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Dissertations / Theses on the topic 'Conjuring'
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Brown, Sheree Mancini. "Conjuring Olympus: Defining Place for Women." Xavier University / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=xavier1352667500.
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Halil, Karen. "Conjuring power in Caribbean and African-American literature." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0001/NQ39535.pdf.
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Wallace, Rick L., and Nakia J. Woodward. "Conjuring Up the Next Generation of Medical Librarians." Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/etsu-works/8758.
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Saul, Matthew William. "State reconstruction in international law : conjuring with political independence." Thesis, University of Sheffield, 2008. http://etheses.whiterose.ac.uk/10324/.
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This is a study about large-scale international involvement in the reconstruction of a state without an independently effective domestic government. Specifically how the practice in Cambodia, Haiti, Bosnia and Herzegovina, Sierra Leone, Kosoyo, East Timor, Afghanistan, and Iraq, relates to the right of the target state and its people to political independence. The international involvement, particularly its legal justification, is analysed from the perspective of the right to political independence and the core UN system values of self-determination of peoples and international peace. From this analysis, an opinion is formed on what explains intenlational acceptance of a practice that struggles to remain consistent with the legal structures and political values of the inter-sovereign relations paradigm of the international system. This is argued to rest on the pursuit of democratic reconstruction. The absence of a legal concept of democracy, in the practice analysed, is the basis for the thesis that: when there is not an independently effective domestic government, there is a need for greater international legal regulation and accountability of those - both the domestic and international actors - that exercise the right to political independence for the purpose of state reconstruction. This is to compensate for the lack of assurance that the process reflects the wishes of the state and its people, which is a threat to the core UN system values of self-determination of peoples and international peace.
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Houstoun, William G. P. "Professor Hoffman's modern magic : the rise of Victorian conjuring." Thesis, University of Essex, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.694707.
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Geyer, Christopher R. "Primitive echoes the capturing and conjuring of Native American music /." [Bloomington, Ind.] : Indiana University, 2005. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3204280.
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Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2005.Source: Dissertation Abstracts International, Volume: 67-01, Section: A, page: 0288. Adviser: Ruth M. Stone. "Title from dissertation home page (viewed Dec. 12, 2006)."
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Uesugi, Takeshi. "Delayed reactions: 'conjuring' agent orange in twenty-first century Vietnam." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=106246.
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The intended effects of Agent Orange—the chemical herbicide the US military used during the Vietnam War to defoliate forests and destroy crops—were 'horrendous'; its unintended side-effects on human health, including cancer and birth defects, were 'abominable'. But what about the side-effects of conjuring up 'Agent Orange' decades after the end of the war in contemporary Vietnam? The story of Agent Orange is a relatively new invocation of old facts that were buried in the exigencies of everyday life in postwar Vietnam. The identity of so-called "Agent Orange victims" born in the wake of the emergence of nationwide movement to seek justice on their behalf remains tenuous due to the lack of a unified institutional support for Agent Orange victims and continuing uncertainty of scientific evidence implicating the chemical as the cause of their diseases and conditions. Based on a thirteen-months fieldwork in Central Vietnam, focusing on A Luoi district of Thua Thien Hue province, this thesis explores how the new discourse of Agent Orange and dioxin affects ordinary people's perception of risk, and their relationship to the environment, family, community, nation-state, and the memory of war in regions contaminated with Agent Orange.Les effets souhaités de l'Agent Orange –ces herbicides chimiques utilisés par l'armée américaine pendant la guerre du Vietnam – étaient le défoliation des forêts, ainsi que la destruction des récoltes, tous deux des effets terribles. Ses effets secondaires non-souhaités sur la santé humaine, incluant le cancer et des malformations de naissance étaient, quant à eux, abominables. Mais que penser des effets secondaires de l'évocation de l'Agent Orange, des décennies après la fin de la guerre au Vietnam d'aujourd'hui? L'histoire relativement récente de l'Agent Orange fait ressurgir du passé des faits enterrés sous les exigences de la vie quotidienne du Vietnam d'après-guerre. L'identité des soi-disant « victimes de l'Agent Orange », apparue lors de l'émergence d'un mouvement national visant à obtenir justice pour eux, demeure délicate en raison de l'incertitude scientifique causale qui persiste, et à cause du manque de soutien institutionnel unifié pour les victimes de l'Agent Orange. Basée sur treize mois de recherche de terrain dans le centre du Vietnam, au sein du district d'A Luoi de la province de Thua Thien Hue, cette thèse examine la manière dont les nouveaux discours sur l'Agent Orange et la dioxine affectent la perception du risque des personnes ordinaires, leurs relations à l'environnement, à la famille, à la communauté, à l'état-nation, ainsi que leur souvenir de la guerre, dans une région contaminée par l'Agent Orange.
