scholarly journals A Study on Images of the Witch in the Original Fiction and Film Version of Mary Poppins

2014 ◽  
Vol null (30) ◽  
pp. 287-305
Author(s):  
Sookyung Lee ◽  
Woohak Lee
2017 ◽  
Vol 12 (1) ◽  
pp. 50-77
Author(s):  
Sarah Weiss

This article examines Rangda and her role as a chthonic and mythological figure in Bali, particularly the way in which Rangda’s identity has intertwined with that of the Hindu goddess Durga— slayer of buffalo demons and other creatures that cannot be bested by Shiva or other male Hindu gods. Images and stories about Durga in Bali are significantly different from those found in Hindu contexts in India. Although she retains the strong-willed independence and decision-making capabilities prominently associated with Durga in India, in Bali the goddess Durga is primarily associated with violent and negative attributes as well as looks and behaviours that are more usually associated with Kali in India. The reconstruction of Durga in Bali, in particular the integration of Durga with the figure of the witch Rangda, reflects the local importance of the dynamic relationship between good and bad, positive and negative forces in Bali. I suggest that Balinese representations of Rangda and Durga reveal a flux and transformation between good and evil, not simply one side of a balanced binary opposition. Transformation—here defined as the persistent movement between ritual purity and impurity—is a key element in the localization of the goddess Durga in Bali.


2009 ◽  
Vol 0 (1) ◽  
pp. 167-184
Author(s):  
Matthias Bickenbach

Hideo Nakata's film version of THE RING sets up a remarkable constellation of technical and spiritualist media that has re-established the genre of psycho-horror films. The film is not just about a ghost story but, unlike the novels by Kôji Suzuki, about a primeval scene of the fear of media that initiates the eventuation of a "video curse", thereby raising the issue of the technology of fear as a history of media.


Author(s):  
Elia Nathan Bravo

The purpose of this paper is two-fold. On the one hand, it offers a general analysis of stigmas (a person has one when, in virtue of its belonging to a certain group, such as that of women, homosexuals, etc., he or she is subjugated or persecuted). On the other hand, I argue that stigmas are “invented”. More precisely, I claim that they are not descriptive of real inequalities. Rather, they are socially created, or invented in a lax sense, in so far as the real differences to which they refer are socially valued or construed as negative, and used to justify social inequalities (that is, the placing of a person in the lower positions within an economic, cultural, etc., hierarchy), or persecutions. Finally, I argue that in some cases, such as that of the witch persecution of the early modern times, we find the extreme situation in which a stigma was invented in the strict sense of the word, that is, it does not have any empirical content.


Author(s):  
Per Faxneld

Chapter 6 provides a reading of how the subversive potential of the figure of the witch was utilized to attack the oppression of women. It commences with a discussion of Jules Michelet’s La Sorcière (1862), then considers how medical discourse on historical witches as hysterics was conflated with slander of feminists as hysterical and caricatures of them as witches. After that follows a treatment of American feminist Matilda Joslyn Gage, who presented the early modern witch cult as a Satanic rebellion against patriarchal injustice, and folklorist Charles Leland, who drew approbatory parallels between witches and the feminism of his day. The chapter demonstrates how Gage borrowed from both Michelet and Blavatsky in her texts. Finally, visual representations of the witch are discussed, focusing on how she was a symbol of female strength in both positive and negative ways in the sculptures and paintings of male as well as female artists.


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