Magic Spell Research Articles

Even laypeople use legalese

Whereas principles of communicative efficiency and legal doctrine dictate that laws be comprehensible to the common world, empirical evidence suggests legal documents are largely incomprehensible to lawyers and laypeople alike. Here, a corpus analysis (n = 59) million words) first replicated and extended prior work revealing laws to contain strikingly higher rates of complex syntactic structures relative to six baseline genres of English. Next, two preregistered text generation experiments (n = 286) tested two leading hypotheses regarding how these complex structures enter into legal documents in the first place. In line with the magic spell hypothesis, we found people tasked with writing official laws wrote in a more convoluted manner than when tasked with writing unofficial legal texts of equivalent conceptual complexity. Contrary to the copy-and-edit hypothesis, we did not find evidence that people editing a legal document wrote in a more convoluted manner than when writing the same document from scratch. From a cognitive perspective, these results suggest law to be a rare exception to the general tendency in human language toward communicative efficiency. In particular, these findings indicate law's complexity to be derived from its performativity, whereby low-frequency structures may be inserted to signal law's authoritative, world-state-altering nature, at the cost of increased processing demands on readers. From a law and policy perspective, these results suggest that the tension between the ubiquity and impenetrability of the law is not an inherent one, and that laws can be simplified without a loss or distortion of communicative content.

Chinua Achebe’s Things Fall Apart: A Case study of Relation the between Nationalism and Literature

The paper tries to analyse Chinua Achebe's writing skills which he uses to evoke nationalism and open the eyes of the people of his land whom the coming of the foreigners has maligned. It is a journey to the past, a reinterpretation to know the true self. The unknown world is created through the magic spell of literature. Chinua Achebe took upon himself the task to fight against the misinterpretation of the Europeans about Africa through his writings.

The Magic of Media and Culture

The Magic of Media and Culture

Conjuring Up a King

Conjuring Up a King

Music as Magic

Music as Magic

Þistil, mistil, kistil: Plants of Death, Rebirth, and Magic in Medieval Scandinavian Runic Inscriptions

<i>Þistil, mistil, kistil</i>: Plants of Death, Rebirth, and Magic in Medieval Scandinavian Runic Inscriptions

Strategies for Achieving Strength–Ductility Synergy in Face‐Centered Cubic High‐ and Medium‐Entropy Alloys

High‐ and medium‐entropy alloys (HEAs/MEAs), also called as multicomponent alloys, are a new class of materials that break through the traditional alloy design concept based on single principal element. However, they do not break away from the magic spell of strength–ductility trade‐off. Therefore, designing HEAs/MEAs with both high strength and high ductility still remains a great challenge nowadays. This article provides a review on the recent progress in mechanical properties of face‐centered cubic (FCC) HEAs/MEAs. First, several traditional strengthening strategies are briefly reviewed, focusing on the strengthening mechanisms and the optimized mechanical properties. Subsequently, various novel strategies for achieving strength–ductility synergy in HEAs/MEAs are summarized, which include lowering the stacking fault energy, regulating the short‐range order, promoting transformation‐induced plasticity, and constructing heterogeneous microstructures. The basic ideas and related underlying mechanisms from these strategies are discussed. Finally, the current challenges and the future outlooks are emphasized and addressed systematically. In brief, the present review is expected to provide a useful guide for the design of HEAs/MEAs with superior mechanical properties.

On Subtitle Translation of “Frozen” from the Perspective of Halliday’s Register Theory

As a Disney 3D animated film, “Frozen”, based on Andersen's fairy tale “Snow Queen”, was produced to commemorate the 90th anniversary of Disney’s founding. The film tells the story of the small country Arendale, which is permanently covered by ice and snow due to a magic spell. In order to retrieve the summer, Princess Anna, the mountain people Christopher and his reindeer partner set out in a team to embark on an adventure to save the kingdom. The research object of this thesis is the Chinese version of subtitle translation of “Frozen”. Register theory is an important content of the Systemic Functional School represented by Halliday. This paper extracts several paragraphs from the subtitle translation of “Frozen” as research materials, and analyzes them from the perspectives of field, mode and tenor. This paper includes four parts. The first part is a background introduction, the second part is an introduction to register theory, the third part analyzes the subtitle translation of the movie “Frozen” from the perspective of register theory, and the fourth part is a summary. Keywords: Frozen, Register theory, Translation strategy DOI: 10.7176/JLLL/97-04 Publication date : April 30 t h 2023

“Beat the Copper Nail in the Eye with a Hammer”: An Ancient Magic Spell in Yiddish for Catching a Thief

Abstract Exposing a thief magically with the aid of a painted eye on the wall, has existed since antiquity. The spell includes instructions for drawing an eye, incantations, summoning up God’s help, and knocking a nail into the painted eye, thus harming the thief’s eye and exposing him. In this article we present the same spell written in Yiddish dating between the fifteenth to the sixteenth century. In tracing the Yiddish spell’s sources for both the text and its illustration, our examination reinforces previous scholarship of magical praxis, which asserts that rituals are cross-cultural and cannot always be traced to its Jewish or non-Jewish origins.

