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Journal articles on the topic 'The Hammer of the Witches'

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Published: 24 April 2022

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1

James J. Sosnoski. "The Witches' Hammer." American Book Review 31, no. 2 (2010): 11. http://dx.doi.org/10.1353/abr.0.0087.

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2

Abramova, Ekaterina Yu. "“SABRINA” AND “CHARMED”: THE IMAGE OF WITCHES IN ORIGINAL TV SERIES AND THEIR REBOOTS." Articult, no. 3 (2021): 106–14. http://dx.doi.org/10.28995/2227-6165-2021-3-106-114.

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The article is devoted to the study of the image of witches in popular culture through the analysis of four American TV series: “Charmed” (1998), “Charmed” (2018), “Sabrina the Little Witch” (1996) and “The Chilling Adventures of Sabrina” (2018). These series were chosen due to their popularity and a new look at the image of witches. Also due to the regional and ideological characteristics of the society that created them. The methodological basis of the work was an informational approach that considers cinema as part of the cultural space and culture as a whole, also used the “classical” method of comparative analysis. The category “witch” itself is considered as a universal of culture, the emphasis is on changing the role and image of witches in the “consumer society”. The historical basis of the article is the analysis of such sources as “The Sum of Theology” by Thomas Aquinas, “The Anthill” by J. Nieder, “The Hammer of Witches” by G. Kramer and J. Sprenger, a collection of medieval treatises “Demonology of the Renaissance”, as well as a number of normative legal documents affecting the issue of witchcraft in Western Europe and New England.
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3

Kirmayer, Laurence J. "From the Witches' Hammer to the Oedipus Complex." Transcultural Psychiatric Research Review 29, no. 2 (January 1992): 133–58. http://dx.doi.org/10.1177/136346159202900205.

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4

Zujienė, Gitana. "Witchcraft Court Cases in the Grand Duchy of Lithuania in the Sixteenth to Eighteenth Centuries." Lithuanian Historical Studies 20, no. 1 (February 20, 2016): 79–125. http://dx.doi.org/10.30965/25386565-02001005.

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The article presents an analysis of court procedures against witches in Lithuania. The author explains which courts handled such cases and which legal acts regulated the course of these procedures. The witchcraft court procedure in Lithuania is compared to a procedure discussed in a book by Jakob Sprenger and Heinrich Institor (Kramer) from 1487 called ‘Malleus Maleficarum’ (Hammer of the Witches). The similarities and differences between these court procedures are revealed.
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5

Mackay (book translator), Christopher S., and Richard Raiswell (review author). "The Hammer of Witches: A Complete Translation of the Malleus Maleficarum." Renaissance and Reformation 34, no. 1-2 (March 13, 2012): 279–81. http://dx.doi.org/10.33137/rr.v34i1-2.16186.

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6

Kawai, Shoichiro. "Some Japanese Shakespeare Productions in 2014-15." Multicultural Shakespeare: Translation, Appropriation and Performance 14, no. 29 (December 30, 2016): 13–28. http://dx.doi.org/10.1515/mstap-2016-0013.

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This essay focuses on some Shakespeare productions in Japan during 2014 and 2015. One is a Bunraku version of Falstaff, for which the writer himself wrote the script. It is an amalgamation of scenes from The Merry Wives of Windsor and those from Henry IV. It was highly reputed and its stage design was awarded a 2014 Yomiuri Theatre Award. Another is a production of Much Ado about Nothing produced by the writer himself in a theatre-in-the-round in his new translation. Another is a production of Macbeth arranged and directed by Mansai Nomura the Kyogen performer. All the characters besides Macbeth and Lady Macbeth were performed by the three witches, suggesting that the whole illusion was produced by the witches. It was highly acclaimed worldwide. Another is a production of Hamlet directed by Yukio Ninagawa, with Tatsuya Fujiwara in the title role. It was brought to the Barbican theatre. There were also many other Shakespeare productions to commemorate the 450th anniversary of Shakespeare’s birth.
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7

Seitz, Jonathan. "Christopher S. Mackay. The Hammer of Witches: A Complete Translation of the Malleus maleficarum. vii + 657 pp., illus. New York: Cambridge University Press, 2009. $29.99 (paper)." Isis 101, no. 4 (December 2010): 870–71. http://dx.doi.org/10.1086/659677.

