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Copyright of Bulletin of the Institute of Ethnography of the Serbian Academy of Sciences & Arts / Glasnik Etnografskog Instituta SANU is the property of Institute of Ethnography, SASA and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Imaginaires is the property of Universitaires de Reims and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The co-authored text by Luka Šešo and Danilo Trbojević represents a unique comparative analysis of ethnographic material, relating to the form, role, and status of demonological traditions in rural communities of Croatia and Serbia. The research focuses on the relationship between folklore and the belief systems woven into the traditions of rural communities with varying demographic structures, historical experiences, cultural identities, and social realities centered around the ideas of local ontologies defined by coexistence with supernatural beings and phenomena. These communities are, in the context of this study, viewed through the lens of adaptability to coexistence with the global cultural flows of the postmodern world. Through understanding the impact of the broader social, political, and cultural context on the cultural identity of local communities, the authors aim to contribute to the understanding of the influence of changes (both local and global) in the cultural and social environment on the needs, aspirations, and logics of community members crucial for the survival, form, and status of the world of supernatural beings in rural imagination.

Sarah Daniels’ın Byrthrite adlı oyunu on yedinci yüzyıl İngiltere’sinde geçer. Oyunun geçtiği dönemde Avrupa’da “cadı” olarak yaftalanan kadınlar, büyü yaparak insanlara zarar vermekle itham edilirdi. Ayrıca ebeler de büyüye başvurarak bebekleri öldürdüklerine inanıldığı için sıklıkla olağan suçlular arasındaydı. Oysa ki Byrthrite’ta cadı olarak anılan kadınlar ataerkil baskılara karşı direnç göstermeyi amaçladıkları için suçlanırlar. Oyun, ataerkiden bağımsız olmaya çalışmak, sanat ve tarihle ilgilenmek gibi konular üzerinden kadınların uğradığı baskıları da resmeder; ancak asıl vurgu yirminci yüzyılda ortaya çıkan üreme teknolojisinin kadınlar için ne gibi korkutucu durumları beraberinde getirebileceğidir. Bu noktadan hareketle, çalışmada, ataerkil toplumlarda kadın bedenine yönelik baskının zamanla azalmadığı, teknolojik gelişmelere paralel olarak biçim değiştirdiği fikri ele alınır. Makalenin amacı, oyundaki “cadı,” “cadılık,” ve “ebe” kavramlarına odaklanarak, bu kavramlarla tıbbi teknoloji ve ataerkil toplumlarda kadın bedenine yönelik baskılar arasındaki paralellikleri göstermeye çalışmaktır.

The memorial sources provide relevant information about the lives and personalities of the characters mentioned, while also shedding light on controversial issues concerning the role of the Enchantresses in folk culture and medicine. The memorial confession of Iuliana Popa – the young student who knows how to charm – contains important data about the personality of some of the Enchantresses from the village of Slobozia, Gârceni commune, Vaslui county. Although most of the information is more in the realm of the past, some magical therapy practices are still widespread in the community. In the protagonist’s perception, the distinction between proper Enchantresses who believe in God and witches who are on the opposite side of the Christian faith is quasi important. Of particular value are the local traditions and customs that give charm and originality to the community of Slobozia village

Copyright of Studies in Oral Folk Literature / Estudis de Literatura Oral Popular is the property of Universitat Rovira I Virgili and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Literature & Humanities / Edebiyat ve Beşeri Bilimler Dergisi is the property of Ataturk University Coordinatorship of Scientific Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This is a film review of Leilani's Fortune (2024), directed by Loveleen Kaur. [ABSTRACT FROM AUTHOR]

Bram Stoker gave breath to Count Dracula in his Gothic, connecting historical correlation to his creative approach. An account of mystery and realism imbibed within an epistolary novel that dates back to a specific historical context of fifteenth-century Romania. This paper focuses on the revelation of facts and fiction regarding how a prince was souled in the soulless Count, and how Stoker sew traits in common with differences as a medium of suspense thriller, developing a diary of a moving historical figure. [ABSTRACT FROM AUTHOR]

