dybbuk

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Synonyms for dybbuk

(Jewish folklore) a demon that enters the body of a living person and controls that body's behavior

References in periodicals archive ?
Finalists: Between Worlds: Dybbuks, Exorcists, and Early Modern Judaism by J.
This is in contrast to possession by a dybbuk, where the evil spirit of one who has died takes possession of one of the living.
There are those who believe that dybbuks continue to haunt us.
The woman declares him a dybbuk, a figure unfamiliar to most 21st-century filmgoers, but one quite at home in the horror movies it predates.
The word dybbuk is a Yiddishized adaptation of the Hebrew root davek, meaning to cling or to cleave, and the basis of the contemporary Hebrew word for glue.
The idea of the dybbuk gained traction in the 16th century, when kabbalah, flourishing in the northern Galilee city of Tzfat, promulgated ideas about the afterlife.
Ansky's 1914 play The Dybbuk, which became the 1937 Yiddish-language film that introduced the idea of the dybbuk to a wider audience.
They had followed him here as if they were dybbuks and gilguls.
Between Worlds: Dybbuks, Exorcists, and Early Modern Judaism.
Chajes suggests, through a comparative historical approach, the existence of a deep nexus of the living and the dead between worlds, as the chosen title wants to explain: the dybbuk is the spirit who possessed someone.
9) The belief in dybbuks existed mainly in certain circles of Judaism from the seventeenth until the nineteenth century, (10) but there are still rare accounts of such beliefs and phenomena in strains of Judaism that tend toward mystical-magical thought such as the Cabala, though they are not characteristic of the mainstream.
14) The various reincarnations in The Dybbuk are undoubtedly the result of Ansky's strong interest in ghosts, incarnations, dybbuks, and demons.
The expelling of the dybbuk and of the demonic being in Noh also utilizes religious texts.
The subtitle to The Dybbuk, "Between Two Worlds" (originally the main title)--together with the theme song on the wandering soul that opens and concludes the play, and the plot and its various interpretations--attributes to the play a transitional dimension that requires a specific location.
The second half of the play takes place at another religiously associated location: a large room in the home of Rabbi Azriel, who serves both to requite the restless and suffering dead spirit and to vanquish the dybbuk.