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Articoli di riviste sul tema "Magic in literature"

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Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 31 luglio 2024

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1

Engel, Amir. "Literature as Magic". Journal of Avant-Garde Studies 3, n. 1-2 (18 dicembre 2023): 122–41. http://dx.doi.org/10.1163/25896377-00301003.

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Abstract Magic and literature are mostly understood as mutually exclusive domains. Magic is taken to be part of religious life, an aspect of the human desire to overcome the order of things and strive for the supernatural. Literature, on the other hand, is commonly described as an artistic endeavor and thus associated with secular art and culture. For this reason, it is possible to read about magic in literature, but it is very rare to read literature as magic. This article aims to reverse that trend. It entails a contextual and critical discussion of Carl Einstein’s 1912 novel Bebuquin oder die Dilettanten des Wunders, suggesting that this novel is best understood as magic, that is, as a sincere and radical attempt to reach the supernatural and transform the present. The article also suggests that the avant-garde is precisely the context for a renewed appreciation of literature and religion.

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Chernetsov, Sevir B. "ETHIOPIAN MAGIC LITERATURE". Scrinium 2, n. 1 (22 marzo 2006): 92–113. http://dx.doi.org/10.1163/18177565-90000007.

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3

Hedrick, Donald. "Distracting Othello: Tragedy and the Rise of Magic". Publications of the Modern Language Association of America 129, n. 4 (ottobre 2014): 649–71. http://dx.doi.org/10.1632/pmla.2014.129.4.649.

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Accompanying Keith Thomas's account of its defeat by scientific rationality, supernatural magic, which I designate magic1, receives scholarly attention denied the stigmatized magic2—stage magic and the “gulling” practices popularized by Tondon's con artists and pickpockets, who exploited distraction through sleights of hand, body, language, and thought. As Othello's paratheatrical “entertainment unconscious,” competing and collaborating with theater, magic2 informs the play's sensationalism, gull's gallery, source-tale revisions, and transformation of much traditional tragedy into a genre less about epistemology than about perception. Practicing early modern magicians' fundamentals—conveyance (legerdemain, misdirection) and confederacy—and exposing his own tricks, the entertainer-villain Iago's tactics and handkerchief prop illuminate phenomena such as “inattentional blindness,” important for cognitive psychology, philosophy, neuroscience, and performance. His “helpmeet” wife and apprentice Emilia emulates his misdirecting visual and conversational skills, until their team, echoing a celebrity magician-and-animal partnership, finally implodes. Situated between Montaigne's and Adorno's views on distraction, Othello transforms wonder from tragic affect into the capitalist distraction pleasure of a discursive entertainment revolution. Its hero-dupe himself adopts magic2 technology for a spectacular suicide—arguably the suicide of tragedy's tradition.

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Dr. R. Hithayath Khan. "Magical Realism in Indian Literature". Tuijin Jishu/Journal of Propulsion Technology 44, n. 3 (9 ottobre 2023): 1958–61. http://dx.doi.org/10.52783/tjjpt.v44.i3.625.

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Magic realism or magical realism is a genre where magical or unreal elements play a natural part in an otherwise realistic environment. Although it is most commonly used as a literary genre, magic realism also applies to film and the visual arts. An example of magic realism occurs when a character in the story continuous to be alive beyond the normal length of life and this is subtly depicted by the character being present throughout many generations. On the surface the story has no clear magical attributes and everything is conveyed in a real setting and breaks the rules of our real world. Magic realism is term used to describe the everyday reality with supernatural events. The two terms ‘magic’ and ‘realism’ have become to intertwined that strange, unearthly happenings become almost an accepted, even normal part of daily life. Magic realism considers being a postcolonial phenomenon. Magic realism is to be found only in the post colonial texts. The writers of colonized countries incorporate magic realism in their writings as a mode of resistance to western rationalism. There is no place for logic in magic realism. In countries like India, People believe in myths and ghosts as they believe in history. Magical things do not constitute the Indian culture. There is realism also. Diaspora writers’ characters make use of magic realism to escape to a world of fantasy for it provides them pleasure, relief, and an escape from the excruciating pain they experience in an alien land. The term magical realism was introduced by Franz Roh, a German art critic in 1952. When Roh coined the term the mean it to create an art category the strayed from the strict guidelines of realism, but the term did not name an artistic movement until the 1940s in Latin America and the Caribbean. Magic realism or Magical realism is a genre of 20th century English literature. This paper deals Magical Realism in Indian literature and its authors.