TAHLILAN SEBAGAI SINKRONISASI AGAMA DAN BUDAYA

Before Islam came, the majority of Indonesian people at that time are still Hinduism. Then Walisongo came to bring Islam and started to spread Islam doctrines in order to call the Indonesian who at that time were still keep up with Hindu doctrines, one of their doctrine called "pinde pitre yajna" which is better known as "tahlilan" right now. The pinde pitre yajna doctrines originally had a ritual/activity called "jagongan" this ritual works by talking late into the night, gambling, drinking liquor and also reciting magic spells at the funeral home. The method of discours that used by Walisongo is the method of assimilation of Islamic - Hindu culture by changing these bad habits with activities that are more Islamic. The magic spell that is usually recited is changed to the t}ayyibah (good) sentences. However, there are several Islamic sects that contradict with this method and then state that the teachings conveyed through the Walisongo contain elements of bid’ah (acts that were not taught by the Prophet Muhammad). This paper uses a qualitative method in terms of literature. In this journal the author wants to explain the facts of the concept of tahlilan using the maxim law perspective (ka&gt;idah fiqhiyyah), namely the 'urf (tradition). Tahlilan can be justified as 'urf which is not in Islam because tahlilan is a misleading tradition then guided by the Walisongo in accordance with Islamic law without any coercion.

VERBAL FEATURES OF SPELLS IN J. ROWLING’S NOVELS ABOUT HARRY POTTER: TRANSLATION ASPECT

The article considers the peculiarities of the translation of J. Rowling's novels about Harry Potter into Ukrainian. Phonetic and lexical features of spells as occasionalisms are analyzed. The connection between the phonetic form and the meaning of spells has been traced. The classification of magic formulas in J. Rowling's novels is presented. All translation transformations used in Ukrainian translations are characterized. Translation strategies of magic spell formulas in Ukrainian translations are analyzed.

Веда Заговóров Волхва Велеслава (этюд о заговорно-поэтическом творчестве современных неоязычников)

This article analyses the book Veda of Magic Spells (Slavic Magic Spells Book) (2014) written by Ilya Cherkasov, who publishes his works under the pen name of Magus Veleslav (Volkhv Veleslav). The title of the book points out its dual genre. On the one hand, this is a collection of “pagan” magic spells that have been purified by double-faith historical layering, but on the other hand, this is also a compilation of Vedic hymns glorifying the Slavic Gods. There are some texts in the book which have close parallels with folklore compilations of the nineteenth and twentieth centuries. At the same time, there are many texts which are probably personally composed in the style of traditional magic spells by Magus Veleslav himself. Unlike traditional magic spells, in the texts of Magus Veleslav any Christian elements are absent. For example, instead of the Christian “Amen” at the end of a magic spell, he puts the exclamation “Goi!” And instead of the traditional word-combination “the slave of God (name)”, the author uses the formula “the grandson of Dazbog (name)”. The article finds that Magus Veleslav takes a free approach to traditional spell texts, seeing them as material for his own idiosyncratic literary reconstruction of pagan poetry.

Dance Drama Chandalika

This play of Rabindranath Tagore depicts beautifully the 5th Century BCE saga of an untouchable Chandal girl, who is an outcast of society since her birth. She suffers from untold humiliation and harsh treatment from all sections of society. She holds God responsible for such an ignominious situation for all her life. Then comes thirsty Ananda, the most favourite disciple of Lord Buddha. Seeing Prakriti drawing water from well he utters the phrase ‘Give me water, give me water.’ Ananda’s request takes Prakriti by surprise and she tells him that she is an untouchable Chandal girl and that the water of the well,drawn by her, is impure. If she gives him water, she commits a great sin. Ananda declares that she is the same human being as he is and assures her that every water is pure that quenches thirst. Prakriti now overcomes her conflict of mind and gives him water. She falls in intense love with exceptionally handsome Ananda, but he ignores her. She asks her mother Maya to use her magic spell to bring him down to their cottage. Again, there is conflict in her mind about the persecution of Ananda due to her mother’s magic spell and her love and respect for him. Ultimately, however, Ananda comes to their cottage, though pale and sickly, and forgives them all in the name of Lord Buddha.Thus, the Nrityanatya or Dance Drama Chandalika is an extremely powerful play of Rabindranath exhibiting the curse of untouchability and liberation from the menace of caste structure and in the process resolving the conflicts Prakriti nurtures in her mind.

