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Journal articles on the topic 'Witches in literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Hubert, Marie-Claude. "Renouvellement du personnage de la sorcière dans le roman pour la jeunesse." Romanica Silesiana 19, no. 1 (June 29, 2021): 80–92. http://dx.doi.org/10.31261/rs.2021.19.07.

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There are many publications on witches both in children’s literature and in scholarly essays. Mona Chollet’s Witches, the Undefeated Power of Women explains that the word has become an emblem of feminism. This article offers a comparative analysis of several recent novels, based on the latter’s thesis, whose aim is to examine how the witch character is constructed, how the authors treat historical data (healer witch, witch-hunt, stake, etc.) and how they renew this character regarding certain issues (identity, transmission, emancipation, etc.). Are the witches of children’s novels carrying feminist demands for young readers?

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2

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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3

Stephens, Walter. "Learned Credulity in Gianfrancesco Pico’s Strix." Renaissance and Reformation 42, no. 4 (April 9, 2020): 17–40. http://dx.doi.org/10.7202/1068573ar.

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In 1522–23, Gianfrancesco Pico della Mirandola was involved in trials that executed ten accused witches. Soon after the trials, he published Strix, sive de ludificatione daemonum, a meticulous defence of witch-hunting. A humanistic dialogue as heavily dependent on classical literature and philosophy as on Scholastic demonology, Strix is unusually candid about the logic of witch-hunting. A convicted witch among its four interlocutors makes Strix unique among witch-hunting defenses. Moreover, it devotes less attention to maleficia or magical harm than to seemingly peripheral questions about sacraments and the corporeality of demons. It attempts to demonstrate that witches’ interactions with demons happen in reality, not in their imagination, thereby vindicating the truth of Christian demonology and explaining the current surfeit of evils. Strix explicitly reverses Gianfrancesco’s earlier stance on witchcraft in De imaginatione (1501) and supplements the defence of biblical truth he undertook in Examen vanitatis doctrinae gentium (1520).

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4

Sullivan, Margaret A. "The Witches of Dürer and Hans Baldung Grien*." Renaissance Quarterly 53, no. 2 (2000): 333–401. http://dx.doi.org/10.2307/2901872.

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This study seeks to demonstrate that the timing, subject, and audience for the art of Dürer and Hans Baldung Grien all argue against the view that the witches in their prints and drawings were a reaction to actual witch-hunts, trials, or malevolent treatises such as theMalleus maleficiarum. The witch craze did not gain momentum until late in the sixteenth century while the witches of Dürer and Hans Baldung Grien belong to an earlier era. They are more plausible as a response to humanist interest in the poetry and satire of the classical world, and are better understood as poetic constructions created to serve artistic goals and satisfy a humanist audience.

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5

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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6

Stephens, Walter. "Learned Credulity in Gianfrancesco Pico’s Strix." Renaissance and Reformation 42, no. 4 (February 11, 2020): 17–40. http://dx.doi.org/10.33137/rr.v42i4.33705.

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In 1522–23, Gianfrancesco Pico della Mirandola was involved in trials that executed ten accused witches. Soon after the trials, he published Strix, sive de ludificatione daemonum, a meticulous defence of witch-hunting. A humanistic dialogue as heavily dependent on classical literature and philosophy as on Scholastic demonology, Strix is unusually candid about the logic of witch-hunting. A convicted witch among its four interlocutors makes Strix unique among witch-hunting defenses. Moreover, it devotes less attention to maleficia or magical harm than to seemingly peripheral questions about sacraments and the corporeality of demons. It attempts to demonstrate that witches’ interactions with demons happen in reality, not in their imagination, thereby vindicating the truth of Christian demonology and explaining the current surfeit of evils. Strix explicitly reverses Gianfrancesco’s earlier stance on witchcraft in De imaginatione (1501) and supplements the defence of biblical truth he undertook in Examen vanitatis doctrinae gentium (1520).

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7

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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8

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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9

Nadeau, Kathleen. "Dancing around the Cauldron with Rangda, the Balinese widow-witch: Exploring gender relations and attitudes toward women and children in Southeast Asia." Masyarakat, Kebudayaan dan Politik 33, no. 4 (November 5, 2020): 364. http://dx.doi.org/10.20473/mkp.v33i42020.364-370.