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Hasan, Shaymaa F. "Practices of Maleficium in English Literature". Koya University Journal of Humanities and Social Sciences 3, n. 1 (22 giugno 2020): 73–80. http://dx.doi.org/10.14500/kujhss.v3n1y2020.pp73-80.

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There is a long tradition among scholars to establish a link between the practice of black magic and culture. Black magic is seen as a category under which various beliefs and practices which are usually separated from religion and science are placed. These practices are most of the time associated with evil and demons. It has been observed that the role of black magic and witchcraft influenced Western societies to a large extent as it was not only the subject of literature but also of the interest to the whole society. Fears of witchcraft and black magic grew more intense and consequently led to “witch hunts” in many Western societies. In this paper, I argue that in English literature, the practice of black magic and witchcraft has been represented as a cultural practice. My paper provides a quick survey to trace back the practices of witchcraft in selected literary works from English literature. In my analysis, I focus of how the practice of black magic and sorcery is embedded within the texts to reflect people’s obsession of it. For the sake of my argument, I will use the word “Maleficium” as an umbrella term to refer to all the practices, which include: Black magic, witchcraft, sorcery, necromancy, and voodoo

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Rocha, Emmanuel Ramalho de Sá. "EXPRESSÕES LITERÁRIAS DO REENCANTAMENTO DO MUNDO: PROMETHEA DE ALAN MOORE "Literary expressions of the re-enchantment of the world: Alan Moore’s Promethea"". PARALELLUS Revista de Estudos de Religião - UNICAP 5, n. 10 (30 dicembre 2014): 179. http://dx.doi.org/10.25247/paralellus.2014.v5n10.p179-190.

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Esse artigo tem como temática central a relação entre literatura e religião, especificamente a literatura das histórias em quadrinhos, também conhecidas como HQs, e o ocultismo contemporâneo, um agente do reencantamento do mundo, sendo esse uma crítica e produto da modernidade, o qual promove o retorno ou popularização da magia. Dessa forma, o objetivo da pesquisa é analisar a HQ Promethea, de Alan Moore, publicada em 1999, e que aborda o ocultismo de forma didática, assim, busca-se identificar quais são os elementos do ocultismo na obra e como estes e a própria HQ de Moore se inserem no processo de reencantamento do mundo. Como metodologia, o trabalho faz uso de pesquisa bibliográfica e a forma de abordagem é qualitativa em função das características do tema estudado (crenças, valores, atitudes). O marco teórico conceitual utilizado para fundamentar a pesquisa é a sociologia da religião. Constata-se entre os elementos ocultistas abordados em Promethea a magia cerimonial, a astrologia, o tarô, a cabala hermética e a goécia. E as características do reencantamento do mundo presentes na obra, entre outras, são a revalorização dos elementos não racionais da vida, como a imaginação; o resgate de crenças e práticas pré-modernas, como a própria magia; a racionalização e “psicologização” desta; e uma dialética entre o conhecimento científico e o pensamento mágico.Palavras-chave: Magia. Ocultismo. Literatura.AbstractThis paper has as its central theme the relationship between literature and religion, specifically the literature of comics and contemporary occultism, an agent of the re-enchantment of the world, the latter is a product and critique of modernity which promotes the return or popularization of magic. Thus, this research intends to analyze Alan Moore’s comic, Promethea, published in 1999, which addresses the occult didactically, thus, the paper seeks to identify those elements of occultism and how they and the comic fit into the process of re-enchantment of the world. As methodology, the work makes use of bibliographic research and the approach is qualitative based on the characteristics of the studied subject (beliefs, values, attitudes). The theoretical and conceptual framework used to support research is the sociology of religion. It appears among occult elements addressed in Promethea ceremonial magic, astrology, tarot, Hermetic Qabalah and the Goetia. And the characteristics of the re-enchantment of the world in the present work, among others, are the revaluation of non-rational elements of life such as the imagination; redemption of pre-modern beliefs and practices, such as magic itself; rationalization and "psychologization" of magic; and a dialectic between scientific knowledge and magical thinking.Keywords: Magic. Occultism. Literature.

