First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.

First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.

First Published in 2004. States of spirit possession, in which believer's feel themselves to be 'possessed' by the deity and raised to a new plane of existence, are found in almost all known religions. From Dionysiac cults to Haitia voodoo, Christian and Sufi mysticism to shamanic ritual, the rapture and frenzy of ecstatic experience forms an iconic expression of faith in all its devastating power and unpredictability. Ecstatic Religion has, since its first appearance in 1971, became the classic investigative study of these phenomena. Exploring the social and political significance of spiritual ecstasy and possession, it concerns the distinct types of functions of mystical experience - in particular, the differences between powerful male-dominated possession cults which reinforce established morality and power, and marginal, renegade ecstatics expressing forms of protest on behalf of the oppressed, especially women. I. M. Lewis's wide-ranging comparative study looks at the psychological, medical, aesthetic, religious and cultural aspects of possession, and covers themes including soul-loss, ecstatic trance, divination, erotic passion and exorcism. Probing the mysteries of spirit possession through the critical lens of anthropological and sociological theory, this fully revised and expanded Third Edition is of crucial importance for students of psychology, sociology, religious mysticism and shamanism.

This book is a study of religious ecstasy, and the ways that it has been suppressed in both the academic study of religion, and in much of the modern practice of religion. It examines the meanings of the term, how ecstatic experience is understood in a range of religions, and why the importance of religious and mystical ecstasy has declined in the modern West. June McDaniel examines how the search for ecstatic experience has migrated into such areas as war, terrorism, transgression, sexuality, drug use, and anti-institutional forms of spirituality. She argues that the loss of religious and mystical ecstasy, as both a religious goal and as a topic of academic study, has had wide-ranging negative effects. She also proposes that the field of religious studies must go beyond criminalizing, trivializing and pathologizing ecstatic and mystical experiences. Both religious studies and theology need to take these states seriously as important aspects of lived human experience.

Although ecstasy has been explored in several Indian contexts, surprisingly little scholarship has been devoted to its central role in Bengali devotion. In The Madness of the Saints, June McDaniel undertakes the first comprehensive study of religious ecstasy in Bengal, examining the texts that describe it, the people who experience it, and the traditions that support it.

Honorable Mention, Barnard Hewitt Award from the American Society for Theater Research Explores the intersection and history of American literary realism and the performance of spiritual and racial embodiment. Recovering a series of ecstatic performances in late nineteenth- and early twentieth-century American realism, Realist Ecstasy travels from camp meetings to Native American ghost dances to storefront church revivals to explore realism’s relationship to spiritual experience. In her approach to realism as both an unruly archive of performance and a wide-ranging repertoire of media practices—including literature, photography, audio recording, and early film—Lindsay V. Reckson argues that the real was repetitively enacted and reenacted through bodily practice. Realist Ecstasy demonstrates how the realist imagining of possessed bodies helped construct and naturalize racial difference, while excavating the complex, shifting, and dynamic possibilities embedded in ecstatic performance: its production of new and immanent forms of being beside. Across her readings of Stephen Crane, James Weldon Johnson, and Nella Larsen, among others, Reckson triangulates secularism, realism, and racial formation in the post-Reconstruction moment. Realist Ecstasy shows how post-Reconstruction realist texts mobilized gestures—especially the gestures associated with religious ecstasy—to racialize secularism itself. Reckson offers us a distinctly new vision of American realism as a performative practice, a sustained account of how performance lives in and through literary archives, and a rich sense of how closely secularization and racialization were linked in Jim Crow America.