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By taking a cross-cultural approach based on library research, content analysis, and fieldwork in the Philippines, this paper compares Southeast Asian and European tales. The Southeast Asian tales are rooted in local philosophical and cultural traditions. Balinese literature is replete with descriptions of rituals to ward off vampires. The flying half-bodied Aswangs in the Philippines, like their Malaysian sisterlings, can be shown to bear some resemblance to Balinese witches who culminate in the Rangda, the queen of witches. The Balinese ritual battle between the troubled widow witch Rangda and the gentle Barong offers a circular view of history that arguably holds to a universal notion of good and evil. In contrast, European witch tales can be traced back to the hysterical witch hunts and persecution of female midwives and healers in Medieval times that were perceived as threatening the power and authority of male doctors, priests, and landed government officials. The conclusion is that Southeast Asian lore connotes a different set of gender relations and attitudes toward women and children than European origin.

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10

Ezra, Elizabeth. "Witchcraft and the Uncanny Origins of Cinema." Gothic Studies 26, no. 1 (March 2024): 1–17. http://dx.doi.org/10.3366/gothic.2024.0182.

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Around the turn of the twentieth century, the rise of cinema as an art form and as a medium of communication offered new ways of transmitting old myths. The gothic figure of the witch offered a frisson of transgression that was ultimately contained on the big screen, especially in works considered to be unthreatening because of their playful nature. The power of transformation ascribed to witches was mirrored in the power of film itself, as demonstrated by cinema's origin story, the ‘lucky’ accident that took place as Méliès filmed on the Place de l’Opéra, in which men appeared to become women and a trolley turned into a hearse. This essay examines the gendered (and often transgendered) struggle for dominance in films depicting witches and magical transformation in the context of the Freudian uncanny in a number of early films, including several silent-era precursors to MGM's Wizard of Oz (Fleming 1939).

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11

Holmes, Clive. "The Opinion of the Cambridge Association, 1 August 1692: A Neglected Text of the Salem Witch Trials." New England Quarterly 89, no. 4 (December 2016): 643–67. http://dx.doi.org/10.1162/tneq_a_00567.

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The article analyses a neglected aspect of the Salem witch-trials. It evaluates the roles of the Mathers, father and son, in securing the condemnation of George Burroughs. Their temporary acceptance of the validity of spectral evidence was justified by their belief that Satan must have employed powerful agents, not simply stereotypical witches, in his attempt to subvert godly Massachusetts.

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12

Crampton, Alexandra. "No Peace in the House: Witchcraft Accusations as an “Old Woman’s Problem” in Ghana." Anthropology & Aging 34, no. 2 (September 1, 2013): 199–212. http://dx.doi.org/10.5195/aa.2013.20.

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In Ghana, older women may be marginalized, abused, and even killed as witches. Media accounts imply this is common practice, mainly through stories of “witches camps” to which the accused may flee. Anthropological literature on aging and on witchcraft, however, suggests that this focus exaggerates and misinterprets the problem. This article presents a literature review and exploratory data on elder advocacy and rights intervention on behalf of accused witches in Ghana to help answer the question of how witchcraft accusations become an older woman’s problem in the context of aging and elder advocacy work. The ineffectiveness of rights based and formal intervention through sponsored education programs and development projects is contrasted with the benefit of informal conflict resolution by family and staff of advocacy organizations. Data are based on ethnographic research in Ghana on a rights based program addressing witchcraft accusations by a national elder advocacy organization and on rights based intervention in three witches camps.

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13

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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14

Wygant, A. "Montaigne's Stages, and Witches." Forum for Modern Language Studies 43, no. 4 (October 1, 2007): 385–96. http://dx.doi.org/10.1093/fmls/cqm061.

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15

Knotková-Čapková, Blanka. "Witches and Rebels." Archiv orientální 81, no. 1 (May 12, 2013): 33–47. http://dx.doi.org/10.47979/aror.j.81.1.33-47.

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The female literary character of “the witch” appears frequently in various genres – myths, fairy tales and also modern stories. When conceptualizing this character type from the perspective of a gender/feminist analysis, we have to include methodological approaches of feminist spirituality (theology) as well as a secular gender analysis of religion and literature. There is no general homogeneous opinion on the issue as to whether gender and feminist studies are one discipline or two different ones. I am not denying that the notion of ‘feminist’ usually evokes a closer connection to the political/ideological aspects, and, from the historical point of view, may even seem to be not an appropriate name for the discipline today, as current feminisms do not thematise only female identities but gender identities as a whole. Still, the methodological background of gender and feminist studies is one – feminist theories. I am using here the two notions mainly with regard to this common methodological source. In myths and fairy tales, the witch is a magical being, supernatural, demonic – and mostly gendered. Its female image personifies destructive power/s, homologized with the essential feminine (see below). In modern literary texts, the female witch type is secular and human, but keeps the features of the destructive archetype – she is an evil, dangerous character who should be disciplined by the “right order.” In this article, I am first fgoing to introduce the methodological starting points of the above-mentioned analytical approaches, and shall then apply them to some selected Bengali literary texts. As will become evident, the concept of the witch as a supernatural, magical being (rebelling against the divine power order), and that of a disobedient, mundane woman (rebelling against the secular, human power order) may overlap. Both the orders are androcentric.