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Karlsson, Amanda. "Andlighetens skräck : En teologisk analys av skräckfilm." Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, HLK, Ämnesforskning, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-36372.
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De religiösa institutionernas makt har minskat och människor letar i andra medier för att skapa sig en världsbild och införskaffa sig värden om gott och ont. Ett av dessa medier är film. Film påverkar människors identitetsskapande och konkurrerar i allt högre utsträckning med religiösa institutioner om att förmedla traditioner. I uppsatsen analyseras The Conjuring och The Conjuring 2 ur ett teologiskt perspektiv. Uppsatsen utgår från frågor som berör religionens funktion och gestaltningen av gott och ont. Analysen utgår från Douglas E. Cowans kategorier rörande religionens funktion inom skräckfilm för att göra analysen av religionens funktion i filmerna, samt gestaltningen av kampen mellan gott och ont. Analysen visar att religionens funktion i filmerna tillhör kategorierna rädsla för ändring i den heliga ordningen, rädsla för att dö, dö hemskt och att inte förbli död och rädsla för övernaturlig ondska som är förkroppsligad och internaliserad. Ondskan gestaltas i de okontrollerbara krafter som stör ordningen och förändrar världsbilden. Dessa övernaturliga krafter gestaltas genom andar som är oförmögna att gå vidare. De goda krafterna gestaltas genom de människor som återställer ordningen och frigör andarna. Kampen mellan ont och gott beskrivs vid ett tillfälle som en mobbare som man tillsammans måste stå upp mot. Samtidigt beskrivs det som att människorna hamnar i mitten av kampen och riskerar att där bli besatta av onda andar. Det är om människans själ och kontrollen över människan som de motsatta krafterna kämpar. Det är ett sekulärt samhälle som speglas i filmerna där den institutionella kyrkan är svag men den individuella religiositeten är stark och kan även fungera som ett vapen i kampen mellan gott och ont.
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Michael, D. Pante. "Conjuring a Capital City: The Spatial Evolution of Quezon City, 1939-1986." 京都大学 (Kyoto University), 2017. http://hdl.handle.net/2433/225325.
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Dudley, David. "THE DEVELOPMENT OF 800 DAYS OF SOLITUDE: A CONJURING: A PLAYWRITING THESIS." OpenSIUC, 2018. https://opensiuc.lib.siu.edu/theses/2412.
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This thesis document is a presentation of the process and production of my play, 800 Days of Solitude: A Conjuring, which was presented in the Moe Theater Lab March 22 through 25 2018. This play endeavored to tell the story of a young man who was wrongfully imprisoned, and then forced into solitary confinement. Chapter 1 contains a detailed account of the pre-writing process, including early inspirations, impressions of what the play might be, and character bios. Chapter 2 is a narrative account of the writing of 800 Days of Solitude: A Conjuring, along with key inspirations and how I used them to shape the text. Chapter 3 recounts the pre-production process, including production meetings with the director and design team, the process of auditions, and rehearsals. Chapter 4 discusses the production of 800 Days of Solitude: A Conjuring. Chapter 5 is the Conclusion, wherein I reflect on my time before SIU, as well as my time here. I then revisit my goals and weigh in on whether I achieved them. Then I speculate on what the future may bring. This is followed by the Works Cited. Appendix A contains the production script of 800 Days of Solitude: A Conjuring, followed by a gloss of terms. Appendix B contains an early draft of 800 Days of Solitude: A Conjuring.
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Blacklock, Naomi. "Conjuring alterity: Refiguring the witch and the female scream in contemporary art." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/132362/1/Naomi_Blacklock_Thesis.pdf.
