Relevant bibliographies by topics / Witches and warlocks - Fiction

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Academic literature on the topic 'Witches and warlocks - Fiction'

Author: Grafiati
Published: 11 December 2022
Last updated: 30 July 2024

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Journal articles on the topic "Witches and warlocks - Fiction"

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Molho, Mauricio. "“El sagaz perturbador del género humano”: Brujas, perros embrujados y otras demonomanías cervantinas." Cervantes 12, no. 2 (September 1992): 21–32. http://dx.doi.org/10.3138/cervantes.12.2.021.

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This paper analyzes various demonomaniacal manifestations in Cervantes’ work: What is the role of the devil? Does Cervantes’ devil belong to the philosophico-religious apparatus of Christianity? What is the nature of his sagacity? How does he operate when he doesn't delegate his powers to witches or warlocks?
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Valentsova, Marina. "Folk Demonology of the Czechs (Ethnolinguistic Aspect)." Slavianovedenie, no. 6 (2022): 66. http://dx.doi.org/10.31857/s0869544x0023272-2.

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The article gives an ethnolinguistic overview of the Czech-Moravian-Silesian system of demonological characters, including their dialect names, accompanied, if necessary, by an etymological comment. The article characterizes (first of all, functionally), natural demons (divoženki, hejkadla and other forest spirits; field spirits – režná žena, žitná baba, pražnec, etc.; atmospheric dragons and warlocks, spirits of the wind; water demon vodník or hastrman; poludnice, nočnice, klekanice and other spirits of time; spirits of mountains and earth), household spirits-patrons, including the snake-gospodáříček, and demons-enrichers – šotek, skřítek, plivník, zmok, etc.;giants and gnomes; maiden of fate sudička, werewolf, můra, wandering souls of unbaptized children and sinners expiating their sins in the form of wandering lights, «fears» and other ghosts, personified diseases and Death, devil. Witches that harm and send damage and the evil eye, and healers, removing damage and treating various diseases are also investigated. The review of demonic characters demonstrate the Czech-Moravian tradition in its entity, it will also be useful for comparative studies of Slavic lower mythology.
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Sultan, Shrouk, Basma Saleh, and Asmaa ElSherbini. "Fighters or Victims: Women at War as Depicted in Harry Potter Novels." International Journal of Language and Literary Studies 4, no. 2 (June 4, 2022): 229–42. http://dx.doi.org/10.36892/ijlls.v4i2.938.

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Witches in Harry Potter novels play major roles that affect the course of events. Some of these witches are authority figures in institutions, while others can be housewives, aurors, ministry employees, or talented witches. This paper discusses several different witches who take part, intentionally or not, in the battle between good and evil in Harry Potter novels. Three of these witches will be tackled in terms of their roles as fighters, while three others will be tackled in terms of their degradation into victims. This analysis will be done through the investigation of the attitudes of the characters towards themselves and their positions, as well as the surrounding characters’ reception of the selected characters, and carefully reading the events of the seven Harry Potter novels. Because Harry Potter novels are widely-read, the depiction of female characters in these novels as either fighters or victims impact readers’ perception of women’s roles in their communities. Analyzing the female characters, this paper intends to help readers to realize if Harry Potter novels help to empower women or limit their potentials. Since women issues are an important part of our lives, and since Harry Potter novels are widely-read, finding out whether these novels empower women or limit their potentials is crucial to our understanding of the major impact that fiction can have on people’s lives.
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Flood, Victoria. "Johannes Kepler's 'Somnium' and the Witches' Night Flight." Interfaces: A Journal of Medieval European Literatures, no. 8 (December 31, 2021): 74–97. http://dx.doi.org/10.54103/interfaces-08-05.