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16

Hutton. "Witches and Cunning Folk in British Literature 1800–1940." Preternature: Critical and Historical Studies on the Preternatural 7, no. 1 (2018): 27. http://dx.doi.org/10.5325/preternature.7.1.0027.

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17

Pop-Curşeu, Ioan. "The Witch’s Body as a Narrative and Symbolic Tool." Studia Universitatis Babeş-Bolyai Dramatica 68, no. 1 (March 30, 2023): 15–41. http://dx.doi.org/10.24193/subbdrama.2023.1.01.

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"This paper aims to propose an exploration of the corporeality of witches insofar as it has been used as a medium or nexus for narratives, or as a symbolic sign in various artistic forms and arrangements. The starting point is the highlighting of an antithesis, which is permanently nuanced and overcome in the long evolution of culture, namely between the beauty of young witches and the ugliness of old ones. A first section of the article focuses on painting, looking at works by Baldung Grien, Salvator Rosa, Frans Francken, Luis Ricardo Falero. A second section looks at the corporeal duality that characterizes witchcraft and its resolution in synthesis in Vasile Voiculescu’s short story Magical Love. The last section is devoted to cinematographic works and how they have incorporated in their complex visual and textual narratives an ancient representational and iconographic tradition with roots in Renaissance and Baroque painting and in the literature of Greco-Latin Antiquity. Keywords: witches, body, narration, symbolic, visual arts, literature, cinema. "

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18

Barnette, Jane. "What Is Wanda but Witches Persevering? Palimpsests of American Witches in WandaVision." Theatre Journal 74, no. 1 (March 2022): 41–57. http://dx.doi.org/10.1353/tj.2022.0003.

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19

Klymukhina, Polina, and Iryna Kropyvko. "Demonological images in Y. Vinnychuk's novel «Apothecary»." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 15, no. 26-27 (2022): 87–95. http://dx.doi.org/10.34079/2226-3055-2022-15-26-27-87-95.

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The article analyzes the use of images of folk demonology, including witches, devils and others, by Yury Vynnychuk in the novel «Apothecary». The key factors of character formation of mythical characters have been revealed. The author's achievements are outlined in comparison with the folklore and fairy tale tradition. The writer moves away from the depiction of Ukrainian folklore characters. With the help of expanding the background, dialogues, building social connections, the fantastic characters in the novel are normalized, even domesticated. The peculiarity of the novel «Apothecary» consists in combining the real with the fantastic, giving color and identity to demonic images in the original author's reading of them. Among the images explored in the article are the following: a witch, a devil, a golem woman, a warlock, an alchemist, a werewolf, etc. It was found that the image of the witch is represented by two types. The first type is related to the modern stereotypical idea of the impossibility of the existence of such a being. Through the lens of the gaze of one of the main characters of the work, doctor Lukasz, who as a «scientist» is used to rationalizing everything he sees, the reader looks at women who go to prison due to accusations of witchcraft, and together with Lukasz understands the absurdity of these events. Tortured women confess to witchcraft, are forced to prove their own connection with diabolical forces, testify for themselves, sharing details of the witch's life. The second type of witches are «real» ones. The reader is offered an episode of witch orgies on Lysia Gora, which is replaced by a detailed description of the witch's life, presented without any comedy. Thanks to this technique, the image of the witch does not appear folk-comic, but original and very authentic. An old witch named Vyvdia is depicted as a recluse, she knows how to make magic potions, and often helps visitors solve personal problems for a fee. The author depicts the image of a witch-healer, a wise woman who knows about herbs and ancient wisdom, and personifies in it the second stereotypical image of a witch, which is related to the etymology of the name. Witch from the word «to know» («vidaty», that sounds similar to «vidma» (witch in Ukrainian)). The devil is personified by a character named Franz. Its peculiarity is the difference from the traditional depiction of this image in classical Ukrainian literature. Devil Franz appears as a descendant of the demonological images of the romantic tradition in Ukrainian literature, but was created in the vortex of the author's myth of Yury Vinnychuk. He is a unique character, different from his predecessors. It has been found that the devil and the witch are the most productive demonological images in the novel. Other fantastic creatures form a kind of artistic background for them, make their appearance organic. All demonological images are completely woven into the realistic course of events of the work. The article concludes that the demonological images depicted by Yury Vynnychuk in the novel «The Apothecary» are undoubtedly related to the literary tradition. This work reflects a long-standing culture of using mythical characters in works of various genres. As an expert in folkloristics and classical Ukrainian literature, Y. Vynnychuk skillfully weaves ancient folk beliefs into his work about the 17th century, playing with eras, weaving modern discourses into antiquity. The artistic world of the novel is saturated with images of Ukrainian and European demonology (the devil Franz, the witch Vivdia, the alchemist Kalkbrenner, his creation the golem Amalia, warlocks, werewolves, spirits, demons, etc.). These characters are surprisingly real, believable and incredible, belong to different eras, cultures and at the same time are very harmonious.

