How Stage Magic Perpetuates Magical Beliefs

Author(s):  
Christine Mohr ◽  
Gustav Kuhn
Keyword(s):  
2013 ◽  
Vol 10 (supplement) ◽  
pp. 91-105 ◽  
Author(s):  
Hans-Joachim Backe
Keyword(s):  
The Body ◽  

Author(s):  
Timothy de Waal Malefyt

The word “magic” refers to a broad range of beliefs and practices that include animism, charm(s), divination, enchantment, fantasy, fetish, glamour, illusion, miracles, the occult, shamanism, sorcery, spells, the supernatural, superstition, taboos, trickery, and witchcraft. Magic―once thought a core feature of “primitive societies,” abandoned by more rational, bureaucratic and progressive beliefs―is, in fact, thriving in contemporary life, and central to practices of capitalism as well as to everyday behaviors. Magic is practiced in fields of finance, government, law, medicine and health, technology, advertising, marketing, sports, the gaming industry, and theatrical performances, among other institutions. When situations allow for the assemblage of a “magician,” “rite,” and “representation” within these complex social networks and when professional skills, ideas, conditions, contexts, media, and meanings align, magic acts as an agent of change. Magic is also practiced in everyday situations in which people need to feel a sense of control in circumstances where it’s lacking, such as performing well under competitive conditions or during times of crisis with indefinite outcomes. Consequently, they rely on magical thinking—in the forms of superstitions, wishful thinking, and taboo avoidance—which is often accompanied by charms, amulets, or acts of faith to guide them through uncertainty. Conjuring terms such as “fate” and “luck” to ward off illness or improve one’s chances at getting a hit in baseball, are, in fact, ways of expressing ambiguities and dealing with conflicts of temporal existence that all humans face in one form or another. Magic structured in institutions and practiced in everyday situations is a prime example of contradiction in contemporary life. Objective knowledge of facts is increasingly understood as contingent rather than permanent, leaving room for uncertainty, mystery, the unknown, and seemingly nonrational alternatives. Scientific evidence becomes as valid as alternative facts. Documenting recent developments, it is suggested that rationality and magic are not mutually exclusive. Rather, rational behaviors and practices are suffused with magic. Magical beliefs and specific rituals complement practical knowledge so as to enhance knowledge as a way to secure success. All of these ways of thinking and social practices have something at stake, in that risk, uncertainty, and ambiguity of outcome are prevalent, and hence call on magical practices to bring about change.


2014 ◽  
Vol 48 (6) ◽  
pp. 1451-1476 ◽  
Author(s):  
CHRISTOPHER GOTO-JONES

AbstractThis article inquires into the cultural and political nexus of secular (stage) magic, modernity, and Orientalism at the turn of the twentieth century. It argues that these three arenas interacted in important and special ways to both shape and reflect the politics of knowledge of the period. In doing so, it draws attention to the ways in which secular magic has been overlooked as a historical phenomenon and highlights its utility in furthering our understanding of the great problematics of modernity and Orientalism; in particular, it suggests that magic actually provides an unusually vibrant and clear lens through which to view the politics of the Other and through which to explore issues of tradition and the modern.Focusing on two historical cases—the ‘Indian Rope Trick’ challenge issued by the Magic Circle in the 1930s and the astonishing ‘duel’ between the ‘Chinese’ magicians Chung Ling Soo and Ching Ling Foo in 1905—this article considers the ways in which discourses of origination, popular ideas about esotericism and the ‘mystic East’, and questions of technical competence interacted and competed in the culture politics of the early twentieth century.


2019 ◽  
pp. 1-8
Author(s):  
Thomas Waters

This chapter shows that the history of black magic in modern times is a cosmopolitan drama. Human movement rapidly accelerated from the nineteenth century. People, goods, technologies, and ideas began crossing the earth at a dizzying rate. Travellers took their magical beliefs abroad and encountered new mysticisms when they got there. Empires regulated their colonial subjects in all sorts of ways, including how they dealt with witches. Witchcraft became more international, though at the same time it remained fundamentally rooted in local circumstances. This means that, to understand modern witchcraft, one must combine a global orientation with a local focus. And an excellent place for that local focus is a large island, lying on the eastern edge of the North Atlantic Ocean: Britain.


2016 ◽  
Vol 25 (3) ◽  
Author(s):  
F Wood

Various mystical, magical beliefs and practices, including some of those in the Transkei region of the Eastern Cape, are bound up with secrecy and mystery, exerting part of their influence by this means. This has certain metaphorical parallels with the way in which various managerial systems in market-driven, corporatised universities in South Africa and elsewhere tend to employ obscurity and mystification as a form of power and control. However, there are possible ways of transcending confinement within the verbal-ideological control mechanisms of corporate managerialism, with their shadowy, opaque qualities that sow confusion and bring about disempowerment, and the study of folklore can play a significant role in this regard. 


2020 ◽  
pp. 273-296
Author(s):  
Natalia Savkina ◽  
Rita McAllister ◽  
Maria McMinn

Images of Thanatos, or death, appear in Prokofiev’s output in a variety of contexts. Thoughts of death threw many shadows over the young composer, despite his naturally happy disposition; but from the 1920s, as a Christian Scientist, he tried to see death as merely a human aberration. His musical works are nonetheless full of death images. Different cultural-historical traditions are drawn upon, reflecting his own life experiences. Ancient mythological and magical beliefs, as well as Christian motives, rub shoulders with positivism and with interpretations of Bolshevism as a secular religion. By exploring concepts of Thanatos in a wide range of Prokofiev’s theater works—from Maddalena, Chout, and The Fiery Angel to Semyon Kotko, Romeo and Juliet, and War and Peace—this chapter casts new light on the composer’s emotional attitudes toward the mysteries of death, as well as revealing special psychological depths in his musical ideas.


2008 ◽  
Vol 9 (11) ◽  
pp. 871-879 ◽  
Author(s):  
Stephen L. Macknik ◽  
Mac King ◽  
James Randi ◽  
Apollo Robbins ◽  
Teller ◽  
...  
Keyword(s):  

2002 ◽  
Vol 5 (4) ◽  
pp. 333-345 ◽  
Author(s):  
Trish Pringle
Keyword(s):  

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