Laura Feldt

Professor of the Study of Religions, Bergen University

Total Devotion from Past to Present:

An Interview Synthesis* on Radical Religion in the Ancient World and What It might Teach us Today

Lauritz Holm Petersen, PhD

“With the Total Devotion project, I wanted to create a space for thinking about both ancient and contemporary forms of radical religion and hopefully shed new light on contemporary forms by emphasising aspects that haven’t received as much attention.” (Interview, Feldt 2025).

“When we look across examples of ancient radical religion, we see this pattern everywhere: ascetics have specific ideals of perfect devotion, martyrs have others. These ideals create hierarchies and competition. Religious actors don’t just scale devotion – they compete over who is most perfectly devoted. (…) They judge who is ‘perfectly devoted,’ who is merely ‘lukewarm,’ or who is ‘devoted in the wrong way.’ (…) That competition is a crucial in-group dynamic in radical religion.” (Interview, Feldt 2025)

“Weeping became a way of adapting to life in this world, a visible sign of one’s inner struggle and repentance. But the sources also show an awareness that weeping had to be appropriate. If one wept too much, it could be embarrassing for others; yet if one didn’t weep enough, it might suggest a lack of devotion. So, there’s an inner dialogue in the texts about what constitutes the right way to weep – the perfect balance of emotional expression. (…) The ideal wasn’t to show the outside world how sad or penitent you were. It was directed inward—towards the community itself. It was an in-group expression of shared ideals.” (Interview, Gilhus 2025).

“Most ascetics sought isolation, humility, and anonymity: living in the desert, hidden from the world. That’s the classic story. But then we have Simeon Stylites. (…) He began like other ascetics: joining monasteries, engaging in harsh ascetic practices. But then, at some point, he climbed onto a pillar. That act was radically different. He became immensely visible, physically elevated above the world. Symbolically, this was the opposite of humility. Yet, paradoxically, it worked: he attracted crowds, inspired mass conversions, and became a public spectacle. (…) His performance had a dual dynamic: On one hand, his elevation, literally and symbolically, declared, ‘I am closer to God than the rest of you.’ That message would have been obvious to anyone watching him from below. On the other hand, his followers (…) participated in constructing and amplifying this act of devotion. The performance happens in the eyes of others, creating a reciprocal relationship between the admired and the admirer. Devotion becomes an exchange: Those watching are moved and inspired, while the performer is motivated to sustain or intensify his radical commitment.”

“The practicalities of such an ascetic feat are formidable. (…) These figures are often portrayed as solitary individuals, lonely heroes of faith, but that’s rarely accurate. The theme of seclusion makes such portrayals plausible, but in reality, they almost always had companions or helpers who made their practice possible”. (Interview, Høgel 2025)

“One’s holiness should not become too well known, because that would lead to pride, which is obviously undesirable. If you boast about your holiness, that itself shows that you are not holy. So secrecy is crucial. But by withdrawing, the saints paradoxically attract attention. (…) Their physical absence encourages people to tell stories about them; they become objects of rumour. Through this, their fame and charisma grow. (…) Asceticism is not simply withdrawal. It becomes a way of claiming a place within a community through withdrawal.” (Interview, Staat 2025)

“Were they isolated and marginalised? This has been the argument in much of Greek scholarship. But I’m not convinced. I think there are different ways of interpreting the evidence that help us understand the networks they existed within. (…) I don’t think they were isolated or marginalised. They may also have had particular gifts resulting from their relationship with the nymphs, for example, oracular abilities that allowed them to do prophecy. That would make them extraordinary. (…) These individuals, because they have done all this work and have offered themselves, in a sense, to the gods – they’re dedicating themselves within the space, physically inscribing themselves into it – seem to become invested, or at least plausibly invested, with some authority. (…) They were not isolated or marginalised. If anything, they were moving in important ways within a group of people who relied on them, people for whom they had initiated or expanded a cult.” (Interview, Eidinow 2025)

“Sacrifice is not only about suicide attacks. It is also a general narrative theme: people sacrificing their lives, their families, and everything they have in order to join the Islamic State, travel to Syria, and devote themselves to the “good cause.” This is emphasised repeatedly in their videos. A very concrete example is the videos they made featuring disabled fighters—people who were blind or paralysed and sitting in wheelchairs. The Islamic State would say: ‘These people have sacrificed so much for our cause. They were wounded or disabled because they sacrificed themselves.’ The implicit message to the audience is: ‘If even blind people are joining, what is your excuse?’ This is a clear example of how they fuel internal competition. They present role models, whether suicide bombers or a man in a wheelchair, who have sacrificed everything. The implied challenge is: ‘What about you? Why aren’t you joining us?’” (Interview, Nanninga 2025).

“In that video, the suicide bomber says farewell to his family, gets into a vehicle rigged with explosives, and then we see an explosion from far away. But you don’t see any aftermath; no victims, no destroyed buildings, none of that. The act itself is the symbol: a symbol of sacrifice, of piety, of honour. The meaning lies in the willingness to carry out the act, not in its tactical outcome.” (Interview, Nanninga 2025).