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This article explores the uses of the witches' night-flight in Johannes Kelper’s Somnium (1634). It situates Kepler's engagement with the motif in the broader context of debates on the reality of the night-flight among early modern witch theorists, including Kepler's contemporary and friend, Georg Gödelmann. It proposes that Kepler understood the night-flight as a phenomenon with a disputed reality status and, as such, an appropriate imaginative space through which to pursue the thought experiment of lunar travel. Consequently, it suggests that we ought not to dismiss Kepler's engagements with the figure of the witch as a vestigial medieval superstition (itself a problematic contention), but rather an interest characteristic of his age, and that we might find in the speculations of witch-theory the very beginnings of science fiction.
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Jarvis, Christine. "Becoming a Woman Through Wicca: Witches and Wiccans in Contemporary Teen Fiction." Children's Literature in Education 39, no. 1 (January 23, 2008): 43–52. http://dx.doi.org/10.1007/s10583-007-9058-0.

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Smith, Michelle J., and Kristine Moruzi. "Vampires and Witches Go to School: Contemporary Young Adult Fiction, Gender, and the Gothic." Children's Literature in Education 49, no. 1 (February 1, 2018): 6–18. http://dx.doi.org/10.1007/s10583-018-9343-0.

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Schneiderman, Leo. "Cynthia Ozick: Diverse Functions of Transitional Objects in Fiction." Imagination, Cognition and Personality 15, no. 3 (March 1996): 207–21. http://dx.doi.org/10.2190/j806-mgyb-cyn1-v4ln.

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The purpose of this article is to examine the role of transitional love objects in the lives of fictional adults, as depicted in the works of Cynthia Ozick. Ozick's protagonists are characterized by their symbiotic attachment to parent figures with whom they are unable to establish empathic and trusting relationships. In lieu of finding nurturance Ozick's fictional characters go in search of idealized love objects in the form of fetishes or idols, i.e., objects seeming to possess magical trustworthiness. Ozick warns against the choice of such narcissistically-determined, idolatrous objects, and extends her caveat even to human love relationships, with the implication that they are likely to prove disappointing. All of Ozick's fictional love objects represent partially differentiated, fetishistic extensions of the lover's self. These objects include a modern-day golem, idols, demons, witches, a tree, a shawl, and even a literary manuscript. Ozick clarifies the distinction between healthy self-love and self-acceptance and total absorption in the fetish as a soothing, symbolic substitute for satisfying unfulfilled developmental needs.
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Bahukhandi, Akanksha. "Are Archetypes Not Enough in Children's Literature? A Case Study of Body Shaming and Stereotypes in Roald Dahl's The Twits And The Witches." SMART MOVES JOURNAL IJELLH 8, no. 2 (February 28, 2020): 10. http://dx.doi.org/10.24113/ijellh.v8i2.10413.

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Archetypes are easily identifiable in works of fiction regardless of when they were penned and the relevant cultural mileu. This is because archetypes are functional units of the 'collective unconcious' which is common to all. Going by that logic shouldn't the authors of fiction be just fine with exploring various aspects and variations af various archetyes deep seated in the psyche of their readers? If archetypes provide a sound base of ready acceptance by virtue of their familiarity to the entire human race, then what explains the rampant use of strereotypical characters and plots in fiction all across the globe and especially in children's literature? Do the stereotypes encourage prejudices and body shaming? The present paper aims to look into the possible reasons behind the use of stereotypes and caricatures, their effectiveness and their impact on the young readers.
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Paterson, Susanne F., and Carolyn White Gamtso. "Interrogating representations of transgressive women: Using critical information literacy and comic books in the Shakespeare classroom." Art Libraries Journal 48, no. 3 (July 2023): 80–89. http://dx.doi.org/10.1017/alj.2023.14.