I have always considered Kate Bush my Hecate and PJ Harvey my Circea..., fantasized, that is. From one to the other, it is magicians and witches that I would like to focus on here, or rather their becoming, in a "research experiment" that takes these women-artists as materials to work with, to think about. I thus would like to link them to the yardstick of the witches/sorcery studies and the haunting – even of a witches/sorcery studies of the haunting. Through them and through their appetite for the obscure, the magical, the transgressive, the secretive, I would like to draw a path where creation, text, sound, body, voice, image, presence, but also freedom, resistance, empowerment, form a feminine praxis, without concession, where spells do work.

The relationship of wu (巫) to shamanism is problematic, with virtually all mentions of historical and contemporary Chinese wu ritualists translated into English as shaman. Ethnological research is presented to illustrate cross-cultural patterns of shamans and other ritualists, providing an etic framework for empirical assessments of resemblances of Chinese ritualists to shamans. This etic framework is further validated with assessments of the relationship of the features with biogenetic bases of ritual, altered states of consciousness, innate intelligences and endogenous healing processes. Key characteristics of the various types of wu and other Chinese ritualists are reviewed and compared with ethnological models of the patterns of ritualists found cross-culturally to illustrate their similarities and contrasts. These comparisons illustrate the resemblances of pre-historic and commoner wu to shamans but additionally illustrate the resemblances of most types of wu to other ritualist types, not shamans. Across Chinese history, wu underwent transformative changes into different types of ritualists, including priests, healers, mediums and sorcerers/witches. A review of contemporary reports on alleged shamans in China also illustrates that only some correspond to the characteristics of shamans found in cross-cultural research and foraging societies. The similarities of most types of wu ritualists to other types of ritualists found cross-culturally illustrate the greater accuracy of translating wu as "ritualist" or "religious ritualist." [ABSTRACT FROM AUTHOR]

In this paper, we shall examine some major religious roles for women in West Bengal, India, and the challenges they must face. Among the Santals, an Adivasi group, religious women must avoid being called witches, for women's power is seen as dangerous and religious social roles are traditionally forbidden to them. Some women have been called by deities to become trance mediums, colloquially known as 'bhar ladies', and this role is generally not accepted by family members. Girls have had to undergo exorcisms by male healers to get them to renounce the gods that have called them to this role, while married women must deal with husbands who do not want their wives going into public trances. Many such women have learned tantric practices to control the trance possession. In rural areas, the combination of ascetic practices and stories known as bratas (vratas) are taught to young girls by female leaders called ayes. However, in more urban areas, this role has been taken over by male brahmin priests. We also see women in the bhakti tradition, who run ashrams and lead worship and who must deal with male devotees who question a woman's leadership abilities. All of these involve challenges, and many of these women have developed strategies to deal with the difficulties of being a religious influencer in their societies. [ABSTRACT FROM AUTHOR]

This article examines the demonological beliefs of the Lusatians that correspond with beliefs among the Eastern Slavs. In the East Slavic region, there is a chain of related beliefs all the way to the Russian North-West. This is a chain of archaic areas: Carpathian, Polesie, and Belarusian-West Russian. One such Lusatian-North Russian parallel is demonstrated by the image of Lady Midday (Noonwraith, Noon Witch). Among the Lusatians and Russians, this female mythological character has a number of common features, and some of the similarities noted four hundred years ago by the Dutch scientist Marcus van Boxhorn have survived to our time in the North Russian tradition. The second parallel is connected with a fl ying fi ery serpent. The varying colour symbolism of the snake, dependent on the gifts (money, grain, milk) that it carries to its owner, is represented in the lower Lusatians, in Chernigov Polesie, some areas of Belarus, and neighbouring southern Russia. In the area of the Russian- Ukrainian borderland, the colour loses its signifi cance or loses its variability, becoming a characteristic of the objects that snakes scatter as bait for women, and only sometimes does the colour of the snake itself appear in these tales. In the West- and Northwest Russian tradition, the colour loses its variability and dependence on the gifts brought to the owner, and colour becomes a constant characteristic of the serpent (in one case, while maintaining a relict connection with grain as one of the types of gifts), or, while maintaining the same set and variability, is transferred from the snake to the hidden legs of the snake where it receives new symbolic meanings. The third parallel concerns some of the details related to the stealing of milk by witches in the fi eld: they collect grass for their cows from nine other people’s borders and collect dew using horse harnesses according to the Lusatians, as well as in western Ukraine, in western Polesie, in the Smolensk province, and further, in a modifi ed form, among the Russians of the Oryol and Kostroma provinces. Owing to its position on the outskirts of the Slavic world, the Lusatian folk tradition retains a number of features that are invaluable for historical, cultural, and ethnogenetic reconstructions.

