many of Isobel's demonological
, specific maleficium and fairy-related passages emerge fully developed in her very first confession....
Marion Gibson and Jo Ann Esra's dictionary of Shakespeare's demonological
language is part of the topic-centered Arden Shakespeare Dictionaries series, edited by Sandra Clark, which also includes such works as Shakespeare's Medical Language, Shakespeare and the Language of Food, and Music in Shakespeare, among others.
(14.) Golovakha-Hicks I (2008) The Life of Traditional Demonological
Legends in Contemporary Urban Ukrainian Communities.Folklore, vol.
In determining the boundaries of fiendish magic, the early modern stage lends credibility to demonological
convictions by drawing a firm distinction between the possible and the impossible.
Sempere sees a "link between the fantastic and a 'return' of forgotten--even repressed--superstitions" (17) that could commonly be found in the demonological
texts of the sixteenth and early seventeenth centuries.
"Such an Impure, Cruel and Savage Beast ...: Images of the Werewolf in Demonological
Works." In Werewolves, Witches, and Wandering Spirits: Traditional Belief in Folklore in Early Modern Europe, edited by Kathryn A.
In this context of two overlapping female claim addresses to delegitimize women: the patristic discourse inherited from the Fathers of the Church, and the dogma demonological
establishing an association between innate female sexuality and evil issues.
While the pre-tantric demonological
traditions of mothers, female seizers and spirit beings as found in the Mahabharata, Harivamsa and early ayurvedic literature are only a few centuries younger than those alluded to in the works of the second-century BCE Plautus and Titinius--and nearly coeval with the first-century CE Ovid and Petronius's full-blown striga narratives--all of the South Asian traditions of tantric witches (dakinis, yoginis, etc.) postdate the Roman material by several centuries.
Karswell's spectral nemesis is glimpsed only in the tail of the eye, just as his demonological
interest sustains itself in the byways and margins of officially-sanctioned knowledge.
Talbot uses demonological
terms throughout, referring to the work of "Lucifer" in a chapter tide and throughout the text.