my ta interacts with text. like she yells at text. it's wonderful.
she's quite sensitive to words. words. we're not really supposed to get into stylistic criticism, per se, but what's up with this "victim" talk? and that has to do with content. mm. she brought up witchcraft in western europe vs...this. male/female emphasis. i feel fortunate to have her as my ta.
table 1. unambiguous cases of communicative love magic
dubois (1944) - hang talisman from eaves
elwin (1939) - put something on girl's shoulder or in her hair; throw pebbles at her; throw oily material in her hair
covarrubias (1937) - carry ancient coin on belt; anoint desired person; feed her special leaf
gutmann (1826) - blow ashes in victim's face
blackwood (1931) - give her tobacco smeared with aromatic substance; spit special mixture on her; make charm with water you asked victim to give you; throw charmed torch toward her
boas (1932) - rub victim's hand with cream
whiting (1941) - put charm in victim's lime gourd or cigarette
powdermaker (1932) - say spell over leaf in presence of victim; give her charmed coconut, taro, banana
best (1924) - play flute; put bunch of leaves where girl can see it
kluckhohn (1944) - administer special plants through food, in cigarette, or by kissing; blow pollen on her
coon (1931) - give victim amulet; wear amulet on head or neck; burn amulet so victim can smell smoke
junod (1927) - practitioner's head scratched by rooster
akiga (1939) - antimony in practitioner's eyes
goodwin (1942) - flash mirror at victim; use hair plucked from her
table 2. questionable cases of communicative love magic
evans-pritchard (1937) - one can manipulate a woman's dreams at a distance (but in only example given a man discusses that manipulation with his victim)
fortune (1932) - put scented sap on one's body (but does victim smell it?)
turney-high (1937) - put powder on head of victim "secretly" (but can it be done secretly?)
underhill (1936) - flutes were played to attract women (but were they supposed to have magical properties?)
ray (1933) - put special mixture on practitioner's face, shoulders, and arms (does victim see it?)
stayt (1931) - mix special mixture in special material (does it leave a noticeable residue?)
there's a galley of giggly girls outside. i feel a bit more awake now.
table 1. unambiguous cases of communicative love magic
- primary source - examples of communicative love magic acts
dubois (1944) - hang talisman from eaves
elwin (1939) - put something on girl's shoulder or in her hair; throw pebbles at her; throw oily material in her hair
covarrubias (1937) - carry ancient coin on belt; anoint desired person; feed her special leaf
gutmann (1826) - blow ashes in victim's face
blackwood (1931) - give her tobacco smeared with aromatic substance; spit special mixture on her; make charm with water you asked victim to give you; throw charmed torch toward her
boas (1932) - rub victim's hand with cream
whiting (1941) - put charm in victim's lime gourd or cigarette
powdermaker (1932) - say spell over leaf in presence of victim; give her charmed coconut, taro, banana
best (1924) - play flute; put bunch of leaves where girl can see it
kluckhohn (1944) - administer special plants through food, in cigarette, or by kissing; blow pollen on her
coon (1931) - give victim amulet; wear amulet on head or neck; burn amulet so victim can smell smoke
junod (1927) - practitioner's head scratched by rooster
akiga (1939) - antimony in practitioner's eyes
goodwin (1942) - flash mirror at victim; use hair plucked from her
table 2. questionable cases of communicative love magic
- primary source - acts that may be communicative
evans-pritchard (1937) - one can manipulate a woman's dreams at a distance (but in only example given a man discusses that manipulation with his victim)
fortune (1932) - put scented sap on one's body (but does victim smell it?)
turney-high (1937) - put powder on head of victim "secretly" (but can it be done secretly?)
underhill (1936) - flutes were played to attract women (but were they supposed to have magical properties?)
ray (1933) - put special mixture on practitioner's face, shoulders, and arms (does victim see it?)
stayt (1931) - mix special mixture in special material (does it leave a noticeable residue?)
there's a galley of giggly girls outside. i feel a bit more awake now.