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This practice-led research project addresses the political and creative significance of the witch archetype as an emancipatory symbol for alterity in contemporary art. Framed within an intersectional feminist methodology, it explores cultural mythologies, personal histories, political activism, gender and sexual rebellion. Using embodied performance it explores the significance of disruptive feminist voices and reimagines intersectional identities in contemporary art practice through the figure of the 'witch' as Other.
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Gorden, Kea L. "Conjuring power : the politics of culture and democratization in post-Apartheid South Africa /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2008. http://uclibs.org/PID/11984.
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Rodekohr, Andrew Justin. "Conjuring the Masses: The Figure of the Crowd in Modern Chinese Literature and Visual Culture." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10574.
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This dissertation argues that the figure of the crowd in literature and visual culture constitutes a crucial component in the emergence and construction of the cultural, political, and historical values of modern China. From Lu Xun’s momentous recollection of the lantern slide that compelled him use literature as a means to heal the souls of the Chinese people to Zhang Yimou’s spectacular staging of the crowd at the 2008 Beijing Olympic Games, the numerous ways the crowd has been written and pictured not only demonstrates its utility as a motif, but also asserts a mode of literary and visual imagination and even critical inquiry. Although the question of how a work of art or literature stands in relation to the masses has long been a preoccupation of writers, artists, critics, and policymakers in China, this dissertation sees crowd representation as a narrative or visual act that compels us to reconsider the conventional categories that would relegate the crowd as strictly synecdochic for the politically reified nation. To that end, I focus on how concepts such as crowd and mass are under constant revision, laying bare the negotiations and struggles entailed in the process of defining China collectively. Chapter One investigates the role of the crowd in the self-construction of the modern intellectual through two themes, the public warning (shizhong) in the case of Lu Xun, and the idea of superfluity (duoyu) in Qu Qiubai. Chapter Two considers the term “massification” (dazhonghua) as a narrative technique of writing the crowd into being, and in particular the volatile means of its manifestation through violence, death, and annihilation. Chapter Three inquires into the reciprocal relationship between crowd and image in two films (Big Road and Prairie Fire) as well as propaganda art from the 1930s and the Cultural Revolution, with a special focus of the technological means of exhibiting the crowd. Chapter Four positions filmmaker Zhang Yimou’s use of the crowd within the context of the “red legacy” of revolutionary history and technological visuality to argue that efforts to define the Chinese masses remain an ongoing concern.East Asian Languages and Civilizations
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Mallett-Birkitt, Diane. "“Fetch M’Dear”: Healers, Midwives, Witches, and Conjuring Women in Select YA and Toni Morrison Novels." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3845.
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Accusations and persecution of witchcraft have been embedded in global culture for centuries. For as long as these persecutions have occurred, women have found themselves accused most frequently. Older women with herbal knowledge were often called on to assist with childbirth or termination of pregnancies and this “secret knowledge” often led them to be suspected of supernatural abilities, often of a satanic nature. Intrigued by these wise women who appeared to have mysterious powers and a penchant for arousing the ire of men in the legal, medical, and religious communities, I began to notice their frequent appearance in novels. Does the presence of actual or perceived magic serve to improve the women’s status in their community? I reviewed several examples of YA literature, two picture books, and four Toni Morrison novels to determine if magic, conjuring, and witchcraft were more powerful threats than sexism and racism.
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Fahlvik, Cornelia, and Jonathan Löwstedt. "Audiovisuella element i skräckfilm : En audiovisuell analys av scener ur The Conjuring 2 och IT." Thesis, Högskolan Dalarna, Bildproduktion, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:du-31625.
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Vi har analyserat två filmsekvenser ur skräckfilmerna The Conuring 2 och IT med en multimodal analys för att undersöka hur de audiovisuella elementen används för att förmedla rädsla. Undersökningen kom fram till att antydandet till hotet skapar en större effekt av en klimax i en skräckfilmsscen. Något vi anser att The Conjuring 2 gjorde bättre med hjälp av en mer dynamisk ljudbild som användes som en starkare berättarkomponent.
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Blansett, Bruce Collin. "Conjuring as a Critique of Medical Racism in Charles Chesnutt's The Conjure Woman and Other Conjure Tales." Thesis, Virginia Tech, 2012. http://hdl.handle.net/10919/77001.