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20

Guskova, A. A. "Witches and goddesses in modern prose." Voprosy literatury, no. 6 (December 28, 2020): 84–96. http://dx.doi.org/10.31425/0042-8795-2020-6-84-96.

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The article deals with the evolution of female demonic characters appearing in literature since the classics to this day. In Russian classics, infernal females with magical powers were not uncommon: described by V. Zhukovsky, O. Somov, N. Gogol, A. Kuprin, etc., they were mostly treated as ‘abnormal’ or negative. The perception has changed dramatically in modern literature: a woman with connections to infernal powers (e. g. princess Tichert in A. Ivanov’s novel The Heart of Parma [Serdtse Parmy] or Rogneda in M. Galina’s Mole Crickets [Medvedki], etc.) is no longer a manifestly negative character. A. Guskova discovers that the contemporary infernal (or demonic) female character is not so much part of a love theme but is rather connected to the magic of the story’s location: the Urals in A. Ivanov’s book and Transdniestria in M. Galina’s, respectively. Also transformed is the nature of the contact between the heroine and the male protagonist: the impossibility of a constructive interaction and mortal danger (in classic prose) are replaced with a positive tone, granting the protagonist an opportunity for development.

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21

Grubišić Pulišelić, Eldi. "WITCHES AND UNACCOMPLISHED MOTHERS: FEMALE OUTCASTS IN MELA HARTWIG’S THE WITCH." Folia linguistica et litteraria XII, no. 34 (April 2021): 41–57. http://dx.doi.org/10.31902/fll.34.2021.3.

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This paper deals with the construction of outcast identity in the novella The Witch (Die Hexe), which is one of the most radical literary works of the Austrian writer Mela Hartwig (1893-1967). The main character Rune is considered an outcast from birth, so her marginalized role in the intolerant and exclusionary society defines her character within her fundamentally tragic existence leading to her violent death. Her outcast position has two layers: one is societal, characterized by her belonging to the lowest societal class, whereas the second layer is gender-related, marked by female identity as the symbol of “otherness”. The crime of the main (anti)heroine, i.e. the witch, is reflected in her distinctiveness, in the deviation from the socially acceptable behavior. Hartwig depicts the world of violence, suffering and destruction and warns about the difficult position of outcasts. Even though the novella is set in the 17th century, the misogynistic and racist theories she critically discusses here are reminiscent of the Austrian society at the beginning of the 20th century.

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22

Togoeva, Olga. "English Familiars and their Owners: Scenes from “Family” Life." ISTORIYA 14, no. 3 (125) (2023): 0. http://dx.doi.org/10.18254/s207987840025093-1.

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English witchcraft pamphlets are a unique source within the vast corpus of European demonological literature of the Late Middle Ages and early Modern times. The pamphlets not only retold the details of real witchcraft processes, they also contained a huge number of details concerning the most diverse aspects of the everyday life of English society of the 16th — early 18th century. The article analyzes the features of the relationships that, according to the authors of the pamphlets, witches built with their household “spirits” — familiars, who were used to bring damage to the offenders. According to the author of the article, these relations were of a dual nature. On the one hand, familiars were the first and most important helpers for their mistresses. On the other hand, the aggression of the “spirits” could be directed not only at the witch’s neighbors, but also at herself. From this point of view, the author of the article sees many common features in the descriptions of English familiars and demons of possessed people who behaved identically towards their victims. Thus, the author comes to the conclusion that the descriptions of the everyday life of English witches of early Modern times and their familiars provide a key to understanding the origins of this phenomenon itself: apparently, the concept of “familiar” was born partly under the influence of the continental demonological tradition.