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7

Meyers, Susan V. "Ordinary Magic". Ploughshares 50, n. 2 (giugno 2024): 137–47. http://dx.doi.org/10.1353/plo.2024.a932300.

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Abstract: The Summer 2024 Issue. Ploughshares is an award-winning journal of new writing. Since 1971, Ploughshares has discovered and cultivated the freshest voices in contemporary American literature, and now provides readers with thoughtful and entertaining literature in a variety of formats. Find out why the New York Times named Ploughshares “the Triton among minnows.” The Summer 2024 Issue, guest-edited by Rebecca Makkai, features prose by Dur e Aziz Amna, Ramona Ausubel, Peter Mountford, Khaddafina Mbabazi, DK Nnuro, and more.

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8

Bhayro, Siam. "On Early Jewish Literature and the Aramaic Magic Bowls". Aramaic Studies 13, n. 1 (2015): 54–68. http://dx.doi.org/10.1163/17455227-01301005.

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This article discusses examples of ‘lost midrashim’ that occur in both the New Testament and the Aramaic magic bowls, with a view to demonstrating the significance of the magic bowls for the study of early Jewish literature.

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9

Seyed‐Gohrab, A. A. "Magic in classical Persian amatory literature". Iranian Studies 32, n. 1 (gennaio 1999): 71–97. http://dx.doi.org/10.1080/00210869908701946.

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10

Näsström, Britt-Mari. "Magical Music in Old Norse Literature". Scripta Instituti Donneriani Aboensis 16 (1 gennaio 1996): 229–40. http://dx.doi.org/10.30674/scripta.67231.

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No society ever existed without performing music, and most cultures display many variants of music. Music also played and still plays an important part in different religious rites. From the days of yore, music has been intimately connected with the cult, whether it is performed as epic or lyric expressions. The Old Norse society was no exception to this statement and early finds from as far back as the Bronze Age reveal that different instrument were used in daily life. The most conspicuous specimens from this time are the bronze lures, which probably are depicted on the rock-carvings. All these examples emphasise the character of music in Old Norse literature as connected with the magic aspect of religion, and particularly with divination. This does not mean that all music in the Viking Age was performed with a magic purpose, but what has survived in the sources is the conspicuous role of music as something that affected the human mind to the extent that it was experienced as a magic feeling, even able to reveal the future.

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11

KOHLER, SHEILA. "MAGIC MAN". Yale Review 100, n. 2 (2012): 131–46. http://dx.doi.org/10.1353/tyr.2012.0064.

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12

Hosseini. "Magic Island". Antioch Review 76, n. 4 (2018): 660. http://dx.doi.org/10.7723/antiochreview.76.4.0660.

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13

Dench, Emma. "Magic". Classical Review 49, n. 2 (ottobre 1999): 443–45. http://dx.doi.org/10.1093/cr/49.2.443.

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14

Ogden, Daniel. "MAGIC". Classical Review 52, n. 1 (marzo 2002): 129–33. http://dx.doi.org/10.1093/cr/52.1.129.

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15

Napoli, Donna Jo, e Laurie Ricou. "Everyday Magic: Child Languages in Canadian Literature". Language 65, n. 1 (marzo 1989): 191. http://dx.doi.org/10.2307/414876.

