholarship as part of her research, pointing to a fruitful and significant relationship between feminist art and academic theology.

downloadDownload free PDFView PDFchevron_rightkeyboard_arrow_downView more papers

Related topics

Jewish FolkloreaddFollow

Evil SpiritsaddFollow

• Explore
• Papers
• Topics

• Features
• Mentions
• Analytics
• PDF Packages
• Advanced Search
• Search Alerts

• Journals
• Academia.edu Journals
• My submissions
• Reviewer Hub
• Why publish with us
• Testimonials

• Company
• About
• Careers
• Press
• Help Center
• Terms
• Privacy
• Copyright
• Content Policy

580 California St., Suite 400San Francisco, CA, 94104© 2026 Academia. All rights reserved