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23

Awajan, Nasaybah W. "Representing Females from A Different Perspective: Justin Kurzel’s Film Appropriation of William Shakespeare’s Macbeth." World Journal of English Language 13, no. 8 (September 4, 2023): 92. http://dx.doi.org/10.5430/wjel.v13n8p92.

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The study explores the differences in the representation of females, specifically Lady Macbeth and the witches, in both Shakespeare’s play, Macbeth (1623) and in Justin Kurzel’s film appropriation, Macbeth (2015). The paper attempts to prove that Kurzel’s film appropriation of Shakespeare’s play represents the female characters, specifically Lady Macbeth and the witches, from a different perspective than Shakespeare’s original paly. The paper shows how Kurzel changes the old ideas about how the witches and Lady Macbeth are the motivation and inspiration behind Macbeth’s downfall, defeat, and death. Instead, the study shows that Kurzel’s film appropriation posits that Macbeth’s greed and lust for power and authority make Macbeth himself the impetus behind his downfall, defeat, and death. As a result, Macbeth’s evil is natural rather than nurtured by the play’s main female characters as shown in Shakespeare’s original text. For this reason, Kurzel’s witches and Lady Macbeth are analyzed in relation to how they are portrayed in Shakespeare’s Macbeth. Very few studies tackle Kurzel’s film appropriation of Shakespeare’s Macbeth, which mainly focus on the lighting and visual effects of the movie. The contribution of the study is to fill the shortage of literature conducted on the current appropriation by Kurzel.

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24

Withalm, Gloria. "From Buffy to a Discovery of Witches. Semiotic Considerations on Vampires, Witches, & Preternatural phenomena in Literature and Television." Proceedings of the 14th World Congress of the International Association for Semiotic Studies (IASS/AIS) 8 (2021): 429–43. http://dx.doi.org/10.24308/iass-2019-8-032.

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25

Niehaus, Isak A. "Witch-hunting and political legitimacy: continuity and change in Green Valley, Lebowa, 1930–91." Africa 63, no. 4 (October 1993): 498–530. http://dx.doi.org/10.2307/1161004.

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AbstractWith reference to the history of the village of Green Valley in the South African bantustan of Lebowa over the past six decades, this article examines the complex relation-ship between witch-hunting and political action. I argue against common notions in anthropological literature that political actors engage in witch-hunting in an attempt to mystify exploitation or to intimidate opponents. Such notions overemphasise the instrumental dimensions of the witchcraft complex and pay insufficient attention to its intrinsic/existential dimension as a personalised explanation of misfortune. By taking full cognisance of the latter, witch-hunting can be seen as a creative attempt to eliminate evil and avoid the future occurrence of misfortune. It is argued that, through time, chiefs and Comrades have found it politically convenient to identify and punish witches in their efforts to attain legitimacy among villagers.

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Igwe, Leo. "Media and Witchcraft Accusation in Northern Ghana." Secular Studies 1, no. 2 (October 10, 2019): 186–203. http://dx.doi.org/10.1163/25892525-00102001.

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Abstract There has been a growing visibility of witchcraft beliefs in the African media. The dominant paradigm in the academic literature on witchcraft is that the media reinforce witchcraft beliefs by disseminating information and ideas that are related to witchcraft accusations and witch hunting. However, a careful examination shows that this is not always the case because the media serve other counter purposes. Using ethnographic data from the Dagomba area in Northern Ghana and the concept of forum shopping, this paper explores how accused persons in the Dagomba communities utilize the limited media coverage to enhance their responses to witchcraft accusations. Apart from disseminating information regarding the activities of assumed witches, the media publicize perspectives that reject witchcraft notions.

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27

Johnson, Trasi. "There Are Witches in the Park." Callaloo 14, no. 2 (1991): 475. http://dx.doi.org/10.2307/2931652.

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28

Laime, Sandis. "Latvian Laumas: Reflections on the Witchisation of Tradition." Tautosakos darbai 62 (December 30, 2021): 51–67. http://dx.doi.org/10.51554/td.21.62.03.