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8

Ziegler, Joseph. "Christopher S Mackay, The hammer of witches: a complete translation of the Malleus maleficarum, Cambridge University Press, 2009, pp. 657, £17.99, $29.99 (paperback 978-0-521-74787-5)." Medical History 54, no. 2 (April 2010): 274–75. http://dx.doi.org/10.1017/s0025727300006876.

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9

Peters, Edward. "The hammer of witches. A complete translation of the Malleus maleficarum. By Christopher S. Mackay. Pp. ix+657 incl. 2 maps. Cambridge: Cambridge University Press, 2009. £17.99 (paper). 978 0 521 74787 5." Journal of Ecclesiastical History 61, no. 2 (March 19, 2010): 392–94. http://dx.doi.org/10.1017/s0022046909993368.

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10

Fedorov, O. V. "Understanding phenomena of criminality: from dogmatic views to scientific theories." Theory and practice of jurisprudence 2, no. 20 (December 14, 2021): 14. http://dx.doi.org/10.21564/2225-6555.2021.2.239724.

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Criminality accompanies humanity for millennia. Despite the fact that this phenomenon has received much attention from researchers of different times and countries, its joint understanding is still missing. Taking into account the previous experience of cognition of this phenomenon, of course, should be the key to effective preventive action in current conditions. The purpose of the paper is to explore the main approaches in understanding criminality from prehistoric times to the present. It is claimed that historically the first awareness of mankind of socially dangerous behavior occurred during the reign of the primary tribal communities. People’s knowledge of the world around them was minimal at that time, and explanation of incomprehensible and undesirable was based only on the authority of tribal leaders and respect for social traditions. Given the actual lack of scientific and methodological basis as such, this format of views on violations of social norms can be described as a dogmatic approach. Religions have in their arsenal views on unacceptable behavior based on the authority of the Creator. At the same time, in the theological approach there is a variety of interpretations of the causes and essence of forbidden behavior – from purely fatalistic views to the recognition of human free will in the commission of encroachments. Examples in this regard are the Laws of Manu, the Old Testament. Genesis”, Books by J. Sprenger and G. Institoris “The Hammer of Witches”, “The Sum of Theology” by Thomas Aquinas,“Confession” by Augustine Aurelius and others. The scientific approach is characterized by the use of scientific methods of cognition in substantiating theories of criminality. The variety of views here includes theories of social causes, anthropological theories, theories of multiplicity of factors, and others. According to the anthropological direction, the essence of criminality was associated with the manifestation of biological (anthropological) properties of a human (genetic features, endocrine system, mental state, etc.). Sociological direction asserts the influence of social factors as factors in the formation of criminality (internal contradictions, class conflict, social exclusion, stigmatization, etc.). In this regard, there are theories that, along with the circumstances of social content as factors of crime outline also biological (anthropological). It is concluded that in the future understanding of the phenomenon of crime should take place on the basis of a scientific approach
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11

Rozett, Martha Tuck. "“How now Horatio, you tremble and look pale”: Verbal Cues and the Supernatural in Shakespeare's Tragedies." Theatre Survey 29, no. 2 (November 1988): 127–38. http://dx.doi.org/10.1017/s0040557400000624.

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Barnardo' line “How now Horatio, you tremble and look pale,” delivered just after the ghost's exit in Act I, scene i of Hamlet, is at once a description of Horatio and a thematic statement about the effect of tragedy. By the end of the play, this phrase has come to signify the way amazing, horrifying, and profoundly tragic events affect the spectators: Hamlet addresses the “mutes or audience” to the “act” he, Laertes, Claudius and Gertrude have just performed as “you that look pale, and tremble at this chance” (V, ii, 334). When a character describes another in this way, the utterance constitutes a verbal cue: it tells the audience what is happening on the stage, or how the other characters are reacting to past or present events. A verbal cue can be thought of as a spoken stage direction, to use Raymond Williams' term, one which serves as a signal both to the actors and to the audience. Shakespeare repeatedly resorted to verbal cues in representing the ghosts, witches, and other supernatural visitations that figure prominently in Hamlet, Macbeth, and less prominently, in Richard III and Julius Caesar. Regardless of how they are represented on the stage, supernatural characters are essentially imaginative projections, who exist as much through the speeches and described reactions of others as through what they themselves say and do. Verbal cues thus serve as part of the characterization process; they help to define these creatures in terms of their effects on others. And as a theatrical strategy, the cues employ language to summon up visions in the mind of the spectator, creating images that no stagecraft, however spectacular, could equal.
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12