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16

Hurst, Mary Jane, e Laurie Ricou. "Everyday Magic: Child Languages in Canadian Literature". Rocky Mountain Review of Language and Literature 43, n. 1/2 (1989): 121. http://dx.doi.org/10.2307/1347216.

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17

Carroll, Emmett H. "A Biblical Encounter with Magic in Literature". Christianity & Literature 50, n. 4 (settembre 2001): 703–14. http://dx.doi.org/10.1177/014833310105000409.

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18

Rahmani, Gulrahman, e Sayed Mojtaba Nayel. "Magic Realism and Fantastic in Contemporary Literature". International Journal of Middle Eastern Research 3, n. 1 (6 gennaio 2024): 01–03. http://dx.doi.org/10.32996/ijmer.2024.3.1.1.

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Magical Realism and Fantastic are two widely used concepts in contemporary literature. Fantastic is such fiction that blends the realities of our physical world with the supernatural in an indistinguishable manner, with the aim of leading minds of varying abilities on different trails. Both are used in combination to complete the novel. The reader is amazed by the inability to differentiate between real life and the world of fantasy. In Magical Realism, as the name implies, magic, history, fiction and myths are employed. The characters often possess supernatural abilities. It is often mistaken for imaginary realism. The main difference between the two is that in Fantastic, the characters feel shocked and horrified by the happenings, as in Harry Potter’s series, where the sudden disappearance of ‘the mirror’ causes shock. By contrast, in magical realism, the characters tend to react to the occurrence of magic. Another important point is the relation of both to scientific fiction, where events are analyzed on the basis of facts and scientific development in order to enable humans to face life intelligently.

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19

Daniels, Harvey. "The Literature Circle: The Hunt for Magic". Voices from the Middle 13, n. 3 (1 marzo 2006): 40–41. http://dx.doi.org/10.58680/vm20065168.

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20

Scott, Carolyn F. "In the Service of Magic". Renascence 75, n. 1 (2023): 15–32. http://dx.doi.org/10.5840/renascence20237512.

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Wagner and Miles, the primary servants in Marlowe’s Doctor Faustus and Robert Greene’s Friar Bacon and Friar Bungay, derive their function and identity from their masters. Since both Faustus and Bacon are magicians, their servants are influenced by contact with magic. Although they are less significant figures than the protagonists, the servants help to determine the outcome of their respective plays. By examining Wagner and Miles as servants of both their masters and of magic itself, we can see how Faustus and Bacon fail as magicians, as masters of magic. In comparing the “good” servant, Wagner, whose master is overcome by magic, to the “bad” servant, Miles, whose master renounces magic, we can arrive at an understanding of true service and its relationship to magic.

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21

Ager. "Magic Perfumes and Deadly Herbs: The Scent of Witches' Magic in Classical Literature". Preternature: Critical and Historical Studies on the Preternatural 8, n. 1 (2019): 1. http://dx.doi.org/10.5325/preternature.8.1.0001.

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Suhemi, Emi. "Tafsir Scholar's View on Black Magic". Jurnal Ilmiah Al-Mu ashirah 20, n. 1 (14 febbraio 2023): 160. http://dx.doi.org/10.22373/jim.v20i1.17287.

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This study aims to discuss black magic (sihir) from the perspective of Tafsir scholars. The method used in this article is literature review with a hermeneutic approach, also known as tafsir maudhu'i. With this method, the author conducts various steps, including collecting literature and verses with the theme of magic in the Quran, collecting hadiths with the theme of magic, and also using dictionaries as tools to find the etymological use for black magic. The results of this study show that the tafsir scholars have agreed on the sinful practice of black magic, so they suggest staying away from themselves, their families, and loved ones rather than this great slander and harm that has swallowed up many people. Even if we are rich and happy because of black magic, it really is not comparable to the poverty and suffering that will be accepted in the hereafter.