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In Baltic languages, the word laume/lauma initially referred to a certain supernatural being (Lithuanian laumė, Latvian lauma/laume, Prussian *laume). The analysis of written sources and folklore related to this supernatural being allows for the conclusion that Lithuania is both the core and the relic area of the laumė tradition, where the original beliefs have been retained; while Latvia, located at the periphery of the tradition territory, is the innovation area, where the perception of this supernatural being was substantially transformed. It was humanised and incorporated in the witchcraft belief system prior to or during the period of witch persecution (the 16th to 18th centuries). The article attempts to analyse the corpus of lauma tradition in order to clarify its position in the historical typology of Latvian witchcraft beliefs. The first chapter briefly describes three chronological stages of the development of Latvian witchcraft beliefs (night, dairy, and diabolic witches), characterises the lauma folklore sources and previous research. The second chapter analyses the lauma text corpus and attempts to find out which stages of the historical typology of witchcraft beliefs are reflected in the lauma folklore of the 19th–20th centuries. In the third chapter the hypothesis about the transformation of laumas from supernatural beings to dairy witches is argued.

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Verduin, K. "Sex, Nature, and Dualism in The Witches of Eastwick." Modern Language Quarterly 46, no. 3 (January 1, 1985): 293–315. http://dx.doi.org/10.1215/00182702-46-3-293.

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JACKSON, GABRIELE BERNHARD. "Topical Ideology: Witches, Amazons, and Shakespeare's Joan of Arc." English Literary Renaissance 18, no. 1 (January 1988): 40–65. http://dx.doi.org/10.1111/j.1475-6757.1988.tb00945.x.

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Hume, Lynne. "Witches of the Southern Cross: The sacred places and sacred spaces of modern Australian witches." Journal of Australian Studies 23, no. 62 (January 1999): 95–100. http://dx.doi.org/10.1080/14443059909387504.

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32

Kahn, Victoria, and Marjorie Garber. "Cannibals, Witches, and Divorce: Estranging the Renaissance." Shakespeare Quarterly 38, no. 4 (1987): 527. http://dx.doi.org/10.2307/2870434.

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Chodurska, Halina. "The “witches’ ointment” in the Russian literature of the 1st half of the 20th century." Studia Językoznawcze : synchroniczne i diachroniczne aspekty badań polszczyzny 16 (2017): 53–68. http://dx.doi.org/10.18276/sj.2017.16-03.

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34

Ray, Benjamin C. "Satan's War against the Covenant in Salem Village, 1692." New England Quarterly 80, no. 1 (March 2007): 69–95. http://dx.doi.org/10.1162/tneq.2007.80.1.69.

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Using maps to plot the locations of church members, accusers, and accused witches in Salem village, the essay concludes that the belief that Satan had targeted village church members significantly influenced both accusers and magistrates and thereby produced the unprecedented number of witchcraft accusations and executions.

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Schissel, Wendy. "Re(dis)covering the Witches in Arthur Miller'sThe Crucible:A Feminist." Modern Drama 37, no. 3 (September 1994): 461–73. http://dx.doi.org/10.3138/md.37.3.461.

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Ager. "Magic Perfumes and Deadly Herbs: The Scent of Witches' Magic in Classical Literature." Preternature: Critical and Historical Studies on the Preternatural 8, no. 1 (2019): 1. http://dx.doi.org/10.5325/preternature.8.1.0001.

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Schuchter, Veronika. "Of Grim Witches and Showy Lady-Devils: Wealthy Women in Literature and Film." Text Matters, no. 9 (December 30, 2019): 50–65. http://dx.doi.org/10.18778/2083-2931.09.03.

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Imagining super rich women in the real and fictional world has long been a struggle. Those few depictions that do exist are scattered across time periods and literary genres, reflecting the legal restrictions that, at different points in time, would not allow women to accumulate assets independent of the patriarchal forces in their lives. The scarcity of extremely wealthy women in literature and film is confirmed by Forbes magazine’s list of the fifteen richest fictional characters that features forty different fictional men and only nine women, with never more than two female characters nominated in a single year. This article explores the depiction of three exceptionally wealthy women: Cruella de Vil in The Hundred and One Dalmatians (1956) by Dodie Smith, Miss Havisham in Great Expectations (1861) by Charles Dickens, and the figure of the stepmother in various adaptations of “Cinderella.” I demonstrate how the protagonists’ wealth allows them to manipulate others and disconnect themselves from patriarchal and societal expectations. Further, I argue that these affluent antagonists are “rogued” by their respective narratives, highlighting their perceived anti-feminine and emasculating behaviour resulting in a mode of narration that greedily gazes at and shames their appearances and supposed unattractiveness. While this genealogy of rich rogues reiterates the narrow scope of imagining wealthy women on the page and on the screen, there are moments in the narratives that disrupt stereotypical depictions of these wealthy characters who defy the labels imposed on them.