From the Subcontinent with Love

Abstract “Africa weaves a magic spell around even a temporary visitor,” wrote the former Indian high commissioner to East and Central Africa, Apa Pant, in 1987, echoing the allure that the continent had over him and other fellow Indian diplomats. But the diplomatic roles of men like Pant and the history of Indian engagement with Rhodesia has not, until now, been explored. This article argues that the central role of India in the colonial world ensured that London reined in the white settler Rhodesian government from enacting discriminatory legislation against its minority Indian populations. After Indian independence in 1947, the postcolonial government shifted from advocating specifically for the rights of Indians overseas to ideological support for the independence of oppressed peoples across the British colonial world, a mission with which it tasked its diplomatic representatives. But after India left its post in Salisbury in 1965, Indian public rhetorical support for African nationalist movements in Rhodesia was not matched by its private support for British settlement plans that were largely opposed by the leading African political parties in the country, colored by private patronizing attitudes by India's representatives toward African nationalists and the assumption that they were not yet ready to govern themselves.

Final – ww in the Late Egyptian Orthography: A Linguistic Assessment

Summary Various words in Late Egyptian texts present a final sequence –ww that is absent in earlier attestations and does not have any obvious etymological justification. No systematic discussion of these –ww, and not explanation for their use, has been offered so far. The present paper aims at filling this gap through a systematic reassessment of the phonological characteristics of a comprehensive corpus of words displaying this marker –ww. The results suggest that this marker is related in function with the so called spacefillers discussed in Kilani 2017; in particular it appears to be added at the end of words characterized by a stressed back vowel adjacent to a labial consonant w, b, p, f or m, and possibly ˓. Some considerations about the possible underlying linguistic reality and the rational for the use of this marker are added at the end of the article. One instance of the marker –ww in a magic spell of P. BM EA 9997 IV, and its possible role in clarifying a potentially ambiguous pronunciation of the associated verb, is discussed in a final Addendum. An appendix with the reconstruction of the vocalization for the words that survive in Coptic is provided here. A second appendix with the whole corpus is provided as online supplement.

Anna Burns’ Milkman

Anna Burns’ Milkman Daragh Downes There are, to misquote Oscar Wilde, two ways of dislikingAnna Burns’novel Milkman (2018). The first is to dislike it, the second is to praise it loudly for its bold experimentalism. Point one may be briskly disposed of with the banality that there is no accounting for taste. Point two requires a little more elucidation. That Milkman throws stylistic and narrative convention to the winds is beyond question. A novel that begins with the words, ‘The day Somebody McSomebody put a gun to my breast and called me a cat and threatened to shoot me was the same day the milkman died’, can hardly be said to scream ‘business as usual’. The word ‘experimental’, however, is pure kryptonite in the book trade, being a byword for ‘difficult’, ‘inaccessible’, ‘grist to the academic mill’. To dub Milkman’s antic style experimental, as so many did upon its publication and – especially – after its Man Booker Prize nomination and subsequent win, is thus about the most unhelpful way conceivable of welcoming it into the world. Whether used with good intent or ill, the word puts many potential readers off, depriving them of a remarkably refreshing and addictive reading experience. To apply this word to Milkman is to belie the wonderful democratic spirit behind Burns’ stylistic game. It is also to miss the fact that, in terms of her own literary development, Milkman does not in truth represent much by way of an experiment. Already in her superb first novel, No Bones (2001), we find the seeds of the signature Milkman style, especially in those parts where she ventures beyond the confines of traditional narrative realism (which latter mode, and it is useful to mention this when in conversation with a Burns sceptic, she masters with consummate facility). In her follow-up, Little Constructions (2007), a novel set in a small town and treating of a deranged crime family, we see her commit fully to what we now recognise as the Milkman style: that inimitable mixed economy of outré-absurdist storytelling; garrulous essayism lubricated by psychobabble, sociologese and bureaucratese; arch observational wit; sovereignly controlled irony; obsessive-compulsive repetition; and many a sentence that sounds like it has been written in a foreign language and run Studies • volume 110 • number 438 231 through a beta version of Google Translate. There is even a character called Mr McSomebody (proprietor of a local pharmacy known as ‘Almost Chemist of theYear’). To encounter this style for the first time in Little Constructions is exciting, but it still feels there like a style in search of the right story. One gets the same impression from Mostly Hero (2014), a novella published before Burns had finished work on Milkman and whose opening sentence – ‘The villains from downtown eastside put a magic spell on femme fatale so that she would kill superhero whilst under the influence of this magic spell’– tells us all we need to know about its commitment to soberly realist nomenclature and storytelling. No Bones and Milkman may be Burns’ two great works to date, but Little Constructions and Mostly Hero tell the fascinating story of how her pen was fully freed up in the way that was to make her famous. Milkman is in part a delightfully unfashionable love letter to fiction itself, and to the counter-cultural power of fiction to offer relief to the lonely psyche wounded from having to live in a ‘hair-trigger society’ in which politics has totalistically and micrologically invaded every action, gesture, word and even thought. (It should be prescribed reading for anyone who spends too much time on Twitter). The novel’s first-person narrator – named only as ‘middle sister’ – finds that she has become an unsettling figure in the community by mere dint of her idiosyncratic habit of reading-while-walking. This habit, as her paramilitary-connected best friend from schooldays coolly informs her over a quiet drink, has led the community to ‘pronounce[] its diagnosis’ on her as a freak whose public immersion in pre-twentieth-century novels is ‘disturbing… deviant… optical illusional’ and ‘[n]ot public-spirited’. No one, the friend points out, ‘should go around in a political scene with...