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23

Kord, Catherine, Thomas Mann e John E. Woods. "The Magic Mountain". Antioch Review 54, n. 3 (1996): 370. http://dx.doi.org/10.2307/4613374.

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Lecomte, Nelly. "Commerce and Magic". Research in African Literatures 36, n. 4 (dicembre 2005): 198–204. http://dx.doi.org/10.2979/ral.2005.36.4.198.

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Miller, Greg. "The Magic Flute". Chicago Review 44, n. 3/4 (1998): 130. http://dx.doi.org/10.2307/25304314.

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26

Rathjen, Friedhelm. "The Magic Triangle". Samuel Beckett Today / Aujourd'hui 11, n. 1 (16 ottobre 2018): 92–102. http://dx.doi.org/10.1163/18757405-01101014.

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Kerr, D. "Conrad's Magic Circles". Essays in Criticism 53, n. 4 (1 ottobre 2003): 345–65. http://dx.doi.org/10.1093/eic/53.4.345.

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Lecomte, Nelly, Marie-France Bauvir e Dana Rufolo. "Commerce and Magic". Research in African Literatures 36, n. 4 (2005): 198–204. http://dx.doi.org/10.1353/ral.2005.0169.

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29

Genosko, Gary. "Schizoanalysis and Magic". Deleuze and Guattari Studies 16, n. 4 (novembre 2022): 529–44. http://dx.doi.org/10.3366/dlgs.2022.0493.

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The task of this paper is to gather together Guattari’s scattered references to magic, from Chaosmosis and Schizoanalytic Cartographies, and to reconstitute his position, using animism as a guide. For magic is a bulwark against positioning schizoanalysis as another specialism, and in maintaining what Guattari called its ‘eccentric’ relation to professional psychotherapeutic practices. Magic serves Guattari as an antidote to the scientific schemas that dominate psychoanalysis and psychology. Guattari’s effort to reanimate magic as a viable reference within schizoanalysis flies in the face of the ‘ideal of scientificity’. Whereas animism served Guattari’s decentring of subjectivity from the human individual, and his critique of the prevailing dichotomies of subject/object, human/nature, sign/real, to bring magic into play in schizoanalysis is to open it to ethno-psychiatric investigations of sorcery, as well as neo-pagan ecosophy. Magic is indispensable for understanding contemporary assemblages of enunciation, as it exists concurrently with the very forces that would try to banish it, as well as those which would attempt to exploit it for fascistic purposes.

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Ogden, Daniel. "GENDERING MAGIC". Classical Review 50, n. 2 (ottobre 2000): 476–78. http://dx.doi.org/10.1093/cr/50.2.476.

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Ogden, Daniel. "ANCIENT MAGIC". Classical Review 50, n. 2 (ottobre 2000): 478–80. http://dx.doi.org/10.1093/cr/50.2.478.

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Thomassen, Einar. "MORE MAGIC". Classical Review 54, n. 2 (ottobre 2004): 443–45. http://dx.doi.org/10.1093/cr/54.2.443.

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Mariscal, Jorge. "The Magic of Blood". Radical Teacher 113 (14 febbraio 2019): 37–38. http://dx.doi.org/10.5195/rt.2019.582.

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Dickie, Mathew W. "Who practised love-magic in classical antiquity and in the late Roman world?" Classical Quarterly 50, n. 2 (dicembre 2000): 563–83. http://dx.doi.org/10.1093/cq/50.2.563.