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Do Rozario, Rebecca-Anne. "The Charity of Witches: Watching the Edges in Terry Pratchett’s Tiffany Aching Novels." Papers: Explorations into Children's Literature 24, no. 2 (July 1, 2016): 74–95. http://dx.doi.org/10.21153/pecl2016vol24no2art1106.

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Terry Pratchett’s final novel, The Shepherd’s Crown, was published months after his death in 2015. The novel concludes the story arc of Tiffany Aching, hero of the Discworld children’s/young adult novels that include The Wee Free Men (2003), A Hat Full of Sky (2004), Wintersmith (2006), and I Shall Wear Midnight (2010). The arc follows the heroine from the age of nine through her teenage years and although classified as children’s or young adult novels, the novels merge seamlessly with the adult Discworld series. The novels’ status within children’s literature is sustained by a thematic core: Tiffany grows up. Her negotiation of childhood and adolescence, however, is shaped less by the valorisation of youth and desire for fame and fortune than by the example of old women and their dedication to public service. These old women are witches and they mind the margins of their community, as renowned witch Esmeralda Weatherwax explains of their work: “There’re a lot of edges, more than people know. Between life and death, this world and the next, night and day, right and wrong...an’ they need watchin’. We watch ‘em, we guard the sum of things. And we never ask for any reward. That’s important” (Pratchett 2010c). This article investigates how Pratchett draws on the history of fairy tales about witches and old women with their varied traditions of care and preservation, and reaches a narrative conclusion for the young heroine that rejects traditional fairy tale resolutions of romance, fame, or fortune. Instead, he endorses the heroic and everyday work performed at the ‘edges.’

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Cohen, Emily Jane. "Kitschen Witches: Martha Stewart: Gothic Housewife, Corporate CEO." Journal of Popular Culture 38, no. 4 (May 2005): 650–77. http://dx.doi.org/10.1111/j.0022-3840.2005.00134.x.

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Almond, Philip C. "The Witches of Warboys: A Bibliographical Note." Notes and Queries 52, no. 2 (June 1, 2005): 192–93. http://dx.doi.org/10.1093/notesj/gji218.

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Parren, Nora. "The (possible) Cognitive Naturalness of Witchcraft Beliefs: An Exploration of the Existing Literature." Journal of Cognition and Culture 17, no. 5 (November 22, 2017): 396–418. http://dx.doi.org/10.1163/15685373-12340015.

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Abstract Cross-culturally, misfortune is often attributed to witchcraft despite the high human and social costs of these beliefs. The evolved cognitive features that are often used to explain religion more broadly, in combination with threat perception and coalitional psychology, may help explain why these particular supernatural beliefs are so prevalent. Witches are minimally counter intuitive, agentic, and build upon intuitive understandings of ritual efficacy. Witchcraft beliefs may gain traction in threatening contexts and because they are threatening themselves, while simultaneously activating coalitional reasoning systems that make rejection of the idea costly. This article draws possible connections between these cognitive and environmental features with an eye toward future empirical examination.

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Chaemsaithong, Krisda. "Discursive control and persuasion in early modern news discourse." English Text Construction 4, no. 2 (November 17, 2011): 228–56. http://dx.doi.org/10.1075/etc.4.2.04cha.

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As an early form of news discourse, witchcraft pamphlets were one of the primary sites in which and through which ideologies about witchcraft and witches were articulated and disseminated in Early Modern England. Recognizing the pivotal position of language in constructing and perpetuating ideologies, this paper adopts a discourse analytic perspective (Van Dijk 2001, 2008; Halmari and Virtanen 2005) and uses insights from the study of stance and evaluation (Hunston and Thompson 2000; Hyland 2005, 2008) to examine the ways in which the prefatory materials of those pamphlets construct and (re)produce ideologies about witchcraft through linguistic and rhetorical choices, and the ways in which such a process may affect the audience’s perceptions, notions, and beliefs about witchcraft and witches. The findings reveal that the pamphleteers seek to manipulate linguistic choices and, in doing so, naturalize the ideologies about witchcraft which promote an image of Otherness that is inimical to the community. Persuasive strategies used include the negative depiction of the accused individuals as threats to society to prioritize the urgency of persecuting witches in the community; the pamphleteers’ construction of a positive self-image to establish itself as a source that can be trusted; and reader involvement to invite the reader to engage in the argumentation. Such strategies work in concert to reinforce the beliefs about witchcraft of those believers, and/or to persuade those who might still be in doubt.