The show Charmed (2018-2022) features a trio of sisters as protagonists. They are the charmed ones, the most powerful witches in the world. From the start, the youngest is presented as holding characteristics traditionally attributed to females. In the Halloween episode of the first season, she casts the spell "Glamours" to decorate the whole house and dress up as Cinderella. Like Cinderella, this good witch is also constantly saved by her love interest and acts as a "soul nurse." Her empathetic magic, connected to emotions, adds to this characterization infused with femininity. But, in her arc development, she resists being rescued by male characters, survives an abusive relationship, and fights demons that personify patriarchal oppressions. As it occurs in Magical Feminism, the protagonist models an empowered woman, and when she allows herself to feel anger, her magic is amplified. Following advances and contradictions, the paper analyzes how femininity and female power are negotiated from this witch's narrative. [ABSTRACT FROM AUTHOR]

Copyright of Edad de Oro is the property of Departamento de Filologia Espanola de la Universidad Autonoma de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Muiraquitã: Revista de Letras e Humanidades is the property of Muiraquita and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article, we propose an educational path to learn mathematics in the framework of the European Community Action Scheme for the Mobility of University Students (ERASMUS) project developed in an Italian high school class on the topic of the contribution of women in science. The choice of the educational path fell on Maria Gaetana Agnesi and the particular curve, the "versiera" (witch), studied by her. During the experimentation, the students have been divided into four groups, each one taking care of particular aspects of the human and cultural experience of Maria Gaetana Agnesi, and the construction of her famous curve under different mathematical registers: the geometric, algebraic, analytical, mechanical and computer science, as well as non-mathematical ones such as the gestural and voice registers. The effectiveness of the proposed educational path was evaluated through interviews with the students during the course and at the end of the activities. All the students, even those less skilled in mathematics, have shown enthusiasm and satisfaction by recognizing the mathematical object, the "witch", presented by using different languages. [ABSTRACT FROM AUTHOR]

It is considered that the Puritans that populated New England in the 17th century left a distinctive mark on the American culture. The article explores some projections of Puritan legacy in two American novels of different periods – Nathaniel Hawthorne’s The Scarlet Letter (1850) and Stephen King’s Carrie (1974). After establishing a connection between the Puritan writings and gothic literature, the two novels are analyzed in terms of some Puritan projections, among which are the problem of guilt and the acceptance of an individual in the society. Some references regarding the idea of the witch and the interpretations it bears, especially in terms of the female identity, are also identified. Despite the different approach of the authors in terms of building their characters, those references are mostly used in a negative way, as an instrument of criticism and exposing inconvenient truths.