Vapa, Dusan, Igor Veselinovic, Radosav Radosavkic, Goran Stojiljkovic, Dragan Draskovic, and Radenko Vukovic. "Suicide using a simple crude homemade firearm (zip gun) - a case report." Medical review 70, no. 11-12 (2017): 433–36. http://dx.doi.org/10.2298/mpns1712433v.

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Introduction. For homemade firearm, as well as for blank pistol, tear gas gun or cap pistol, that are adapted to use as firearm, there is a commonly used term - zip gun. Presented zip gun is one of the simplest crude homemade firearms that was found among reviewed articles. Case report. We present a case where a young man committed suicide by using a very simple, crude zip gun. The iron tube was used as a barrel. At one end of the iron tube a hunting cartridge was inserted. That end of the tube was closed by iron cylinder with a screw breaching through the center. The decedent was holding the metal tube i.e. the barrel in left hand. He was holding a hammer with his right hand and trying to hit the head of the screw which was, in this case, used as a firing pin. Conclusion. Authors would like to emphasize the importance of thorough investigation and detailed documentation of the crime scene. Particular attention is needed in cases were unusual metal or other parts can be found at the scene from witch a crude homemade gun can be made. We also emphasize that, because of the low power of these kind of firearms and possibility of surviving the shot, if the vital structures are not damaged, an urgent and adequate medical intervention could save the injured persons life.
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13

Gémar, Jean-Claude. "The Abyss of Meaning or the Cauldron of Signs: Meaning and Tertium Quid. Shakespeare as a Translator?" Comparative Legilinguistics 45, no. 1 (March 1, 2021): 11–38. http://dx.doi.org/10.2478/cl-2021-0002.

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AbstractSum of atoms or molecules that are the signs that the author of a text organizes in speech, the text contains meaning, in latency. To activate it, reveal it must be interpreted, whether or not the purpose is to translate it. When it comes to translating, the difficulties presented by the translation of normative texts are due in large part to the notional burden, the degree of “juridical status” of the message conveyed by the text and the cultural singularity revealed by its mode of writing. While the substance of a text is of paramount importance in its interpretation, the manner in which it is written and presented – its form – is far from negligible. Each way of saying carries its own, and participates in, the meaning. The approach defined for the translation, sourcing (least-cultural) or targeting (most-cultural), guides the meaning. That is when the final interpretation of the two versions of the instrumental text by the courts fulfils the canonical function of law and language: to say the law by determining the meaning of all or part of a text. Until then, the signs generating the speech and its meaning nested in this place of uncertainty that is the tertium quid, where rest, like the ingredients that the Sisters of Destiny (Macbeth) stir in their cauldron, the signs of where meaning will come out, an uncertain and precarious truth deduced by the original interpreter of the instrumental text, the translator, transcribed into the target text. Would Shakespeare provide an answer to the existential questions posed by the translator, when the spectre (Hamlet) and the witches (Macbeth), enigmatic oracles, answer the protagonists’ ontological questions about the meaning and direction of their lives? The bard indeed launches this injunction: keep law and form and due proportion in Richard II (3.4.43)! Will the translator follow him in each of these three directions?
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14

Chin, Gilbert. "A hammer is a hammer is a hammer." Science 358, no. 6361 (October 19, 2017): 317.1–317. http://dx.doi.org/10.1126/science.358.6361.317-a.

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15

Siegel, James T. "Suharto, Witches." Indonesia 71 (April 2001): 27. http://dx.doi.org/10.2307/3351456.