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Charles W. Chesnutt has long been regarded as one of the most influential African American writers of the 19th-century, and his works have been lauded for their skillful maneuvering of language, audience, and cultural forms. The The Conjure Woman and Other Conjure Tales has often been considered Chesnutt's most influential work and has attracted great interest from readers and scholars alike. Though Chesnutt scholarship often focuses on new ways of reading the works or the effectiveness of the author's subversive techniques, one focus that has been mostly overlooked is the work's ability to challenge racist medical dialogues prevalent throughout the 19th-century. This project uses a lens of conjuring, one of the most powerful and compelling forces in Chesnutt's work, to examine ways that The Conjure Woman and Other Conjure Tales can be read as a subversion of 19th-century medical doctrine.Master of Arts
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Binti, Mohd Amin Hasyimah. "Spirits, the Conjurer, and the ‘Living-Dead’ Ancestor: Aspects of African Traditional Religion in Recent African American women’s fiction." Thesis, The University of Sydney, 2019. https://hdl.handle.net/2123/21755.
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African American women writers in the post-civil rights era, such as Toni Morrison, Paule Marshall, and Toni Cade Bambara, have demonstrated that the use of African spiritual traditions is a means to address black women’s struggles with violent oppression on race and gender in the United States. These works set the precedent for many more African American women writers of the late twentieth century to incorporate this spiritual tradition in their works. Literary critics have highlighted the aspects of this tradition in the works by these important writers. However, scholars have not examined a number of recent novels by African American women writers that also employ aspects of West African spiritual traditions - Bernice L. McFadden’s Gathering of Waters (2012), Dolen Perkins-Valdez’ Balm (2015), and Tiya Miles’ The Cherokee Rose: A Novel of Gardens & Ghosts (2015). Thus, this thesis examines the integration of the concepts of the avenging spirit, the conjurer, and the ‘living-dead’ ancestor of African spiritual traditions in the novels mentioned above. Overall, I argue that African spiritual traditions in the selected works enhance major concerns of the black female’s voice against sexist ideology, negative stereotypes of Black women, and the search for healing. Firstly, I examine the role of the avenging spirit or ngozi in McFadden’s Gathering of Waters to emphasize the voice of African American women against racialized sexual violence. Then, I argue that inspecting the conjure woman in Dolen Perkins-Valdez’ Balm reveals that her quest to find the meaning of life through conjuring practice challenges the negative stereotypes of black woman conjurers. Finally, I argue that the revelation of the overlooked history of the ancestor in The Cherokee Rose: A Novel of Gardens & Ghosts exemplifies how the connection to African spiritual traditions helps in the process of restoring race-relations and the healing of trauma that emerge from the systemic oppression of race and gender. This thesis illustrates how these recent writers weave some aspects of West African spirituality through their arts to remind readers about the survival of their African heritage through the trans-Atlantic slave trade. These elements of African spirituality are circulated in cultural memory to enable African American women’s struggles to continue to be expressed through literature.
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Spånberger, Agnes. "Besatt av Ondska : En semiotisk filmanalys av ondska och besatthet i filmerna Insidious 2 och The Conjuring 2." Thesis, Jönköping University, HLK, Ämnesforskning, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-53788.
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Farmer, Rion. "Conjuring a Carnival of Denial: How the Oedipus Complex Manifests in the Sociosexual Fringes of John Kennedy Toole’s A Confederacy of Dunces." Thesis, Högskolan Dalarna, Engelska, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-29830.
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Harada, Ricardo Godoy. "A tentativa do impossível = a arte mágica como matéria poética da cena teatral = Attempting the impossible : the art of conjuring as poetic material of the theatrical scene." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284390.