The article discusses the characters of witches in Walt Disney’s animated films (Snow White and the Seven Dwarfs, Sleeping Beauty, The Sword in the Stone, The Little Mermaid, The Little Mermaid 2: Return to the Sea). The author analyses the colours in the appearance, surroundings and actions of the characters, describing them with the term “colour image”. Then, she discusses the meanings of the colours revealed in the images of witches (black, purple, green and red), taking into account their symbolic and emotional connotations. At the end of the article, the author considers how the colours present in the images of witches influence the perception and interpretation of their charac [ABSTRACT FROM AUTHOR]

Copyright of Art-E is the property of Suleyman Demirel University, Faculty of Fine Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Osmanlı Devleti’nde ölümden sonra hayata dönen varlıklara ilişkin temel tanımlama “cadı” kavramıdır. Ancak konu hakkında yapılan çalışmalar genellikle “cadı” kavramını “vampir” kavramı ile açıklama eğilimindedir. Bu eğilimin temel sebebi ise 19. yüzyılın son çeyreğinde “cadı” kavramının anlamında yaşanan genişlemedir. Temel özellikleri benzer olan bu iki kavram toplumsal hayatta aynı olguyu tanımlamak için birbirlerinin yerine kullanılmıştır. 19. yüzyılda Osmanlı topraklarında kayıt altına alınmış son “cadı” olayı Tırnova cadılarıdır. Fakat 1872 ve 1874 yıllarında Selanik’e bağlı Karaferye’de iki cadı vakasının yaşandığına dair gazete haberleri bulunmaktadır. Bu çalışma bahsi geçen haberlere ilişkin dönemin gazete ve dergilerinin yaklaşımını ele almaktadır. Çalışmanın odağı mizah dergileridir. 19. yüzyılın ikinci yarısında Osmanlı toplumunda “cadı” kavramının hangi kavramlar ile tanımlandığı mizah dergileri üzerinden analiz edilmiştir.

Penned as an essay, this paper tackles the emergence of the “sœurcière” archetype –in French a portmanteau word merging the notion of sisterhood with that of witches—as part of an interdisciplinary creative research project carried out in situ in the Natural National Reserve of the Massane, an ancient forest recognized as a UNESCO World Heritage Site. A couple of years in the making, the project calls upon dance, film, photography, and writing. Driven by ecofeminist and ecopoetic thinking and practices, it seeks to help restore our sensitive attention to the living world?Framed by two poetic pieces, the titles of which refer to ecophenomenologist David Abram’s work, this essay brings together writing and photography. Braiding the intimate and the political, I first interweave a personal narrative based on a story of incest with the presentation of an ecofeminist enterprise grounded in the concept of “resilience,” which is key to both ecology and psychology. I then retrace the evolution the archetype of the witch into that of the « sœurcière », insisting on the positive values conveyed by the latter and explicating which forms of empowerment are thereby encouraged. In my third part, I unravel the main ecopoetic principles underlying our approach. These include sympoietic practices linked mostly with the anamorphic power of photography and with our in situ creative stance, i.e. composing a choreography with a live place. As a conclusion, I examine places in contemporary culture and politics where the sœurcière appears as a powerful figure that might renovate the ways in which we imagine women and “nature,” and how we form collectives.

In this paper, I will study an excerpt from Woman and Nature (1978) by Susan Griffin reprinted in the 2016 collection Reclaim to show how the author condemns patriarchal and ecocidal discourse while implementing an ecofeminist practice of language. The parodic rewriting of some philosophers, scientists and men of Church enables Susan Griffin to highlight the arbitrariness of the claims of the joint superiority of man over woman and over nature, of spirit over matter, and of reason over imagination. On the other hand, the use of parody, as a poetic practice of language that foregrounds its metaphorical and pictorial dimensions, allows Susan Griffin to show, through her rewritings of patriarchal speech, an ecofeminist practice of language, which celebrates the powers of poetry and its ability to convey political discourse. Finally, I will show that parody allows Susan Griffin to write in a polysemic and polyphonic language, capable both of showing the arbitrariness of the association of women and nature and of using this association for the purposes of empowerment.