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How can instructors and librarians collaborate to provide the interpretive scaffolds for students to critically engage with visual primary materials? The authors, an English faculty member and a faculty instruction librarian at the University of New Hampshire at Manchester (UNH Manchester), used graphic fiction as the textual basis of information literacy (IL) instruction, encouraging students to interpret primary and secondary sources using visual literacy heuristics and critical inquiry skills. Their student-centered, inquiry-based IL session for a Capstone Shakespearean Adaptations course focused on critical thinking and research question design. Using woodcuts from primary historical texts and images from contemporary graphic fiction adaptations of Macbeth, the instructors decentralized the classroom, empowering students to ask probing questions about illustrations of witches in early modern English source materials. Students used their questions to explore interpretations of visual depictions of powerful women in historical primary texts and contemporary graphic adaptations of Shakespeare's Macbeth. Guided by the instructors, students decoded images using the metadiscourse of graphic fiction; generated questions to inform their own inquiry into the topic; applied their IL skills to new texts; and interrogated the biases of received narratives about women who transgress societal norms and expectations, both in the early modern period and in the contemporary world.
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Alexander, Simone A. James. "Witches, Goddesses, and Angry Spirits: The Politics of Spiritual Liberation in African Diaspora Women’s Fiction, written by Maha Marouan." New West Indian Guide 89, no. 3-4 (2015): 402–4. http://dx.doi.org/10.1163/22134360-08903041.

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Dissertations / Theses on the topic "Witches and warlocks - Fiction"

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Vaisarova, Julie. "Witches, Warlocks, and...Fulgurites?: Learning Information from Fantasy Fiction." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/470.

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Although fictional stories are not always an accurate source of information about the world, research has suggested that readers encode information from such stories in a manner that allows it to be freely retrieved and used in later situations. The present study compared readers’ use of novel information from realistic and fantasy fiction to examine whether this apparent lack of compartmentalization stems from readers’ assumption that fictional stories accurately portray reality. In an adaptation of Marsh, Meade, and Roediger’s (2003) paradigm, 259 adult United States residents read a realistic or fantasy story containing a series of obscure facts and then answered a purportedly unrelated set of questions that asked about these facts. Participants’ processing of novel story information differed by genre, such that participants who read a fantasy story were less likely to use information from the story on the subsequent test than participants who read a realistic story. Although this effect was not explained by participants’ trust in the source genre’s veracity, participants’ confidence in answers attributed solely to the experimental story suggested that there was a component of post-retrieval evaluation based on perceptions of the source genre. Together, these results suggest that readers’ processing of information from realistic and fantasy fiction differs, such that readers may be partly protected from using potentially inaccurate information from fantasy stories in later situations. However, the precise point in the process of encoding, retrieval, and application where these differences arise, and their implications for readers’ acquisition of misinformation, remains to be specified.
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Hulterström, Kristina. "Witches, Warlocks and Traffic Encounters : Designing the interaction for an ad hoc gaming experience." Thesis, Linköping University, Department of Science and Technology, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-2059.

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This thesis explores the problems and possibilities concerning the interaction between players physically located in different cars during temporary meetings in a gaming situation. The thesis is part of a study set out to investigate how traffic encounters can be used as a resource in a mobile, multiplayer game intended as entertainment for children travelling in the backseat of cars. The multiplayer capabilities are realised by using wireless networks in ad hoc peer- to-peer mode, GPS positioning and a digital compass.

Designing the interaction for an ad hoc, mobile multiplayer experience introduces several design challenges, such as how to adapt to the temporality of traffic encounters and how to establish a connection between the digital game and the physical context. The nature of traffic encounters inspired us to take a newapproach to the interaction. The interaction is accomplished using a device, which enables direct interaction between players physically located in different cars. A prototype game was constructed within the frames of the project, which this thesis was part of, to test the functionality of the game concept. The prototype has been tested in its real setting, i.e. inside a car. The study and the work on this thesis was initialised and supervised by Liselott Brunnberg and the work was carried out at the Mobility Studio at the Interactive Institute in Stockholm during late spring and summer 2003.

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Wylie, Erin N. "The Cunning Folk." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2203.

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Andersson, Lorraine. "Which witch is which? A feminist analysis of Terry Pratchett's Discworld witches." Thesis, Halmstad University, School of Humanities (HUM), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-543.