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16

Foxcroft, Gary. "Hunting Witches." World Policy Journal 31, no. 1 (2014): 90–98. http://dx.doi.org/10.1177/0740277514529721.

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17

McNeil, Jean, and Janette Turner Hospital. "Witches' Brew." Women's Review of Books 10, no. 4 (January 1993): 14. http://dx.doi.org/10.2307/4021431.

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18

Morrison-Griffiths, Sally. "Witches' brew." BMJ 323, Suppl S4 (October 1, 2001): 0110397b. http://dx.doi.org/10.1136/sbmj.0110397b.

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19

Twisselmann, Birte. "Witches' brew…" BMJ 319, Suppl S4 (October 1, 1999): 9910witches. http://dx.doi.org/10.1136/sbmj.9910witches.

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20

Diane Purkiss. "Charming Witches:." Preternature: Critical and Historical Studies on the Preternatural 3, no. 1 (2014): 13. http://dx.doi.org/10.5325/preternature.3.1.0013.

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21

Schwarz, Robert, and Peter Bichsel. "Cherubin Hammer und Cherubin Hammer." World Literature Today 73, no. 4 (1999): 721. http://dx.doi.org/10.2307/40155124.

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22

Dunnette, Marvin D. "My hammer or your hammer?" Human Resource Management 32, no. 2-3 (1993): 373–84. http://dx.doi.org/10.1002/hrm.3930320212.

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23

Lease, Joseph. "Hammer." Grand Street, no. 46 (1993): 29. http://dx.doi.org/10.2307/25007668.

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24

Wayman, Tom. "Hammer." Anthropology of Work Review 6, no. 4 (December 1985): 52–53. http://dx.doi.org/10.1525/awr.1985.6.4.52.2.

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25

Ahmed, Shokhan Rasool. "Witches before Flying." International Journal of Literature and Arts 2, no. 5 (2014): 155. http://dx.doi.org/10.11648/j.ijla.20140205.14.

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26

Nayak, Amarjeet. "Witches are Bitches." New Writing 11, no. 1 (December 23, 2013): 62–66. http://dx.doi.org/10.1080/14790726.2013.870578.

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27

Simpson, Jacqueline. "Witches and Witchbusters." Folklore 107, no. 1-2 (January 1996): 5–18. http://dx.doi.org/10.1080/0015587x.1996.9715910.

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28

Goldenberg, Naomi R. "Witches and Words." Feminist Theology 12, no. 2 (January 2004): 203–11. http://dx.doi.org/10.1177/096673500401200207.

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29

Webb, Emma. "We've explored…: witches." Nursery World 2016, no. 20 (October 3, 2016): 32–33. http://dx.doi.org/10.12968/nuwa.2016.20.32.

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30

Maranda, Eric Laurent, Victoria M. Lim, Richa Taneja, Brian J. Simmons, Penelope J. Kallis, and Joaquin J. Jimenez. "Witches and Warts." JAMA Dermatology 152, no. 8 (August 1, 2016): 877. http://dx.doi.org/10.1001/jamadermatol.2015.4419.

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31

Long, Valencia, and Leonard J. Hoenig. "The Witches ofMacbeth." JAMA Dermatology 152, no. 7 (July 1, 2016): 767. http://dx.doi.org/10.1001/jamadermatol.2015.5543.

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32

Stinton, Judith. "Some Chaldon Witches." Journal of the Sylvia Townsend Warner Society 10, no. 1 (December 1, 2009): 33–46. http://dx.doi.org/10.14324/111.444.stw.2009.04.

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33

Card, Jeb J. "Witches and Aliens." Nova Religio 22, no. 4 (May 1, 2019): 44–59. http://dx.doi.org/10.1525/nr.2019.22.4.44.

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Margaret Murray (1863–1963) was a major figure in the creation of professional archaeology, president of the Folklore Society, and advocate for women’s rights. Her popular legacy today is the concept of the “witch-cult,” a hidden ancient religion persecuted as witchcraft. Murray’s witch-cult not only inspired Neopaganism but is foundational for author H. P. Lovecraft’s Cthulhu Mythos. These modern myths cast a long shadow on not only fantastical literature but on paranormal beliefs, preserving outdated elements of Victorian archaeology in popular culture concerned with alternative archaeology and the occult.
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34

Maggiolo, Marcio Veloz, and Jessica Ernst Powell. "Flying Witches' Nest." Review: Literature and Arts of the Americas 46, no. 1 (May 2013): 114–16. http://dx.doi.org/10.1080/08905762.2013.780913.