Mob Lynching is an emerging trend as a new Crime in the shade of mob violence all over the country. Being a part of India, in Assam people belong to different cultural groups, linguistic groups, caste, community and religious groups use to live together with the feeling of unity, integrity and fraternity. In Assam like other parts of the country, 'Mob Lynch' is the term which becomes much familiar to the people of the region because every now and then it has been highlighted through the available Electronic Media of the State that some person(s) is/are being killed by a mob violence on suspicion of Child Lifter or Witch hunting etc.; Villagers lynched to death a women on suspect of that she is practicing Black Magic and a Witch; a Boy lynched to death in a place where he went to meet his relatives etc. many other such cases occurred which is nothing but a curse of the modern society. Assam has registered huge number of Mob Lynching cases every year in the state like Honour Killings, Witch Hunting, on suspicion of Child Lifters, on Communal riots, Pickpockets, Thefts etc. 'Mob' is an English term which means 'uncontrolled group of people' and 'Lynch' is an American term which means 'award of punishment to the wrong doers without any legal trial or proceedings'. According to the Data available of the Government of Assam during 2011-2019 shows that there were 107 persons killed in Witch Hunting incidents in the state. The present study aims to understand and explain what is Mob Lynching? What are the causes of lynching? What are the available legal provisions and laws to deal with such type of cases? What are the preventive and remedial measures that have been adopted by the state government and other Agencies and NGOs including the various Legal proceedings of the High Courts and the Hon'ble Supreme Court of India? [ABSTRACT FROM AUTHOR]

In this article, we propose an educational path to learn mathematics in the framework of the European Community Action Scheme for the Mobility of University Students (ERASMUS) project developed in an Italian high school class on the topic of the contribution of women in science. The choice of the educational path fell on Maria Gaetana Agnesi and the particular curve, the “versiera” (witch), studied by her. During the experimentation, the students have been divided into four groups, each one taking care of particular aspects of the human and cultural experience of Maria Gaetana Agnesi, and the construction of her famous curve under different mathematical registers: the geometric, algebraic, analytical, mechanical and computer science, as well as non-mathematical ones such as the gestural and voice registers. The effectiveness of the proposed educational path was evaluated through interviews with the students during the course and at the end of the activities. All the students, even those less skilled in mathematics, have shown enthusiasm and satisfaction by recognizing the mathematical object, the “witch”, presented by using different languages.

This article aims to explore the relationship between the stereotype of the witch identified in the Saxon fairy tales of the nineteenth-century Transylvania, and the image of the accused in the witchcraft trials which occurred in early modern cities of Sibiu and Braşov (seventeenth and eighteenth centuries). In order to highlight this perspective of analysis, I selected two types of sources which I consider particularly useful for my research. Firstly, I chose to rely on seven Saxon fairy tales which present the witch as a secondary character, identified in Joseph Haltrich's collection of fairy tales, entitled Deutsche Volksmärchen aus dem Sachsenlande in Siebenbürgen, published in 1854. Secondly, I examined fifteen court records selected from the National Archives of Sibiu (Hermannstadt, Nagyszeben) and Braşov (Kronstadt, Brassó) from the years 1692-1785. By drawing a parallel between the two images, I want to outline the discrepancies between the stereotype and the historical reality, aiming, at the same time, to identify the factors which contributed to the portrait of the witch that has been perpetuated over time in fairy tales. Furthermore, such an analysis may allow one to observe to what extent literature can be considered a document. Taking into consideration that this direction of research did not receive the regional historians' attention, I consider the initiative favourable in covering a historiographical gap. [ABSTRACT FROM AUTHOR]

This text discusses the discursive construction of the body of a woman/witch as a threatening Other under Article 60 of the Criminal Practice, which served both as a criminal law and as a criminal procedure law in Hungary, and thus Croatia and Slavonia, during the period of mass witchcraft trials from 1699 to the mid-18th century. Otherness is approached from a psychoanalytic, Lacanian point of view because it opens up the possibility of understanding the collective affective politics of fear as a reflection of the unconscious in the language that created the witch imaginary, which takes its origin from the register of the imaginary and the mirror stage, i.e., in the psychological economy of structuring of the self/ego. The legal procedures that are analyzed in the text as part of the symbolic register seek to socially channel and discipline fear first by inscribing on and into women's bodies various deviations and transgressions of the human, which are then entirely annulled through designification procedures and practices.[1] [ABSTRACT FROM AUTHOR]