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INTRODUCTIONVery soon after I began working on the identity of magic-workers in classical antiquity, I realized that it was necessary to come to terms with a thesis about depictions of erotic magic-working in Greek and Roman literature. It asserted that male writers engaged in a systematic misrepresentation of the realities of magic-working in portraying erotic magic as an exclusively female preserve; the reality was that men were the main participants in this form of magic-working. The thesis is based on the supposition that the truth about erotic magic and the people who performed it is to be found in the formularies or spell-books preserved in papyrus and indefixiones.These two sources of information are said to show us that erotic magic was performed by men and not by the women who are the persons depicted engaging in love-magic in literature. The scholar who first presented the thesis was the late John Winkler. A version of it is to be found in Fritz Graf's general account of Greek and Roman magic. There is agreement over what are taken to be the facts, but views diverge over their interpretation. Winkler appeals to the Freudian notion of denial and transference to offer an explanation not only of the discrepancy between life and literature, but of what he took to be the belief held by the young men who cast erotic spells that the girls who were the objects of their spells were as sexually eager as they were: men, when overwhelmed by sexual desire for unattainable women, through a process of denial transfer that feeling to women, whether old or young, whom they fondly imagine suffer the same intense sexual longings as themselves.

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Hardy, Augusta. "Magic As Art in Lord Dunsany's The King of Elfland's Daughter". Irish University Review 48, n. 2 (novembre 2018): 265–80. http://dx.doi.org/10.3366/iur.2018.0354.

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In The King of Elfland's Daughter, Lord Dunsany crafts a fairy-story in which magic serves as an allegory for art. Elfland is a place of art, its timeless beauty created and sustained through magic; and its influence extends to the real world in the form of artistic inspiration. Indeed, elfin magic functions as art does: it preserves the past, renews one's vision, and imbues the material world with meaning. Dunsany's portrayal of art as magic in the novel is a poetic representation of his understanding of art as discussed in his non-fiction works. The novel concludes with a moment that symbolizes the creation of art: Earthly fields enchanted by elfin magic represent the familiar beauties of nature ‘enchanted’ into flights of fancy by the poet's words.

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ANDRADE, Paola B. Aguiar. "Storytelling OR READING : TWO MOMENTS MAGIC OF LITERATURE CHILD". Nucleus 12, n. 1 (30 aprile 2015): 341–60. http://dx.doi.org/10.3738/1982.2278.1433.

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Han, Chandra. "Magic and Christianity: An Exegesis on Magical Passages in the Acts of the Apostles". DUNAMIS: Jurnal Teologi dan Pendidikan Kristiani 6, n. 1 (20 ottobre 2021): 128–52. http://dx.doi.org/10.30648/dun.v6i1.449.

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Magic is a significant theme in The Acts of the Apostle but is undermined by scholars. The significance of this theme is obvious in the so-called five episodes or passage of magic. Thus, how does Christian understand of magic particularly in the Acts of the Apostles is also prominent. This article aimed to re-examine all five episodes of magic in The Acts of the Apostles that Christian may have a more comprehensive understanding of magic and able to conquer the reality of magic which is still very relevant in our contemporary ministry in Indonesia. The method of this article was literature study. By the study it was concluded that the magic in Acts is best understood to further its apologetical purpose, because the passages clearly demonstrate evil as the reality behind magic, thus the confrontation between God’s power and magic is inevitable for it is between God and evil.

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Laroque, François. "Magic in Macbeth". Cahiers Élisabéthains: A Journal of English Renaissance Studies 35, n. 1 (aprile 1989): 59–84. http://dx.doi.org/10.1177/018476788903500109.

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Linhares, Bruno J. "Theopoetic and Pastoral Counseling. Using Magic Realism and Reframing: A Latin American Perspective". REFLEXUS - Revista Semestral de Teologia e Ciências das Religiões 7, n. 9 (3 marzo 2015): 9. http://dx.doi.org/10.20890/reflexus.v7i9.132.