“I see emotions as embodied assessments of social situations. Something happens in the body, but it’s always interpreted through a cultural and social framework – how we name emotions, how we regulate them, how others respond. And emotions are always linked to narratives. That’s one of the major points in my own research. Think about anger: you can’t have the emotion of anger without a story – ‘I’m angry because he did that to me.’ The emotion always implies a narrative structure: who did what to whom. Emotions are relational; they’re about social situations. So from my perspective, there’s no way to talk about emotions outside of sociality and narrative.” (Interview, Feldt 2025)

“This kind of regulation is even more pronounced in radically religious groups. (…) The cultivation of devotion toward one’s deity is often accompanied by the cultivation of disgust or hatred toward outsiders. These opposite emotions reinforce each other. They’re connected through narrative frameworks that tell members who belong and who do not. For example, the cultivation of total devotion to Yahweh is intimately tied to the destruction of religious objects associated with other gods. Those objects are portrayed as disgusting or impure. And we can observe the same dynamic in modern examples, such as ISIS’s destruction of ancient Mesopotamian statues in Nineveh in 2014.” (Interview, Feldt 2025).

“In this later period of instability and displacement, we begin to see new religious tendencies emerging, such as those expressed in Deuteronomy, that emphasise the internalisation of devotion (…) an explicit focus on the inner self as the locus of religious life. Here, devotion is no longer primarily a matter of temple ritual or public sacrifice. It becomes a matter of remembering, loving, and training one’s heart and mind to remain faithful to Yahweh—even in exile. That emphasis on inward, emotional, and continuous devotion is something I have not found in earlier Mesopotamian material.” (Interview, Feldt 2025).

“[The] emphasis on total devotion [in Acts of Peter] reflects the pressure Christians faced from the outside. For the movement to survive, believers needed to internalise their commitment. If persecution or social marginalisation threatened them, this inward, all-encompassing faith helped them resist apostasy. (…) Totality, the involvement of the whole person, was a strategy for resilience.” (Interview, Bremmer 2025).

“For Greeks and Romans, religion was something you simply grew up with. There was no formal instruction. You accompanied your father or grandfather to sacrifices, you observed what they did, and eventually you took part yourself. In one of the speeches of the orator Isaeus, a young man recalls: ‘We went with our grandfather to sacrifice; we were there when he sacrificed.’ That’s how religious knowledge was transmitted – by participation and imitation, not by systematic teaching. (…) By contrast, in early Christianity, we begin to see organised religious instruction. (…) That likely began in the second century, as communities realised that joining the group of Christ-followers required instruction, not only about doctrine, but about the meaning of love for Christ and what it entailed to live as a convinced believer.” (Interview, Bremmer 2025).

“There’s a strong sense of vulnerability, a recognition that these religious traditions could easily disappear. That awareness generates what we might call training technologies: specific cultural techniques for maintaining and transmitting the tradition. For example, detailed prescriptions for how to teach, memorise, and practice devotion in everyday life. This, I think, marks a major innovation in the religious history of the region. You suddenly have a small, marginalised group worshipping a relatively obscure deity, Yahweh, in a land smaller than Jutland, surrounded by vast empires. Their elites, including scribes, are taken into exile. In that precarious situation, Deuteronomy’s emphasis on teaching, remembering, and daily practice makes sense as a survival strategy.” (Interview, Feldt 2025).

“In the study of ancient religion (…) texts about martyrs, ascetics, and zealots [have] often been approached mainly in historical terms: ‘when did this person live?’ or ‘which emperor was ruling?’ Those are important, of course, but [the total devotion project’s] approach is (…) to complement it with a forward-oriented perspective. That means asking how these texts were intended to affect their audiences, how they functioned as instruments of devotion. We can’t, of course, measure their exact impact on ancient readers (…). But we can study how other ancient texts respond to them, echo them, or argue against them. That intertextual dialogue gives us valuable clues. We also know that many of these texts were explicitly devotional: they were read and recited in ritual contexts, reused year after year. For instance, the story of a martyr would be read aloud on the anniversary of their death. These weren’t just historical chronicles; they were liturgical and pedagogical tools.” (Interview, Feldt 2025).

“(…) these texts aim to connect with the world of the audience—the listeners and readers outside the story, the extra-diegetic audience. They try to bridge the gap between the story world and the actual world. (…) Hagiographers explicitly state in prologues and epilogues that these saints are models for imitation. By reading their texts, you can learn from them and begin this ‘chain of imitation,’ as some scholars call it.” (Interview, Staat 2025).

“These stories always aim to affect the audience emotionally by presenting events and characters in vivid ways, really bringing things ‘before the eyes.’ This relates to what ancient rhetorical theory calls enargeia: the vivid description of events as if they are physically present, as if you can see them with the eyes of your mind. Today, we would simply call this immersion. (…) As an audience, and I always say “audience” because these texts were meant not only for readers, but also for listeners (…), you can become part of the narrated events. The events do not remain confined to the story world (…). There is a continuous line from A to Z that does not stop where the story stops; the audience is implicated as well. [Emplotment]refers to arranging the narrative in such a way that people can step into it – this is the ‘em-‘ of emplotment. In contrast, a ‘plot’ is more descriptive: A happens, then B, then C, and the story ends. I found it important to use the more dynamic concept because it highlights how the audience is actively involved. And again, emotion plays a role. A simple ABC structure says nothing about emotional engagement. Emplotment, however, refers to how people feel about events and how they are drawn into the unfolding narrative.” (Interview, Staat 2025).

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