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35

Hodgkin, K. "Historians and witches." History Workshop Journal 45, no. 1 (1998): 271–77. http://dx.doi.org/10.1093/hwj/1998.45.271.

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36

Dollerup, Cay. "Fairies & Witches." American Book Review 35, no. 4 (2014): 19. http://dx.doi.org/10.1353/abr.2014.0081.

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37

Bamberger, Joan. "Taking witches seriously." American Sociologist 28, no. 3 (September 1997): 85–92. http://dx.doi.org/10.1007/s12108-997-1016-1.

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38

Miller, Chris. "Sephora’s Starter Witch Kit." Nova Religio 25, no. 3 (February 1, 2022): 87–112. http://dx.doi.org/10.1525/nr.2022.25.3.87.

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In late summer 2018, beauty chain Sephora announced the release of a “Starter Witch Kit” in collaboration with fragrance company Pinrose. By September, Sephora announced it was cancelling the product after receiving extensive criticism on social media, particularly from Modern Witches. This article examines the uproar surrounding Sephora’s Starter Witch Kit as it played out on Twitter. The debate on Twitter included Witches protesting the appropriation and commodification of their sacred traditions, as well as outsiders who questioned the right of Witches to complain about spiritual theft. This Twitter debate was an opportunity for Modern Witches to substantiate and legitimize their identities as Witches. Witches distinguished their identities as “authentic” by mocking certain products and consumers, and demarcated practices/traditions as distinctive of Witchcraft by calling them sacred. By accusing Sephora of spiritual theft, Witches also largely elided their own engagement with appropriation from religious traditions.
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39

Ognjenović, Svjetlana. "VINEGAR TOM: A PLAY ABOUT WITCHES WITH NO WITCHES IN IT." Folia linguistica et litteraria XI, no. 33 (2020): 63–81. http://dx.doi.org/10.31902/fll.33.2020.3.

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Although it focuses on the 17th century witch hunt, the play Vinegar Tom actually dramatises historical degradation of women and their ultimate demonization in the form of witches. Challenging the official version of the story of ‘witches’, Caryl Churchill reveals the truth about them as “old, poor, single, or sexually unconventional” women (Churchill, 1985). Following her lead, our intention was to reveal and elaborate on how female sexuality, transgressive imagination and healing skills became a threat to the Church and its dogma, and how this triple threat actually represents a set of three most common accusations against the witches. Furthermore, in the style of new historicist literary approach, we will try to relate this horrendous attack on women with the rise of capitalism and Protestantism, two repressive ideologies that not only legitimized this misogynist campaign but planned it and organized it on the state level. What makes this play significant even today is its contemporariness which is underlined, among other things, by the direct address to audience and the use of modern dresses on stage. Thus, our concluding point would be that every historical period has its own “witches” – be it entire races, groups or individual dissidents.
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40

Ognjenović, Svjetlana. "VINEGAR TOM: A PLAY ABOUT WITCHES WITH NO WITCHES IN IT." Folia linguistica et litteraria XI, no. 33 (2020): 63–81. http://dx.doi.org/10.31902/fll.33.2020.3.

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Although it focuses on the 17th century witch hunt, the play Vinegar Tom actually dramatises historical degradation of women and their ultimate demonization in the form of witches. Challenging the official version of the story of ‘witches’, Caryl Churchill reveals the truth about them as “old, poor, single, or sexually unconventional” women (Churchill, 1985). Following her lead, our intention was to reveal and elaborate on how female sexuality, transgressive imagination and healing skills became a threat to the Church and its dogma, and how this triple threat actually represents a set of three most common accusations against the witches. Furthermore, in the style of new historicist literary approach, we will try to relate this horrendous attack on women with the rise of capitalism and Protestantism, two repressive ideologies that not only legitimized this misogynist campaign but planned it and organized it on the state level. What makes this play significant even today is its contemporariness which is underlined, among other things, by the direct address to audience and the use of modern dresses on stage. Thus, our concluding point would be that every historical period has its own “witches” – be it entire races, groups or individual dissidents.
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41

Awajan, Nasaybah W. "Terry Pratchett’s Rewriting of Shakespeare’s Witches in Wyrd Sisters." Theory and Practice in Language Studies 12, no. 3 (March 1, 2022): 518–24. http://dx.doi.org/10.17507/tpls.1203.11.