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Terry Pratchett, writer of humorous, satirical fantasy, is very popular in Britain. His Discworld series, which encompasses over 30 novels, has witches as protagonists in one of the major sub-series, currently covering eight novels. His first “witch” novel, Equal Rites, in which he pits organised, misogynist wizards against disorganised witches, led him to being accused of feminist writing. This work investigates this claim by first outlining the development of the historical witch stereotype or discourse and how that relates to the modern, feminist views of witches. Then Pratchett’s treatment of his major witch characters is examined and analysed in terms of feminist and poststructuralist literary theory. It appears that, while giving the impression of supporting feminism and the feminist views of witches,

Pratchett’s witches actually reinforce the patriarchal view of women.

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Woodhouse, Jennifer May. "Operation Belladonna." Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/15801/1/Jennifer_Woodhouse_Thesis.pdf.

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Woodhouse, Jennifer May. "Operation Belladonna." Queensland University of Technology, 2003. http://eprints.qut.edu.au/15801/.

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Books on the topic "Witches and warlocks - Fiction"

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Gregory, Herry, and Cook Angela, eds. Witch-hunt. Norwich: Tagman, 2008.

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Brackston, Paula. The witch's daughter. New York: Thomas Dunne Books, 2011.

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Mallory, H. P. Witchful thinking: A Jolie Wilkins novel. New York: Bantam Books, 2012.

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Bast, Anya. Witch Blood. New York: Penguin Group USA, Inc., 2008.

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Stone, Dan. Ice on fire: The test of our lives : a novel. Maple Shade, New Jersey: Lethe Press, 2015.

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1920-, Asimov Isaac, Greenberg Martin Harry, and Waugh Charles, eds. Young witches & warlocks. New York: Harper & Row, 1987.

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1961-, Ganeri Anita, ed. Witches and warlocks. New York, N.Y: PowerKids Press, 2011.

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Christopher, Hart. Drawing wizards, witches, and warlocks. New York, N.Y: Chris Hart Books, 2008.

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Christopher, Hart. Drawing wizards, witches, and warlocks. New York, N.Y: Chris Hart Books, 2008.

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Jones, Diana Wynne. Witch week. London: Collins Educational, 2000.

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Book chapters on the topic "Witches and warlocks - Fiction"

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"13: The Witches of Eastwick." In Imagination and Idealism in John Updike's Fiction, 159–70. Boydell and Brewer, 2017. http://dx.doi.org/10.1515/9781782049357-015.

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Niewieczerzał, Marta. "„Wszyscy mają jakieś imiona” – Córka Czarownic Doroty Terakowskiej." In Imaginautka zaangażowana. Twórczość i biografia Doroty Terakowskiej z perspektywy XXI wieku, 201–13. Wydawnictwo Naukowe Uniwersytetu Pedagogicznego w Krakowie, 2021. http://dx.doi.org/10.24917/9788380847460.14.

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“Everyone Has a Name” – Witches’ Daughter [Córka Czarownic] by Dorota Terakowska The following thesis presents an analysis of the role, function, and power of the word in a selected example in Polish – Witches’ Daughter [Córka Czarownic] by Dorota Terakowska. It outlines problems associated with the presence of the word – such as the magic of language. The paper contains a discussion of the word’s influence on the character’s lives in the selected fantasy fiction example.
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"Myth and the Problem of Nothingness in The Witches of Eastwick." In Myth and Gospel in the Fiction of John Updike, 3–10. The Lutterworth Press, 2018. http://dx.doi.org/10.2307/j.ctvj4swkn.5.

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"Volatile Performances: The Dangerous Trickster Woman as Murderer in Contemporary Crime Fiction." In Transgressive Womanhood: Investigating Vamps, Witches, Whores, Serial Killers and Monsters, 111–19. BRILL, 2014. http://dx.doi.org/10.1163/9781848882836_012.

