The essay discusses the world of Narnia from a psychological point of view. It argues that for Lucy, visiting Narnia takes the form of a psychological journey that represents the realisation of her repressed desires. It is through this realisation that Lucy develops as a character.

In the 1890s, Antonin Dvořak created five symphonic poems, respectively The Water Goblin¡BThe Noon Witch¡BThe Golden Spinning Wheel¡BThe Wild Dove¡BA Hero's Song. The first four poems originated from Erben¡¦s prosody anthology, Dvořak present the personality of the roles by using Czech rhyme and characters features, and successfully promote the development of plot by adding the realism sound effects with poems content. According to the unique narrative poem, it presents the original by using succeed verse to verse faithfully. In addition to the introduction and conclusion in this study, it contains three main chapters. The Chapter 1 is discussed in detail for ¡§the creation course and nationality about Dvořak¡¨, ¡§Symphonic poem of the 19th century¡¨, ¡§narrative poem and ballade¡¨ and four symphonic poems according to Erben anthology respectively. Chapter 2 focuses on the careers and brainchild of Erben, and the writing concept about Kytice. The chapter 3 is base on the created years of the four symphonic poems to know the narratives of Dvořak by investigating the creative concept and the process of composition.

The work focuses on issues of witch trials and the Šumpersko Jesenicko. This is a proposal for the festival "AD CAELOS PROSPERO" on 325th anniversary of the burning Šumperk Dean K. A. Lautner, which will be held in the spirit of witch.

One area of history that historians have ignored is that of children and their relationship to witchcraft and the witch trials. This thesis begins with a survey of historical done on the general theme of childhood, and moves on to review secondary literature about children and the continental witch trials. The thesis also reviews demonological theory relating to children and the roles children played in the minds of continental and English demonologists. Children played various roles: murder victims, victims of dedication to Satan, child-witches, witnesses for the prosecution, victims of bewitchment or possession, and victims of seduction into witchcraft. The final section of the thesis deals with children and English witchcraft. In England children tended to play the same roles as described by the demonologists.

The purpose of this essay is to concisely present an overview of the Pagan ritual practice before the Christianization of Ireland and the United Kingdom, which enables tracking down the connection and relationship between them and three American and British, Wiccan Youtube-creators nicknamed Witchtubers. Witchtuber’s description of Samhain and objects visible in chosen videos are analyzed from Christopher Partridge’s theory of Occulture along with the parameters of acceptance, harmonization and the centralization of Goddess-worship concluded by previous studies. Also causes of the development of Neo-Paganism and Wiccain the U.K. and USA have been a part of this research in being able to further draw connections between today’s practice amongst Witchtubers and previous research. In able to do this, Content analysis has been applied to the transcriptions made by the author of this essay in order to analyze the parameters of reference-features, proportional and thematic content. In conclusion, the analysis of Witchtuber’s videos along with previous research by scholars confirm the theory of Occulture along with the question of acceptance and harmonization though leaving the question of Goddess-centering as more of a possibility of representing the mere majority of practitioners. Fragmented pieces of information about the Pagan past is left and scholars claim Irish and British Paganism to have been extinct since the overthrow by Christians. It has left the practitioners of Wicca with their own interpretation and manipulation of Paganism. Witchtuber’s statements and showcasing of objects match scholar’s descriptions of historical context to the development of the Wiccan movement apart from a few exceptions. Those which cannot be directly connected rather indicate the continuous development of the movement as of being a personal religion.

Mémoire en recherche-création / Useless Magic mélange des éléments visuels variés allant de la note manuscrite au « doodling », en passant par le collage et la photographie, cohabitation d’éléments hétérogènes en appelle à une étude intermédiale susceptible de rendre justice aux interférences entre l’écrit et le pictural. L’ouvrage repose aussi sur le syncrétisme des sources d’inspiration, de manière à faire coexister une pluralité d’images servant la démarche d’autoreprésentation de Florence Welch. L’analyse thématique des réseaux de symboles visuels et textuels permet de dégager le propos d’un « je » (« I ») énonciateur qui explore des postures d’autoreprésentation au service de la figuration d’un soi sacré. Je veux la sauge le feu et toi se réapproprie la démarche intermédiale et l’idée d’un syncrétisme-hénothéiste pour décliner la figure de la sorcière comme moyen d’autoproclamer un féminin sacré et monstrueux quoique beau, symbole à la fois historique et mythique est synonyme d’empowerment féministe. Trois visages de la sorcière retiendront mon intérêt poétique et visuel : la prêtresse, l’empoisonneuse et l’enchanteresse. Elles seront réinvesties sous forme d’un carnet d’artiste, dispositif inspiré d’Useless Magic (2018) de Florence Welch. Composé de poèmes et d’images (dessins, photos, aquarelles et collages), le carnet me permettra, comme à plusieurs artistes contemporains de réécrire et redessiner la figure de la sorcière selon des enjeux d’émancipation du féminin. Il s’agira pour moi de construire, par le Verbe poétique et diverses formes d’expression visuelles, un lieu de culte propice à accueillir une invocation ensorcelante. / Useless Magic combines multiple visual elements from hand scripted notes to doodling, including collage and photography. This heterogenous combination calls for an intermedial study in order to render well the interference between the text and the visual. This book also relies on syncretism pulling together diverse sources of inspiration. By doing so, it enables the coexistence of a plurality of images which serve Florence Welch’s process of self-representation. The analysis of the themes by the intricate system of symbols will allow the clarification of self-representative postures, which will reveal how the subject expressed here is dedicated to revealing a sacred self. I Want Sage Fire and You follows a similar intermedial and syncretic approach in order to utilize the cultural figure of the witch as a way to self-proclaim a sacred and monstrous yet beautiful feminine subject. This poetry collection paints the witch as a historical and mythical figure of feminist empowerment. This figure is declined in three phases, which will be expressed poetically and visually: the priestess, the poison-mistress and the enchantress. All three will appear in the form of an artist sketchbook inspired by Useless Magic. This sketchbook will allow me to re-write, re-build and re-member the witch according to questions of feminine emancipation. This collection will use poetry and visual expressions as tools to build a temple-like space where a bewitching invocation can resonate.