It is considered that the Puritans that populated New England in the 17th century left a distinctive mark on the American culture. The article explores some projections of Puritan legacy in two American novels of different periods - Nathaniel Hawthorne's The Scarlet Letter (1850) and Stephen King's Carrie (1974). After establishing a connection between the Puritan writings and gothic literature, the two novels are analyzed in terms of some Puritan projections, among which are the problem of guilt and the acceptance of an individual in the society. Some references regarding the idea of the witch and the interpretations it bears, especially in terms of the female identity, are also identified. Despite the different approach of the authors in terms of building their characters, those references are mostly used in a negative way, as an instrument of criticism and exposing inconvenient truths. [ABSTRACT FROM AUTHOR]

Using the "structure of feeling" (Williams), we propose a reading of the script ofWillow(1988), from feminist theory, postcolonial studies and deconstruction. The article suggests that the film appropriates classic texts from religious and fantasy literature to propose that magic is a form of power and power a special case of trick. The trick, in turn, may be appropriated bythe subaltern charac-ters.

The documents remaining from the witchcraft trials from 16th-18th century Transylvania record information about women. These trials were secular. The drafted documents were numerous and varied: investigations, witness statements, sentences. In these witchcraft trials some women were accused, but most often they were among the witnesses. Their statements reflect their everyday life in the way they perceived it. Most of the women were affected by the illnesses or the death of their children or spouses. Many visited witches to prevent the violence of their men and to bring harmony to the family. Other statements describe the housewives concerns about households well-being and the health of animals. A special character in the community was the quack. Most of them were women. These quacks were believed to have supernatural powers. This was an image that they constructed in order to attract those in pain, but also to impress and to intimidate. In Transylvania, unlike in the Western Europe, most of those judged for witchcraft were quackets. Under these circumstances witches were perceived with trust, but also with fear. The multitude of concerns and the states of women in a community determined the variety of relationships between them. The analysis of documents of witchcraft trias reveals, better than any other document, the complex and contradictory character of the spiritual life of women in the 16th-18th centuries. Through these historical sources, the woman's image is complemented by new aspects of her family and community life.

Copyright of Ilha do Desterro: A Journal of English Language, Literatures in English & Cultural Studies is the property of Universidade Federal de Santa Catarina, CCE Departamento de Pos-Graduacao em Lingua Englesa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the late 1600s, England was reeling under the recurrence of the pandemic that had swept continent-wide in the 14th century. However, it was not the only disease lurking around. At the heels of the scarlet-ringed Black Death, came the scarlet letter of witchcraft accusations, mostly geared towards Wise Women in the margins of society- women who exhibited knowledge and skill in medicine, herbal remedies and midwifery. Set in the time when religious fanaticism and Puritanical fear-mongering was at its height, Year of Wonders presents before us an opportunity to delve into the web of lies and life-threatening allegations that formed the bedrock of the English witch trials continuing in full swing since the incursion of Continental lore ever since James I came to power. Furthermore, with midwives and female herbalists in the area falling prey to targeted sexual and physical violence in the wake of the pandemic in the story, what needs to be inspected is the inescapable link between Church-backed patriarchy's delusional fear, jealousy and consequent scapegoating of the economically and socio-sexually marginalized woman-healers in the countryside and the failure of the male-dominated medical field in effectively containing the spread of the virus. The paper investigates further the generational flow of biomedical wisdom in a female-oriented domain which becomes significant in the presentation of the two female leads inheriting the function of the Wise Women from the original holders of the position, thus solidifying the sense of found family and sisterhood standing against the mounting social pressure to bend to the will of the Church and the men in their lives. [ABSTRACT FROM AUTHOR]