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Many scholars have written about how Terry Pratchett has represented the witches in his novel, Wyrd Sisters (1989), that were originally used in Shakespeare’s tragedy, Macbeth (1623). However, in their studies of the two works, many of these scholars illustrate how both Shakespeare and Pratchett present the witches’ personalities and outward appearances. Additionally, there has also been some literature on the representation of Pratchett’s witches and some compared them with Macbeth’s three weird witches in relation to their appearance, personalities and external characteristics in general. At the same time, there is shortage in the studies that focus on the intention of the witches and the way they use their authority in both works. The study depicts the good and moral intentions of Pratchett’s three witches in Wyrd Sisters. This can be seen in the way they use their authority and influence to give back the throne to King Verence’s son and save the kingdom. It could also be seen in the way the three Wyrd Witches deal with Felmet and his Lady, despite what they do to them. There has not been much literature written about Pratchett’s representation of the witches’ intentions and influence in their plot to help King Verence, who represents Shakespeare’s King Duncan, regain his throne rather than fight against his reign as the three witches did in Shakespeare’s tragedy, Macbeth (1623).
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42

Bynum, Bill, and Helen Bynum. "Reflex hammer." Lancet 390, no. 10095 (August 2017): 641. http://dx.doi.org/10.1016/s0140-6736(17)31969-4.

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43

Wolfe, Theodore (Ted) E. "Hammer Time?" Oncology Issues 23, no. 3 (May 2008): 22–25. http://dx.doi.org/10.1080/10463356.2008.11883414.

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44

Fay, Brian. "HAMMER TIME." History and Theory 52, no. 1 (August 21, 2012): 91–109. http://dx.doi.org/10.1111/j.1468-2303.2012.00631.x.

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45

Hewitt, Paul. "HAMMER WHAP." Physics Teacher 55, no. 7 (October 2017): 392. http://dx.doi.org/10.1119/1.5003736.

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46

Barrow, Susan Makiesky, Antonio Lauria-Perricelli, Anne Lovell, Constance Sutton, and Linda Winston. "Muriel Hammer." Anthropology News 58, no. 3 (May 2017): e435-e437. http://dx.doi.org/10.1111/an.490.

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47

Kellerhoff, Peter. "Gelände-Hammer." VDI nachrichten 75, no. 18-19 (2021): 40. http://dx.doi.org/10.51202/0042-1758-2021-18-19-40-5.

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48

Guo, Yin Sai, Yi Zhang, and Ming Ke Cheng. "Hammer Rod Optimization of Large Tonnage Air Hammer." Applied Mechanics and Materials 644-650 (September 2014): 81–84. http://dx.doi.org/10.4028/www.scientific.net/amm.644-650.81.

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The hammer rod of large tonnage air hammer is easily damaged during operating process. Positions on the hammer rod, which may be broken, are not determined by linear fracture mechanics. Meanwhile, it does not provide possible measures for improvement. According to the actual weight of the hammer rod, about 0-10% larger than its nominal weight, an improved design method is proposed in the paper, which does not affect the performance of the air hammer. This method effectively solves the problem of breaking hammer rods and improves their service life.
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49

Pócs, Éva. "Why Witches Are Women." Acta Ethnographica Hungarica 48, no. 3-4 (August 2003): 367–83. http://dx.doi.org/10.1556/aethn.48.2003.3-4.5.

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50

Tanaka, Eiji. "Mechanisms of bamboo witches." Plant Signaling & Behavior 5, no. 4 (April 2010): 415–18. http://dx.doi.org/10.4161/psb.5.4.10834.

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