Solar Magic: Incorporating the Power of the Sun into Cosmic Witchcraft

A cosmic witch propume is a tool used by practitioners of witchcraft to connect with the cosmic forces and harness their energy for their magical workings. The term "propume" is a combination of the words "protection" and "perfume," and reflects the purpose and nature of this object. A cosmic witch propume is typically a blend of herbs, essential oils, and other natural ingredients that are chosen for their specific properties and correspondences to the cosmic energies. These ingredients may include herbs like sage, lavender, rosemary, and frankincense, as well as essential oils such as sandalwood, myrrh, and lemon. The cosmic witch propume is used by applying a small amount to the wrists, neck, or other pulse points, as well as in ritual and spell work. The act of applying the propume is often done with intention and mindfulness, as the practitioner focuses on connecting with the cosmic energies and inviting their protection and guidance.

I have energy boosting sigils? Magic power potency sigils? Besides that, it really just boils down to energy and how you use it. Using things that correspond with your intent can help you better focus your energy and add a bit of a boost for its chances, but those aren’t really required either.

Paper, candles, draw it in sand, syrup them on your pancakes, draw with honey on the bottom of you mug, draw them with glitter glue, arrange them with sticks in the woods, anything is possible. An excessive use of the tableau can be detected in both films, with many thematic connections, in subtle interwovenness with female identiy and corporeality performed as a site of traumatic experiences, upon which institutional, colonial power relations are reinscribed.

The act of applying the propume is often done with intention and mindfulness, as the practitioner focuses on connecting with the cosmic energies and inviting their protection and guidance. The propume can be used as a personal fragrance and also as a means of setting an energetic boundary around oneself, protecting against negative energies and influences. It can be used before meditation, divination, or any other magical work to create a sacred and protected space.

Magie și vrăjitorie. Perspective istorice, antropologice și artistice/ Magic and Witchcraft. Historical, Anthropological and Artistic Perspectives

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The present study carries out a comparative/contrastive analysis of two ways of contemporary Hungarian and Romanian film discourse, namely magic realism and micro-realism, and will focus on the representation of the woman in the contemporary films entitled Witch Circle (Dezső Zsigmond, 2009),exploring a subversive female mythologem of a confined traditional community, that of the Csángó people, Bibliothéque Pascal (Szabolcs Hajdú, 2010),which creates a private mythology, materialised in form of surrealist images, of the female self interpreting herself out of her conditions, and Beyond the Hills (Cristian Mungiu, 2012), drawing its topic from a real event -reality generating fiction-that inspired Tatiana Niculescu Bran’s Deadly Confession [Spovedanie la Tanacu), Judges’ Book [Cartea Judecătorilor), as well as Zsolt Láng's The Monasteryr of Protection (Az oltalom kolostora). Beyond dealing with related female patterns, the films imder discussion are engaged in mediating collectiv.

Il canto di Orfeo. Poesia – Rito – Magia. Atti del XVII convegno internazionale (Rocca Grimalda, 22-23 settembre 2012), pp. 99-129.

In the years between the two world wars, the cinema already had a meaning that no one could deny. This fact was highlighted by some of the most important Romanian journalists of the era to which we are referring. However, while some journalists saw in cinema the gentlest way in which thoughts and feelings could be communicated, others talked about the negative influence it had, for example, on children. Some of the journalists who were part of the second category even believed that the cinema is the one who reveals to honest people the ways towards depravation. In order to accomplish this paper there were analysed articles published in publications such as: Flori de crin/Lily flowers, Revista generală a învățământului/General Education Review, Revista Fundațiilor Regale/The Royal Foundation Magazine, Curentul familiei/The Current of Family, Gândirea/The thought, Adevărul/The truth, etc.

