Search results for ""Author Rae Beth""

Village wisewomen and men, the community's witches, have always helped to heal wounded lives. When disaster strikes, such as serious illness or some kind of abuse or loss, or when we're struggling through things such as divorce or family conflict, today's hedge witchcraft can still give us the means to help ourselves or others. There are, for example, spells to banish the spirits of cruelty or injustice. There are ways of countering the ill effects of spiteful thoughts which others may hold about us. We can rebuild our sense of ourselves by magic that holds us true to our real life purpose, throughout any crisis. What is presented here is not superficial and not a shortcut. Rather, it is a powerful process, a method which can be adapted to any situation where help may be needed.

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Written in the form of letters from an experienced witch to her two apprentices, solitary witchcraft is offered, not as a substitute for coven worship, but as a fulfulling lifestyle in its own right. Rae Beth explains the importance of the Goddess and her consort, the Horned God, as sources of spiritual strength and worship. The author extols the feminine principles of healing and regeneration as well as attacking greed and self-interest which jeopardize the planet's very future. Rae Beth provides spells for all the key festivals of the witch's calendar; describes and outlines the Pagan approach to finding a partner. Her lyrical letters, accompanied by delicate pen-and-ink sketches, bring the reader towards a deeper understanding of the solitary witch's lifestyle and beliefs.

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Vividly bringing to light the tradition of physical comedy in the French cabaret, café-concert, and early French film comedy, this book answers the perplexing question, “Why do the French love Jerry Lewis?” The extraordinary emphasis on nervous pathology in the Parisian café-concert, where the genres of the Epileptic Singer and the Idiot Comic took center stage, and where popular comic monologues and songs included “Man with a Tic” and “I’m Neurasthenic,” points to a fascinating intersection between medicine and popular culture. The French tradition of comic performance style between 1870 and 1910 nearly exactly duplicates the movements, gestures, tics, grimaces, and speech anomalies found in nineteenth-century hysteria; the characteristics of hysteria became a new aesthetics. Early French film comedy carried on this tradition of frenetic gesture and gait, as most film performers came from these entertainments and from the circus. Even before Chaplin’s films triumphed in France, film comics were instantly recognizable from their pathological gait, just as Jacques Tati would be a half-century later. Comedy, a genre that dominated French cinema until World War I, has often been linked to a mass public for film; the author elucidates this link by proposing a broadly generalized cultural-medical phenomenon as the explanation for the dominance of the comic genre. Comic performance style drew from a group of nervous disorders characterized by the psychological automatism emanating from the “lower faculties”: nervous reflex, motor impulses, sensation, and instinct. Building on her previous work on hysteria, the cabaret, and pathologies of movement in the films of Georges Méliès, and drawing on over 400 French films made between 1896 and 1915, the author contributes to a new theory of spectatorship at work in the cabaret, in shows of magnetizers, and in early French film comedy. Jerry Lewis touches a nerve in French cultural memory because, more than any other film comic, he incarnates this tradition of performance style.

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