No description available.

The European Witch-Hunts reached their peak in the sixteenth and seventeenth centuries. Betweeen 1590 and 1661, approximately 1500 women and men were accused of, and executed for, the crime of witchcraft in Scotland. England suffered the largest witch-hunt in its history during the Civil Wars of the 1640s, which produced the majority of the 500 women and men executed in England for witchcraft. Evidence indicates, however, that only three women were executed in Ireland between 1533 and 1670. Given the presence of both English and Scottish settlers in Ireland during the sixteenth and seventeenth centuries, the dramatic discrepancy of these statistics indicate that conditions existed in early modern Ireland that tended to suppress the mechanisms that produced witchcraft accusations and larger scale witch-hunts. In broad terms those conditions in Ireland were the persistence of Gaelic culture and the ongoing conditions of open, inter-religious conflict. In particular, two artifacts of Gaelic Irish culture had distinct impact upon Irish witchcraft beliefs. The office of the Poet, or fili (singular for filid), seems to have had a similar impact upon Gaelic culture and society as the shaman has on Siberian witchcraft beliefs. The Gaelic/Celtic Poet was believed to have magical powers, which were actually regulated by the Brehon Law codes of Ireland. The codification of the Poet’s harmful magic seems to have eliminated some of the mystique and menace of magic within Gaelic culture. Additionally, the persistent belief in fairies as the source of harmful magic remained untainted by Christianity throughout most of Ireland. Faeries were never successfully demonized in Ireland as they were in Scotland. The Gaelic Irish attributed to fairies most of the misfortunes that were otherwise blamed on witchcraft, including the sudden wasting away and death of children. Faerie faith in Ireland has, in fact, endured into the twentieth century. The ongoing ethno-religious conflict between the Gaelic, Catholic Irish and the Protestant “New English” settlers also undermined the need for witches in Ireland. The enemy, or “other” was always readily identifiable as a member of the opposing religious or ethnic group. The process of dual confessionalisation, as described by Ute Lotz-Huemann, facilitated the entrenchment of Catholic resistence to encroaching Protestantism that both perpetuated the ethno-religious conflict and prevented the penetration of Protestant ideology into Gaelic culture. This second effect is one of the reasons why fairies were never successfully associated with demons in Ireland. Witch-hunts were complex events that were produced and influenced by multiple causative factors. The same is true of those factors that suppressed witchcraft accusations. Enduring Gaelic cultural artifacts and open ethno-religious conflict were not the only factors that suppressed witchcraft accusations and witch-hunts in Ireland; they were, however, the primary factors.

The vakstugor were informal and armed reunions organised by the parents of Stockholm during thewitch craze that reached the city around the year 1674. They were designed to defend the children from the witches’ assaults, and included both men and women, who could carry weapons. By comparing both the ordinary violence found in ordinary court records and the violence found in the Witchcraft Commission records, this study intends to understand the phenomenon of the vakstugor, in the light of the relationship between violence and gender. The study first reassessed women’s ordinary spectrum of violence, to understand what violence looked like during the period spanning from 1667 to 1686. It then found that the experience of the vakstugor exhibits a significant widening of this spectrum. Followingly, the thesis found that, despite the fact that women were usually excluded from collective violent organisations, such as armies, militias and the like, their participation in the vakstugor was not considered illegitimate by the authorities because of theirgender. Finally, an important underlying aim of this thesis is to draw the attention on the yet unstudied phenomenon of the vakstugor, which existed not only in Stockholm, but also in northern Sweden and Norway.

No description available.