The book directly opens possibilities for cross examination of the theatre theory status, the formations from the history of theatre and the potential contextualisations of theatre works (procedures, institutions, events) in Slovenian culture after the year 1950. The author’s selection of examples (theatre works, contexts, author profiles, historical orientations) remains within the field of evolutions, revolutions and deconstructions of the theatre work, ranging from radical modernist existential theatre (such as Oder 57) and late-modernist or neo-avant-garde experimental groups (Pupilija Ferkeverk, Glej, Pekarna) to postmodern eclecticisms of the 80s (the directing practice of Jovanovič, Ristič, Pandur and Živadinov) and plural happenings of the conflict or non-conflict heterogeneities of the dramatic and postdramatic theatre in the 90s (Meta Hočevar, Pandur, Betontanc, Kušej, Berger, Hrvatin, Živadinov). That is history, but a history which is theoreticised in the sense that has been let through the interpretative filters of contemporary theories, which serve the examination of the thesis on the confrontation of textocentrism and scenocentrism. (Miško Šuvaković about the book)

After the fall of communism, Romanian literature, theatre and film seem to have grown an appetite for reality. Journals and autobiographies, nonfictional confessions and novels, plays and performances bearing socio-political weight, feature films and documentaries and, in the last decade, the growth of the New Romanian Cinema try to encompass and give meanings to local historical events, contemporary dilemmas or social malaise. Even if, at first, the focus seemed to be on the sins of the late communist regime and on the difficulty of adapting to the new economic and political rules, these past years have shown that the artist can catch any spark from real life and reshape it for domestic and international audiences. Books, plays and films were based on TV or printed news, political and economic controversies, personal or collective tragedies,social phenomena and so on. Romanian artists started to get increasingly involved in the public life, claiming more and more the functions of activists,vigilantes or prosecutors. After dealing with the crimes of dictatorial regimes, they approached themes related to urgent matters from contemporary Romania: migration, the shift from state-held economic destinies to private initiative, health and education systems, ethnic minorities, European integration, mining environmental controversies or the new bourgeois life. Nevertheless, one of the themes that raised much attention was the special relation that the Church (most frequently the Orthodox Church) had with its followers and the State. Secular voices tried to launch debates about various privileges the State offered to the Church, the large number of churches that were being built, teaching religion and creationism in public schools, controversial practices of some members of the clergy, or, more recently, building the monumental Romanian People’s Salvation Cathedral in Bucharest. And these are just some rough cut-outs of what preceded the death of a 23-year-old orphan girl in June 2005, in a small monastery in Eastern Romania, after being chained to a wooden board and forced to fast while the priest prayed so the Devil would leave her tormented body and mind. News of the event travelled the world, and polarized the public opinion in Romania, both between secular and religious communities, and inside the Orthodox Church. A few days later, everyone seemed to be a part of this stormy public play. In the years that followed, this complex incident became one of the most interesting approaches to transforming real-life events to literature, theatre or film, as between 2006 and 2012 journalist and writer Tatiana Niculescu Bran, and the directors Andrei Şerban and Cristian Mungiu addressed the death of Irina Cornici at the Tanacu monastery. Each of them initiated ambitious projects, largely discussed in Romania and abroad (Şerban’s play premiered in New York, Mungiu’s movie was acclaimed at Cannes in 2012). It is the aim of this paper to try to reveal some of the transforming processes involved in the adaptation of this traumatic incident to these various mediums (literature, theatre and film), and also the inherent tensions contained in these very particular adaptations, especially those that address the relation between the adapted works and the real events.

