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Irish drama since 1990

theatre companies, Rough Magic, and has worked extensively as a director with other companies and theatres across Ireland and the UK. Rough Magic was formed back in 1984 by Parker and Declan 9780719075636_4_003.qxd 16/2/09 9:24 AM Page 51 Home places 51 Hughes and initially produced work by non-Irish playwrights including Howard Brenton, David Mamet, Caryl Churchill and Michael Frayn. From this starting point Rough Magic began to develop a base of original work, often written by performers and directors involved with the company such as Hughes, Gina Moxley, Donal

in Irish literature since 1990
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Demonological descriptions of male witches

. There is a certain degree of uniformity, in that nine of the texts are ‘pro’ witch-hunting, the exception being Friedrich Spee’s Cautio criminalis . Early modern terminology for magic and magic-users varied considerably, even within elite discourse. The terms maleficus and malefica were quite common, but so were the terms saga , sortilegus , and veneficus , to list only a few. The sample

in Male witches in early modern Europe
mid-Victorian stories and beliefs

Why did the witchcraft-beliefs of the English non-urban working class go into decline during the course of the nineteenth century? 1 I want to argue that it is the kind of story that believers and non-believers told that eventually made science and rationality (narrated here by forensic witnesses) more attractive than magic (narrated here by witchcraft-believers). Thus the decline in witchcraft

in Witchcraft Continued
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A male strategy

who sought Satan’s help to marry his master’s daughter. Far more influential, however, was the legend concerning the sixth-century churchman, Theophilus of Sicily. Having been fired from his post, Theophilus was said to have entered into a written pact with the Devil, in which he renounced allegiance to Christ and the Virgin Mary. The legend was widely disseminated in pre-Reformation northern Europe, particularly through the medium of miracle plays.5 During the fourteenth and fifteenth centuries there were increasing concerns about the practice of demonic magic. To

in Beyond the witch trials

spinning of a twisted thread.9 Lucan’s standpoint is ancient rather than early modern, of course, and it has been suggested that literary attitudes to love magic had changed by the time of Marston’s play. Anthony Harris claims that the idea that love magic was impossible was an ‘established concept’,10 but it is not difficult to think of dramatic exceptions to this supposed rule (among them Fedele and Fortunio, A Midsummer Night’s Dream, The Witch, and The Late Lancashire Witches). It is far from clear that love magic was widely agreed to be impossible outside the

in Scepticism and belief in English witchcraft drama, 1538–1681
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Where postcolonialism is neo-orientalist – the cases of Sarojini Naidu and Arundhati Roy

, through her western make-over, ‘fully’ native: ‘she springs from the very soil of India’. Combining technical skill learned outside ‘the magic circle’ of the Orient with inside knowledge, her poems, as Gosse says, will be found ‘as luminous in lighting up the dark places of the East as any contribution of savant or historian’.7 In her own words from a January BOEHMER Makeup 160 3/22/05 2:55 PM Page 160 John's G5:Users:john:Public:John's Mac: John's Job Stories of women 1905 letter to Gosse, she now worked to ‘add my little exotic flower to the glorious garland of

in Stories of women
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significant differences in the way the magical elements are presented. The Late Lancashire Witches supports abstract belief in witchcraft while treating actual witchcraft accusations as matter for comedy. 2 Richard Steele, Review of The Lancashire Witches, The Spectator 141 (11 August 1711). The Lancashire Witches 281 Shadwell’s play also treats witchcraft as matter for comedy, and its plot also rests on the reality of the witches’ magic. Paradoxically, however, the play simultaneously (and strenuously) denies the reality of witchcraft altogether. In other words, it

in Scepticism and belief in English witchcraft drama, 1538–1681

similar things possible, or likely, or credible?1 In this passage, Ambrosius describes the “cumulative concept of witchcraft” as he encountered it – a combination of traditional legendary motifs, demonolatrous heresy, and maleficent magic that some of his learned colleagues considered the definitive characteristics of a very real and very dangerous sect. As aspects of a coherent and supposedly quite real whole, this particular arrangement of heterogeneous elements was new to the fifteenth century, and many TMM5 8/30/03 92 5:40 PM Page 92 THE MALLEUS MALEFICARUM

in The Malleus Maleficarum and the construction of witchcraft
witchcraft in the western Netherlands, 1850–1925

Witch-Trials’, in Stuart Clark and Bengt Ankarloo (eds), Witchcraft and Magic in Europe: The Eighteenth and Nineteenth Centuries (London, 1999), pp. 95–189, especially p. 106. 3 See Alf Lüdtke, The History of Everyday Life: Reconstructing Historical Experiences and Ways of Life (Princeton, 1995); Richard van Dülmen, Historische Anthropologie. Entwicklung. Probleme. Aufgaben

in Witchcraft Continued
Queen Victoria, photography and film at the fin de siècle

the screen and displayed much curiosity as to the working of the views and the lighting of the same by electric light and oxy-hydrogen’. What the Windsor audience had seen was in fact an unusual and complex presentation, making use of two film projectors – one for the 70mm Balmoral films (only completed on the morning of the show) and a Paul Theatrograph for the others – with a magic lantern for

in The British monarchy on screen