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Matthews, Carol. "A Powerful Presence: Images of the Grandmother in Canadian Literature." Canadian Journal on Aging / La Revue canadienne du vieillissement 15, no. 2 (1996): 264–73. http://dx.doi.org/10.1017/s0714980800006747.

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ABSTRACTIn contrast to the negative images which attend old women in many social and statistical reports, literary gerontology provides a framework which allows us to see old women as complex and integrated figures. Canadian literature offers numerous examples of powerful old women who defy reductive stereotypes. Literary grandmothers, particularly when they appear in pairs, force a recognition of the integrating and mediating powers of old women. This paper discusses four Canadian novels in which pairs of grandmothers can be seen to supply a structural matrix which orders and supports the growth and development of future generations. Through the old women in these novels we may recognize the tradition of the mythic Great Mother in whose image we recognize the full power of our witches, wise women and ordinary old grandmothers.

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Voltmer, Rita. ":Origins of the Witches’ Sabbath." Speculum 99, no. 1 (January 1, 2024): 186–88. http://dx.doi.org/10.1086/727241.

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Yamal, Ricardo. "Brujas y algo más/Witches and Something Else de Marjorie Agosín." Revista Iberoamericana 52, no. 135 (September 22, 1986): 791–94. http://dx.doi.org/10.5195/reviberoamer.1986.4261.

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Manzor-Coats, Lillian. "Of Witches and Other Things: Maryse Condé's Challenges to Feminist Discourse." World Literature Today 67, no. 4 (1993): 737. http://dx.doi.org/10.2307/40149572.

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Sujjapun, Ruenruthai. "The Legacy of Traditional Thai Literature and its Impact on Contemporary Children’s Literature." MANUSYA 8, no. 4 (2005): 78–87. http://dx.doi.org/10.1163/26659077-00804006.

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Literature is a significant part of any nation’s cultural heritage, its continuing existence depending on the values which are handed down from era to era, from generation to generation. Most traditional Thai literature follows the same conventions. The influence exerted by western literature helped to foster the development of contemporary Thai literature, but at the same time relegated traditional literature to the back burner, seemingly remote from contemporary Thai life. This can clearly be seen in contemporary children’s literature; for example, it is obvious that at the present time the books in The Adventures of Harry Potter series by J. K. Rowling are bestsellers that have captured the hearts of children all over the world. Witches and the magic of the western world are borrowed by authors of children’s literature and even play a role in some Thai children’s books as well. Nevertheless, there are a number of Thai writers who appreciate traditional Thai literary works and who have made an effort to revive some works of traditional Thai literature both in terms of content and style. They narrate new versions of classical literature in modern form and with more up-to-date content in a manner that appeals to young readers.

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Harris, Jonathan Gil. "Fog and Filthy Air." SEL Studies in English Literature 1500-1900 62, no. 1 (December 2022): 151–58. http://dx.doi.org/10.1353/sel.2022.a922563.

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Abstract: Building on the recent work of Dipesh Chakrabarty, this essay thinks about how Macbeth 's Witches introduce into the play an imagination that is both global and planetary. But whereas the global is a largely anthropocentric concept, mapping the world in terms of fixed states and cities such as Aleppo, the planetary is a frame that embeds the human within churning assemblages with nonhuman entities and elements. The "fog and filthy air" of Macbeth , and of my location in contemporary New Delhi, demand to be seen in this way.

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Gibert, Teresa. "Margaret Atwood’s Visions and Revisions of "The Wizard of Oz"." Journal of English Studies 17 (December 18, 2019): 175. http://dx.doi.org/10.18172/jes.3578.

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L. Frank Baum’s The Wonderful Wizard of Oz (1900) and Victor Fleming’s film The Wizard of Oz (1939) play an important intertextual role in Margaret Atwood’s critical and fictional writings. Atwood has often been inspired by both versions of this modern fairy tale and has drawn attention to the main issues it raises (e.g. the transformative power of words, gendered power relationships, the connection between illusion and reality, the perception of the artist as a magician, and different notions of home). She has creatively explored and exploited themes, settings, visual motifs, allegorical content and characters (Dorothy, her three companions, the Wizard and the witches, especially Glinda the Good and the Wicked Witch of the West), subversively adapting her literary borrowings with a parodic twist and satirical intent. Parts of Life Before Man (1979) may be interpreted as a rewrite of a story defined by Atwood as “the great American witchcraft classic”.

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Brian Ribeiro. "Montaigne on Witches and the Authority of Religion in the Public Sphere." Philosophy and Literature 33, no. 2 (2009): 235–51. http://dx.doi.org/10.1353/phl.0.0055.

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