Copyright of eHumanista is the property of Professor Antonio Cortijo-Ocana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article focuses on the figure of an aging and powerful witch pitted against younger women in three contemporary fairy-tale movie adaptations: Snow White and the Huntsman (dir. Rupert Sanders, 2012), Hansel & Gretel: Witch Hunters (dir. Tommy Wirkola, 2013), and Maleficent (dir. Robert Stromberg, 2014). Each film transforms the aging witch from stock villain to a more nuanced character. This revision is intriguing for its concern with power and gender and for a reflection of contemporary debates about age and power within so-called wave feminism. The article uses two frames. The first is feminism and ageism, focusing on wave feminism and aging, and the second is the trope of the witch, drawing from fairy-tale studies, social history, and social anthropology. The article reads conflict between an aging witch and a young woman as a clash of feminist waves, and the witch’s ‘monstrosity’ as her refusal to be sidelined in a world obsessed with youth.

In this essay the character of la Bruja (The Witch) in Fernanda Melchor's novel Temporada de huracanes is analysed, highlighting the characteristics that resemble the literary and historical archetype: flight, transformation into animals, pacts and copulation with the Devil, elaboration and prescription of herbal remedies, dances and sexual diversity practices. From the theories of Silvia Federici, Paul B. Preciado and Sayak Valencia Triana are analyzed the queer sexualities and the current gore violence of some mexicans towns, that Melchor recreates in her novel of queer-crip realism. [ABSTRACT FROM AUTHOR]

Copyright of Aura. Revista de Historia y Teoría del Arte is the property of Aura Revista de Historia y Teoria del Arte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Ursula K. Le Guin was an American author. she was best known for her works of speculative fiction, including the science fiction works sets in the Hainish Universe and the fantasy series of Earth Sea. She began writing full time in the 1950s and achieved major critical and commercial success with A Wizard of Earth Sea (1968). For the latter volume Le Guin won both the Hugo and Nebula awards for best novel, becoming the first woman to do so. This research paper deals with the self-identity in the maturation of fantasy super-hero Ged, or sparrow hawk, the title character. Over the course of the novel, he learns the true meaning of Wizardry its limits as well as its capabilities. One of the main attractions of the novel, in addition to Ged himself, the fantasy and the adventure, is Le Guin's skill at showing the friendships that make Ged's success and mistakes seem so important. [ABSTRACT FROM AUTHOR]

This article focuses on the figure of an aging and powerful witch pitted against younger women in three contemporary fairy-tale movie adaptations: Snow White and the Huntsman (dir. Rupert Sanders, 2012), Hansel & Gretel: Witch Hunters (dir. Tommy Wirkola, 2013), and Maleficent (dir. Robert Stromberg, 2014). Each film transforms the aging witch from stock villain to a more nuanced character. This revision is intriguing for its concern with power and gender and for a reflection of contemporary debates about age and power within so-called wave feminism. The article uses two frames. The first is feminism and ageism, focusing on wave feminism and aging, and the second is the trope of the witch, drawing from fairy-tale studies, social history, and social anthropology. The article reads conflict between an aging witch and a young woman as a clash of feminist waves, and the witch's 'monstrosity' as her refusal to be sidelined in a world obsessed with youth. [ABSTRACT FROM AUTHOR]

Reflections about the witch are presented as a challenge that goes through different dimensions. The first is the inaccessibility to a figure that modern societies closed down. However, the Witch encouraged the everyday life of pre-modern societies and peripherical spaces to the central modernity, but the witch still in these spaces. This paradox framing the following discussion. How could pose a witch access to medieval times, without transgressing its rapporteur and impose conditions on it current possibility? The proposal here arises is to work the text of nineteenth-century French historian Jules Michelet as a semantic, where resources of a pre- modern memory, which, to the extent that defines the witch, defines the society in which it is played are played. This paper is not concerned if the witch was real or not, whether or not it was true. Here he retraces his attributes as practices realized veteroeurpea otherness of society, in this case, the exclusion rested with women, the devil, evil. This work is not conclusive, its function is to present a way of looking at the witch, wondering from a specific theoretical corpus: the analysis of memory from systems theory Niklas Luhmann can be formulated.