From “dead saint” to “lyreless Orpheus”: post-traumatic narrativization of myths and fairy tales in John Banville’s The Sea and Anne Enright’s The Gathering

In The Sea (2005) and The Gathering (2007), John Banville and Anne Enright incorporate modernist and postmodernist intertextuality into accounts of bereavement. While the shattered existence of the protagonists is seemingly devoid of religious belief, they mobilize the palimpsestic immemorial past of mythological and fairy-tale intertexts to make sense of broken realities. The narrators’ self-portraits and invocations of lost people and places, oscillating between reminiscence and mythification, underscore postmodernism’s play with canonical stories. Both authors use mythological syncretism to express their characters’ quest for meaning: while Greek, Egyptian and Norse gods invade The Sea’s modern-day “Atlantis” (132), The Gathering is peopled with subverted Christian and Irish figures. However, rather than restoring coherence, myth and fairy-tale tropes are suffused with desperate irony, and the magic spell woven by mythological counterpoints turns out to be a post-traumatic, grimacing reflection of the characters’ troubled psyches, or an obfuscating screen. By interweaving and debunking seminal myths and tales, Banville and Enright give life to personal myths that bespeak the characters’ deep-seated sense of loss and disenchantment. The reader is thus left wondering if, by filling the gaps of post-traumatic memory with mythological rewritings, these defamiliarizing narratives of bereavement convey potential solace or reinforce their protagonists’ post-traumatic loss of landmarks.

Yang Zhenning Questioned the “Light Wave Magic Spell” of Western Science based on Chinese Traditional Culture

Yang Zhenning Questioned the “Light Wave Magic Spell” of Western Science based on Chinese Traditional Culture

The Structure and Genesis of One Type of Magic Spell Against Children’s Insomnia among Slavic Peoples

Among Slavic charms for children who suffer from insomnia, there are texts depicting mothers going out of their houses, carrying their babies while looking at the forest or a single tree and reciting a magic spell addressed to a mythological character, asking for the creature’s help in taking away the baby’s cries and restoring the baby’s sleep. One variation of such texts originates from a manuscript called Summa de confessionis discretione. This text was compiled in Latin by a monk named Rudolf, evidently in the middle of the thirteenth or the beginning of the fourteenth century. The fact that the magic spells for insomnia in children seem to have existed already in the thirteenth or fourteenth century, and that in the nineteenth and twentieth centuries they were widely spread on the broad territory where Eastern, Southern, and Western Slavs lived, testifies to the ancient origins of this type of magic spell.

NILAI-NILAI RELIGIUS DALAM TEMBANG PAMOJHI RITUAL HODO MASYARAKAT ADAT SUKU PARIOPO

Hodo is a ceremonial ritual of Pariopo tribe in order to ask for rain. This ritual is survival ancestor since hundred of past which has endured to this day. In spite of development, this ritual changes and developments in line with the changing era and times. Behaviour and diversity society of Pariopo Tribe also influence changes in Hodo’s Ritual, because the society of Pariopo Tribe are 100% Moslems. Acculturation of cultural and religious values seems very united in the implementation of this ritual later. The unification between cultures and religious values can be seen from the poems of Pamojhi songs that were rebounded as long as Ritual takes place. Pamojhi’s songs depicted religious values of Islam which is very deep breath. It is the core of the religious teaching from the building joins of faith. The meaning of Pamojhi’s songs is one note withIslamic theology. The First is devotion, a belief where there is no God to worship except Allah. And the Second is petition and Connection, its mean of certainty about power of the one supreme which regulates al human life. So, the third is surrender, human of submission form slave to ruler after pass up petition or attempt to get something which be desired. These values are embodied in the magic spell ritual worship in the implementation of Hodo, either explicitly or implicitly, that the ritual could be accepted by society and survive until now.