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Orientador: Verônica Fabrini Machado de AlmeidaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-21T05:27:33Z (GMT). No. of bitstreams: 1 Harada_RicardoGodoy_D.pdf: 40900997 bytes, checksum: e17b647942063460b51fccf6fffc7a65 (MD5) Previous issue date: 2012
Resumo: A presente pesquisa objetivou estudar, fundamentar e desenvolver uma poética cênica singular, resultante da articulação de duas formas espetaculares distintas: a arte mágica e a arte teatral. Para isto, foi necessário realizar um estudo introdutório da arte mágica, com o fim de identificar seus traços específicos, recorrentes em sua gênese ao longo da história, bem como estabelecer sua especificidade enquanto uma forma espetacular autônoma. Esta tese analisa a problemática decorrente do encontro e da articulação entre ambas as artes, centrada na incompatibilidade entre os aspectos específicos de cada uma. Partindo dos conceitos discutidos, são apresentados exemplos concretos, visando superar a dicotomia entre a performatividade da arte mágica e a teatralidade do teatro, levando em consideração a complexidade e heterogeneidade de ambas as artes. O percurso artístico do autor é utilizado como estudo de caso, expondo os procedimentos e as soluções de ordem poética encontradas no decorrer de dez anos de experimentações. Esta poética singular é resultante do deslocamento da finalidade da arte mágica tradicional - centrada no entreter por meio da simulação do impossível - para a produção da suspensão estética no espectador. O acontecimento teatral deixa de ser um espaço de representação, tornando-se símbolo, ou seja, uma matriz de intelecções
Abstract: The purpose of this thesis is to study and develop a singular theatrical poetic, based on the articulation between the art of conjuring and theatre. Both are independent and complexes forms of arts, with inner characteristics that are incompatible when brought together. The first part of this research presents the genesis and the specificity of the art of conjuring by identifying its recurrent specific traces. After establish the specificity of both arts, we analyse the status queastionis of the proposition, regarding the mixture of procedures from the art of conjuring and theatrical art. Its not possible to establish a general theoretical answer to the problem presented by this research. Only by the analysis of singular cases, based on the concepts established on the first part of the thesis, is possible to contemplate the multiple dynamics and potentialities of the proposition. The singular poetical approach of the author is taken as case of study, being analysed by a descriptive method. This new form of performance, product of the mixture of conjuring and theatre is possible only because of the approach of its author, regarding the finality of his art: its not entertaining by creating effects of impossibilities, but provoke the aesthetical arrest in the spectator. In this new proposition, the theatrical scene is not a space of representation anymore, but is presented as symbol it self
Doutorado
Artes Cenicas
Doutor em Artes
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Jansson, Mikael. "The Power of Christ Compels You." Thesis, Uppsala universitet, Religionshistoria, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-411482.
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This essay aims to explore and answer if the horror movies about exorcism stays true to the historical practices of the ritual. Or if the creators of these films made it all up. But also to see how the ritual has been portrayed in these movies over the years. Therefore I chose to analyse four different movies that is in different historic periods of the horror movie genre. Among these movies is the classic movie that started it all, The Exorcist. The other movies is representing periods that came after, with this essay we can also gather how society sees the rite of exorcism. The essay is going to present the history of the ritual, the various symptoms of possession and the classifications of getting an approved exorcism. We will focus on the roman-catholic tradition of this ritual, mainly because it is the version that the movies take most of their inspiration from.
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Lu, Vince Jia-lin, and 盧嘉麟. "Magician and His Conjuring: The Magus as the magus to the Many." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/86476768609600515174.