During the twentieth century and in the early decades of the following century, history has been often imagined and reimagined through works of fiction inspired by actual historical events as well as through films, many of which have become iconic. Fantasy literature, apocalyptic and postapocalyptic narratives, and films based on the same topics are mainly concerned with presenting and analysing ages and historical periods, major historical processes: the Antiquity, dominated or consolidated by political and military personalities who are now prototypes of mentalities; the Middle Ages, heavily reinvented with the tools of oversimplification and binarism of the fantasy genre; the discovery of the Other through exploration and voyages; "the long modernity", or the civilisation model of the Euro-Atlantic space; the empire-national state antithesis; the moral and societal backlash of the twentieth century; the motif of dooming power; the new millennial anxieties. The cultural display which can be analysed is very generous and goes beyond the factological historical imagining. Themes such as those of the end of history and humanity are more and more frequently tackled, especially in popular culture, against the backdrop of the global crises which have had an impact on our world. The new political mythologies and uchronia are more and more present in imagining human history. Thus, the cultural motif of historical time travel or the individual return in history as a way to interfere with decisions and events which caused tragic global moments and changed the direction of human progress seems justified by the simplified and untraditional explanation of historical determinism. More often than not, these narratives include the idea that event history can be triggered by a detail, by chance, by chaos. The process of rethinking from the perspective of the social justice carried by the figure of the Saviour, presenting the Multiverse as our world's chance of survival are cultural phenomena specifc to the latest decades of cultural production. Cultural products about historical time and the end of history gain more and more influence and credit in the popular culture of our time. As a result of this reductionist cultural process, full of cliches and dominated by such genres as fantasy, science fiction and horror, people nowadays frequently regard human history as a doomed universe. There are, on the other hand, films which faithfully reproduce the historical context. See, for example, the everlasting popularity of "period drama" and the way such adaptations imagine and reinvent Eizabethan England or Victorian Britain, "La Belle Epoque", Tsarist Russia and the "golden ages" of national or global histories, by means of scenic design and image expressiveness. But the most interesting adaptations are those which borrow narratives from a certain historical and cultural space and extrapolate them in a civilisation that has no clear temporal or cultural connection with the template. This is meant to demonstrate mainly the universal character of some major historical and moral themes (such as, especially, the destiny of Shakespeare's plays or the works of Russian literature, which determined successive cinema re-adaptations). Unfortunately, in the past several years, climate change, natural disasters, the restrictions and transformations imposed by the system with a view to resource preservation, the decline of consumerist society, corruption, the uncertainty about the future of the human species and of the planet, regional conflicts and the tense geopolitical context, deeper socio-cultural gaps, as well as millennial fears are stimuli for the fictional and sci-fi film production and their propensity for apocalyptic themes and postapocalyptic survival. Traditionally, our journal encompasses a Miscellanea section, as well as one for reviews of scientific books, presentations of scientific conferences and international film festivals. We welcome proposals for Brukenthalia. Romanian Cultural History Review until December 15, 2022, and after the selection has been made, we welcome the developed proposal until March 15, 2023.

The paper surveys two modes of representation present in contemporary Hungarian and Romanian cinema, namely magic realism and minimalist realism, as two ways of rendering the " real " in the Central Eastern European geocultural context. New Hungarian Film tends to display narratives that share the features of what is generally assumed as being magic realist, accompanied by a high degree of stylization, while New Romanian Cinema is more attracted to creating austere, micro-realistic universes. The paper argues that albeit apparently being forking modes of representation that traverse distinct routes, magic realism and minimalist realism share a set of common elements and, what this study especially focuses on, converge in the preference for the tableau aesthetic. The paper examines the role of tableau compositions and tableaux vivants in representative films of the Young Hungarian Film and the Romanian New Wave, namely Szabolcs Hajdu's Bibliothèque Pascal (2010) and Cristian Mungiu's Beyond the Hills (După dealuri, 2012). An excessive use of the tableau can be detected in both films, with many thematic connections, in subtle interwovenness with female identiy and corporeality performed as a site of traumatic experiences, upon which (institutional, colonial) power relations are reinscribed. The tableau as a figuration of intermediality performs the tension between the sensation of the " real " and its reframed image, and proves especially suitable for mediating between low-key realism and highly stylized forms.

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that’s legit! there are sites where you can design your own skins and i bet you could put some sigils on them, as well!

The use of a cosmic witch propume can also deepen one's connection to nature and the cosmos, as it combines both earthly and celestial energies. By incorporating the propume into their practice, a witch can align themselves with the larger patterns and cycles of the universe, enhancing their magical abilities and manifesting their desires more effectively. In conclusion, a cosmic witch propume is a powerful tool used by witches to connect with the cosmic energies and enhance their magical practice. It serves both as a fragrance and a protective barrier, allowing practitioners to tap into the limitless power and wisdom of the universe..

Reviews for "Planetary Magic: The Influence of the Planets on Cosmic Witchcraft"

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