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Baseado em um artigo de Rubem Alves, escrito em 1977, sobre os Cuidados Pastorais sob a perspectiva da Teologia da Libertação, e no uso do Realismo Mágico na literatura e religião, sugiro ser o Reenquadramento uma proposta genuinamente latino-americana para a poimênica, sobretudo o aconselhamento, seguindo uma prática já feita por Rubem Alves. Palavras-Chave: Rubem Alves, Teologia da Libertação, Realismo Mágico, literatura latino-americana, poimênica. Based on a 1977 article written by RubemAlves about Pastoral Care under the perspective of theology of liberation and on the use of Magic Realism in literature and religion, I suggest being reframing a truly Latin American proposal for Pastoral Care, particularly Pastoral Counseling, a practice already done by RubemAlves. Keywords: RubemAlves, Theology of Liberation, Magic Realism, Latin American Literature, Pastoral Care.

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Jansson, Eva-Maria. "The magic of the Mezuzah in rabbinic literature". Nordisk Judaistik/Scandinavian Jewish Studies 15, n. 1-2 (1 settembre 1994): 51–66. http://dx.doi.org/10.30752/nj.69509.

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The notion that the mezuzah – the capsule containing a parchment strip on which is written Deut 6:4-9 and 11:13-21 and which is attached to the doorposts of a Jewish home – is protective has been explained in different ways. Two different developments have been suggested: either the mezuzah was originally an amulet, which the rabbis sought to theologize, or it was a religious object which fell victim to popular superstitious notions. In this paper, where the study is delimited to the Talmudic and some Geonic material, I intend to propose another explanation to the origin and development of the idea of its protectiveness. The origin of the mezuzah as an object is obscure. The oldest references we have to it, e.g. in the Mishnah and the Tosefta, presuppose that it is an object on par with other religious objects, and that the affixing of the mezuzah is a mitzvah. To conclude that traditions found in later texts, regarding it as an amulet, are pre-Rabbinic and preserved unaffected by the Rabbinic mediation, is problematic. Discerning a popular influence, that is, a popular strata in the Talmudin, the She’iltot, Sefer Halakhot Gedolot and the Hekhalot literature, opposed to the views of the Rabbinic elite, is also difficult.

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Rudge, Ian. "Magic realism in children's literature: A narratological reading". New Review of Children's Literature and Librarianship 10, n. 2 (novembre 2004): 127–40. http://dx.doi.org/10.1080/1361454042000312257.

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42

Chokoeva, D. M. "NATIONAL LITERATURE AND THE PREREQUISITES OF MAGIC REALISM". Science. Education. Engineering, n. 2 (2023): 140–46. http://dx.doi.org/10.54834/16945220_2023_2_140.

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43

Haskins, Jeannette. "Teaching Young Adult Literature: Making Magic with YAL". English Journal 101, n. 2 (1 novembre 2011): 101–4. http://dx.doi.org/10.58680/ej201118249.

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44

Foreman, R. "Magic Disappearances". Theater 35, n. 2 (1 gennaio 2005): 19–25. http://dx.doi.org/10.1215/01610775-35-2-19.

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45

Sudbery, Anthony. "Dürer's magic tesseract". Mathematical Gazette 97, n. 538 (marzo 2013): 8–12. http://dx.doi.org/10.1017/s0025557200005374.

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Abstract (sommario):

Albrecht Dürer's mysterious engraving Melencolia I (Figure 1) has always intrigued both art critics and mathematicians. Among art critics, according to Campbell Dodgson [1], “The literature on the Melancholia is more extensive than that on any other engraving by Dürer” (he adds “the statement would probably remain true if the last two words were omitted”). Mathematicians, if disconcerted by the association between mathematics and melancholy, have been fascinated by the objects appearing in the print, such as the polyhedron occurring on the left of the engraving and—the subject of this note—the magic square in the upper right-hand corner (Figure 2).

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46

Swann, Roberta. "Addiction/Magic/Adultery". Anthropology Humanism 27, n. 1 (giugno 2002): 107–8. http://dx.doi.org/10.1525/ahu.2002.27.1.107.

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Swann, Roberta. "Addiction/Magic/Adultery". Anthropology and Humanism 27, n. 1 (giugno 2002): 107–8. http://dx.doi.org/10.1525/anhu.2002.27.1.107.