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Majerus, Michael E. N. "What is melanism?" In Melanism, 1–10. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198549833.003.0001.

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Abstract The ‘colour’ black is a strong motif in life. It conjures dark, mysterious, and fre selves wraiths. Indeed, Shakespeare, in sonnet 147, describes one who has driven their lover to madness and death as being ‘as black as hell’. The association with death extends further to the clothes worn in many cultures when mourning the passing of a loved one. The blackening of skin in bruising is a short lived reminder of painful injury, while a black mark results from bad behaviour. Black in several Oriental nations is a badge of servitude, slavery, and low birth. In the City of London, Black Monday was so-named to commemorate a stock exchange crash, although Black Monday also refers to 14 April 1360 when many men and horses of Edward Ill’s army, lying outside Paris, died of exposure. We refer to a relative who behaves antisocially as the black sheep of the family. Our word blackguard seems to point to this meaning; the Latin niger sometimes being used to mean bad or unpropitious. To be black-balled generally means to be excluded from some club or society. The term originates from the practice of voting on whether or not a prospective candidate should be admitted by placing coloured balls into a box, a white or red ball being usually used to indicate acceptance, and a black ball to indicate rejection. Judges used to wear a black cap when they passed the sentence of death on a prisoner. Black arts were and are practised by conjurors, wizards, witches, and warlocks, who professed to have dealings with the devil; black here meaning diabolical or wicked, possibly derived from nigromancy, a corruption of necromancy.
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"Witches and Villains: The Bad Guys of the Salem Witchcraft Trials in 19th Century Fiction." In Villains and Heroes, or Villains as Heroes? Essays on the Relationship between Villainy and Evil, 61–69. BRILL, 2010. http://dx.doi.org/10.1163/9789004399341_009.

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Hollis, Erin. "‘Oh Great! Now I Have to Deal with Witches?!’: Exploring the ‘Archontic’ Fan Fiction of True Blood." In True Blood. I.B.Tauris, 2012. http://dx.doi.org/10.5040/9780755698653.0016.

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Ługowska, Jolanta. "Dorota Terakowska. Między literaturą a dziennikarstwem – w poszukiwaniu autorskiego idiolektu." In Imaginautka zaangażowana. Twórczość i biografia Doroty Terakowskiej z perspektywy XXI wieku, 39–53. Wydawnictwo Naukowe Uniwersytetu Pedagogicznego w Krakowie, 2021. http://dx.doi.org/10.24917/9788380847460.3.

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Dorota Terakowska. Between literature and journalism – in search of the author’s idiolect Before Dorota Terakowska explored fiction in her works, her “profession” was journalism, with which she did not part for the rest of her life. Journalism gave her the opportunity to shape the attitudes of readers, influence the choices they make, persuade them to follow a lifestyle she valued. A hallmark of Terakowska’s journalistic style is her constant willingness to use the presented events and situations, the observed “here and now,” to formulate more general patterns of behaviour, her ability to diagnose the current state of the society; her experience gained in the course of sociological studies was undoubtedly useful. Terakowska was also aware of the persuasive function of words, which is visible in, e.g., in the aphoristic character of the writer’s style, her preference to use statements that could become highly readable and evocative for the intended recipient thanks to the author’s intent. These properties of Terakowska’s idiolect may be observed both in her journalism (e.g., in the columns in the “Elle” magazine) and her fiction works. The protagonists in Lord of the Lewaw [Władca Lewawu], Mirror of Mr. Gryms [Lustro pana Grymsa] and Witches’ Daughter [Córka Czarownic] – resonating characters, often porte-parole of the author, are formulating (regardless of their young age!) maxims worthy of a sociologist or even a philosopher, maturely and courageously conversing with persons representing views different from their own. Thus, these protagonists unveil a special kind of power of each word, its specific pragmatic function expressed in the ability to shape attitudes, influence future decisions.
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