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‘Are women magic?’ One of the authorial signs that circulates from one Truffaut film to another is the question (sometimes formulated in the affirmative, as a statement): are women magic? Though enunciated, for the most part, by characters with whom we are not invited to identify or sympathise, such as the surly bar-owner Plyne in Tirez sur le pianiste or the spoilt, petulant
recite to make the thing fade away. Of course, one can’t be sure, but we can always take a chance. H.P. Lovecraft, ‘The Dunwich Horror’ 1 Might not the entire of Magic be described as traffic between That Which Is and That Which Is Not; between fact and fiction? If we are to speak of Magic as ‘The Art’, should we not also speak of Art
This chapter looks at how communications became the magic dust for development; the shift from information communication technology for development (ICT4D) to mobile for development (M4D); the transition to a wider palette of technologies; and the long challenges to ICT4D in Africa, learning and agriculture. It might seem perverse to start a chapter on technology and development with the story of one of the world's largest refugee camps. But the snapshot presented in the next section illustrates that development agencies
Since the beginning of the nineteenth century folklorists, and the general public in their wake, have assumed the orality of fairy tales. This book takes an extreme position in that debate: as far as Tales of magic is concerned, the initial transmission proceded exclusively through prints. It displays the conception, ancestry and offspring of the Golden Bird dwells on the construction of the story type, the way the story found its way into the Jacob and Wilhelm Grimm's Kinder- und Hausmärchen. In the book Magician and His Pupil in which superficially magic is conquered by magic, moreover provides a counterbalance to the, at least within Europe, much more widespread warning about the dangers of occult knowledge. The possibility of a connection between Jack and the Beanstalk and a shamanistic World Tree had occurred because of the Dutch story of a Great Ship with a mast reaching into a never-never land. The Sky High Tree offers not only an example of a post-Grimm fairy tale recorded from oral presentations, it also serves the purpose of tackling the question of the age of fairy tales from a slightly different angle. The book also discusses the main problems of fairy tale research: variation, orality and, in the story's reincarnation as The Healing Fruits, the concept of the conglomerate tale. A historical approach to fairy tales has profound consequences for the organisation of one of folklore's main methodological tools, the tale-type index.
, my dad, had gone astray somewhere. What I was straining for wasn’t him at all, but the way other things were when he was around: he had become the glue, the magic formula that held the world’s pieces together and made them meaningful in relation to each other. Either way the world was irreparable, and my failure to repair it placed me beyond forgiveness: so, at the age of seven, I got to experience
5 Beyond the witch trials Witchcraft and magic in Scotland Witchcraft and magic in eighteenth-century Scotland Peter Maxwell-Stuart On 20 October 1711 Defoe published in the periodical Review his well-known and unambiguous opinion on the subject of witches: There are, and ever have been such People in the World, who converse Familiarly with the Devil, enter into Compact with him, and receive Power from him, both to hurt and deceive, and these have been in all Ages call’d Witches, and it is these, that our Law and God’s Law Condemn’s as such; and I think there
broadening its application beyond the study of religion to include magic. By ‘vernacular religion’, therefore, I mean the entire range of lived religion, with its complement of material, verbal and behavioural manifestations. By coining the term ‘vernacular magic’ after Primiano’s ‘vernacular religion’, I am rejecting the dualistic system of ‘high magic’ versus ‘low magic’, on the grounds that these, too, constitute an artificial
first into the told and then printed tale of the nineteenth? Tales of Magic, Tales in Print aims to suggest a possible and plausible answer and in doing so hopes to provide a new view on the history of fairy tales. As it will be argued that fairy tales are not more than a few centuries old and that they did not constitute a continuous oral tradition, several commonly accepted opinions, including some academic
who consulted as narrowly or widely as they deemed expedient to do. However, the controversial manner in which Macmillan’s successor was chosen in October 1963 fatally tarnished the so-called magic circle, and thus led to the adoption of a formal method for choosing subsequent Conservative leaders, entailing a secret ballot of the party’s MPs. Prior to the democratic method adopted in 1965, the Conservatives’ closed and elitist mode of leadership selection reflected the party’s history and organisational development, and some of the key tenets of conservatism as a
It has often been stressed that The Tempest is Shakespeare's most musical play: 1 the island's soundscape is uniquely rich and varied, its ‘noises,/Sounds, and sweet airs’ (3.2.127–8) enhance its supernatural atmosphere and Prospero's magic power is wielded largely through the music of Ariel and his fellow spirits. Unsurprisingly, music is one of the aspects of the play that has received the most critical attention, the perfect integration of this ‘dangerously refractory material