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博士國立高雄師範大學
英語學系
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AbstractIn the near end of the “Foreword” in The Magus, Fowles postulates that “If there was some central scheme beneath [the fiction] . . . it lies perhaps in the alternative title, whose rejection I still sometimes regret: Godgame” (10). He intends the Godlike Conchis to exhibit a series of masks representing human notions of God, from the supernatural to the jargon-ridden scientific. Because of this, the best way to start exploring and analyzing Fowles’ novel is to dip into his Godgames. In The Postmodern Turn, Ihab Hassan distinguishes modernism from postmodernism and provides schematic differences such as Purpose vs. Play, Design vs. Chance, Presence vs. Absence, Totalization vs. Deconstruction, Centering vs. Dispersal, Signified vs. Signifier, Determinacy vs. Indeterminacy and Transcendence [Transcendental God] vs. Immanence [Immanent God].(91-92) From the schema provided by Ihab Hassan we know that in modernism, people search for a fixed Godlike-center and its totalizing forces to control and consolidate a signature system between signifier and signified. In the beginning of the twentieth-century, determinism preserved the possibility of an omniscient God directing the world. In postmodernism, the signifier never refers to a fixed signified. Instead, the relationship becomes arbitrary, the rupture of the signifying process, or the Derridean differance. There is no center or ubiquitous God which can determine or direct the world. According to Jacques Derrida, the ubiquitous God is like an authoritative totalitarian who symbolizes the center to whom the postmodern exists to challenge. Totalization is, therefore, defined at one time as useless, at another time as impossible. So far as meta-fiction fiction is concerned, the Godlike author loses his authoritarian power in controlling his characters. This dissertation will study Conchis’ ways of conjuring as his master-pupil trickery, and simultaneously explore how he leads Nicholas Urfe from one of the Many into one of the Few. The First Chapter is the “Introduction.” The Second Chapter “Magician from a Master Story-teller to a Master Godgame Player” explores and analyzes the philosophy of wisdom and the meaning of life in the major stories told by Conchis. Besides, also will be discussed is the condition of Conchis’ Godgames from the modern-end of purpose to postmodern hazard and chance in light of the postmodern theorists such as Jacques Derrida, Jean-Francois Lyotard and Ihab Hassan, et. al. In Chapter Three, “Jungian Archetypal Image of Wisdom and Individuation,” intends to explore the meanings of archetypal images in the Tarot cards in The Magus, and how Conchis, the symbolic magus in the Tarot cards, helps Nicholas Urfe promote his spirituality through the inner-most journey. Chapter Four is entitled “All-Seeing Eye’s Surveillance of the Many,” which explores how Conchis uses the All-Seeing Eye technique as his magic conjuring power to enlighten and internalize the wisdom of the Few to the Many. Finally Chapter Five is “Conclusion.”
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Steinbach, Penny Janice. "Sacrificing the Jaguar Baby : understanding a classic Maya myth on codex-style pottery." Thesis, 2015. http://hdl.handle.net/2152/30324.
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The Jaguar Baby vessels belong to a large corpus of Late Classic Maya pictorial ceramics dubbed Codex-style pottery and originating from archaeological sites, such as El Mirador and Nakbe, in the north-central area of Peten, Guatemala, where they were made for a brief period shortly before and/or after the turn of the eighth century AD.
Through strategic juxtapositions of images and words, the vessels convey the story of a
rain god and a death spirit who, in the darkness between the sun’s setting and dawn, sacrifice an infant, a jaguar, or an infant with jaguar traits on a mountain in the midst of water, as an offering during the conjuring of an elderly deity. New evidence from a fragmentary Codex-style vessel recovered from the site of Calakmul in the southern half of Campeche, Mexico, suggests that the sacrifice is part of a pre-accession ritual serving to endow royal heirs with the ability to conjure, which, in turn, was integral to assuming the throne.text
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Clearwood, Maegan. "ancestral hauntings and utopian conjurings: a fool’s journey into COVEN-19, or Magicks for Unprecedented Times." 2021. https://scholarworks.umass.edu/masters_theses_2/1039.
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Conceived in the wake of a global pandemic and the unanticipated need to create digital theatre, COVEN-19, or Magicks for Unprecdented Times as a devising project consisted of two witchcraft-inspired performances: a fall 2020 Samhain ritual and a spring 2021 Beltane ritual. The company of undergraduate and graduate theatre witches explored decentralized, iterative, slow, caretaking, queer forms of devising over digital platforms. The written portion of this thesis takes the form of a digital tarot blog: 22 (plus a bonus) interconnected essays and spells that interrogate feminist and queer theories as they pertain to the Coven’s devising process. This digital format not only reflects the malleable nature of the creative process, but it is also a kind of praxis that invites the reader to take an active role in meaning-making and resists an objective, singular narrative. Woven through these tarot cards are threads of utopian futurity, situated subjectivities, and anticapitalist temporalities. The essays and spells are primarily in conversation with adrienne maree brown, Judith Butler, Audre Lorde, Jose Estaban Munoz, and Starhawk – engaging with these theorists as thought-ancestors in order to activate rather than regurgitate their knowledges of radical hope and nonlinear process. The tarot deck takes a situated, backwards glance toward these ancestors as it grasps at seemingly impossible utopian horizons of collaboration and creation.