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48

Mat Hussain, Eizah, Siti Nur Anis Muhammad Apandi e Nurhasyimah Saidin. "ASPEK REALISME MAGIS DALAM NOVEL CEBISAN MANTERA TERAKHIR". Jurnal Pengajian Melayu 33, n. 2 (29 ottobre 2022): 27–43. http://dx.doi.org/10.22452/jomas.vol33no2.2.

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Abstract Magical realism, which combines reality and fantasy, has become a trend in the world of literature, sparking a new way of thinking while producing a literary work. Studies on magical realism in literature are crucial as they could reflect the cultural and societal norms of the society featured. This article utilised the theory of magical realism by Faris (2004) to discuss the aspect of magical realism presented in the novel “Cebisan Mantera Terakhir” (2013) by Hasanuddin Md. Isa and published by the Malaysian Institute of Translation and Books (ITBM). The genre of the novel is classified as mystery or mysticism in the setting of a supernatural world where shamans practise “santau” (a type of black magic) in the Malay community. This qualitative study aims to identify and analyse the way the author depicts magical realism through content analysis of the text. Findings showed that the magic element in the form of “santau” was evident in the Malay community featured in the novel. The application of Faris‟s principles showed the clear connection between reality and the magical elements of “santau” which can be categorised into particular aspects of the text, such as objects, events, characters, beliefs and texts. Religion and beliefs are also inseparable from the Malay community, a factor portrayed as a connection between reality and the supernatural worlds. Keywords: magical realism, novel, Cebisan Mantera Terakhir, shaman, santau, black magic Abstrak Kemunculan aliran realisme magis dilihat melalui gabungan antara dua dunia, iaitu dunia nyata dan dunia fantasi yang membawa pemikiran baru dalam karya sastera. Penelitian terhadap realisme magis dalam suatu karya sastera sangat penting kerana pada dasarnya realisme magis merupakan satu cerminan atau refleksi yang nyata mengenai budaya dan sosial masyarakat. Kajian ini mengaplikasikan Teori Realisme Magis oleh Faris (2004) untuk memperlihatkan aspek realisme magis dalam novel Cebisan Mantera Terakhir (2013) karya Hasanudin Md Isa dan diterbitkan oleh Institut Terjemahan & Buku Malaysia Berhad (ITBM). Novel ini memaparkan genre misteri atau mistik yang menerapkan elemen dunia ghaib dan golongan pawang yang terlibat dalam kegiatan santau dalam masyarakat Melayu. Kajian ini bertujuan untuk mengenal pasti dan menganalisis aspek realisme magis dalam novel yang memperlihatkan bagaimana pengarang mengungkapkan elemen realisme magis dalam karya. Kajian ini dilakukan secara kualitatif dengan membuat analisis kandungan teks. Dapatan kajian ini jelas menggambarkan unsur magis yang dapat dikesan dalam amalan santau dengan berlatarkan masyarakat Melayu. Penggunaan prinsip-prinsip oleh Faris (2004) telah menonjolkan perhubungan yang jelas antara unsur realiti dan unsur magis dalam amalan santau itu dengan adanya pembahagian kepada kelompok-kelompok tertentu, iaitu objek, peristiwa, watak, kepercayaan, teks, dan sebagainya. Dalam masyarakat Melayu, konteks agama dan kepercayaan tidak dapat diasingkan dalam tradisinya yang turut dipaparkan sebagai satu perkaitan antara alam nyata dan alam ghaib. Kata Kunci: realisme magis, novel, Cebisan Mantera Terakhir, pawang, santau

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Roeser, Dana. "My Mother Is Magic". Antioch Review 62, n. 4 (2004): 704. http://dx.doi.org/10.2307/4614738.

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Lavender, Isiah. "Dat Black Girl Magic!" Science Fiction Studies 46, n. 3 (2019): 595–602. http://dx.doi.org/10.1353/sfs.2019.0088.

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