[...]917)

(l clss="ppl">Baxstroml> <lgc clss='lgc'>+lgc> l clss="ppl">Meyersl>) lss="trms">question of lss="trms">mimesis
lss="prgrph">-what is the lss="trms">relation between a fragmentary visual artifact drawn “from life” and the truth value of any such fragmentslss='qstn'>?
lss="prgrph">-what lss="trms">sorts of filmmaking practices can felicitously mimic life as suchlss='qstn'>?

<lgc clss='lgc'>[lgc>lss='thdf'>for example in Curtis's In the lss='trgt hghlght 1'href='?q=L'>Land of the War Canoes<lgc clss='lgc'>]lgc> status of reenactment <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> prevailing standards of expressing the real

<lrg clss="large lg2" stl="font-size:110%"> <lgc clss='lgc'>--lgc>later <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> crypto-structuralss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin myth that falsely relss="trms">presented what “documentary” meant to pre-Griersonian filmmakers <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> “realss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list” lss='trgt hghlght 1'href='?q=L'>Lumiere <lgc clss='lgc'>=/=lgc> the “fanciful” Melies

<lgc clss='lgc'>}lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> ls clss='strcls'>*ls>gap between witnessing and the realls clss='strcls'>*ls> in Europe (this lss="trms">question of evidence occupied inquisitors and theologians long before the invention of cinema)
lrg>

preparing viewers for the “diegetic absorption”
(telling of a lss="trms">story by a lss="trms">narrator) diegesis <lgc clss='lgc'>=/=lgc> lss="trms">mimesis

the strategy of “relss="trms">imaging” is lss="trms">methodological and intentional (in the opening minutes of the film lss="nms">Häxan) <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> (in European terms, for a very long time<lgc clss='lgc'>:lgc>) “knowllss="trms"nttrm="knowledge,Knowledge">edge<lgc clss='lgc'> = lgc>relss="trms">citations of the known”

<lgc clss='lgc'>+lgc> creation of new images <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> constituting its own evidence for what is at stake
(Christensen designating) ls clss='strcls'>**ls>lss="trms">techniques of lss="trms">presentation rather than simple contentls clss='strcls'>**ls>

ls clss='strcls'>****ls>the “truth” gained by the reproduction of archival imagesls clss='strcls'>****ls> <lgc clss='lgc'><<lgc clss='lgc'>==lgc>lgc>through<lgc clss='lgc'>==lgc> their mobility in the context of their new use
<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> (similar to Farocki) Christensen empties out such visual artifacts, expressing through their preestablished frame a meaning that was hidden and resisted



(l clss="ppl">Baxstroml> <lgc clss='lgc'>+lgc> l clss="ppl">Meyersl> carefully treating the) lss="trms">methodological element of Christensen's image-making practices <lgc clss='lgc'>--lgc>in<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="nms">Häxan's depiction of the violent moral disorder of the lss="trms">Wild Ride of the witches to their Sabbats

(16th century) lss="trms">Wild Ride<lgc clss='lgc'>:lgc> a standard element of both demonological and popular lss="trms">literary accounts of the activities of witches, lss="trms">folding<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•older legends of lss="trms">wild hunters
lsts> <lsts clss="lsts lst1">•restless lss="trms">travels of the dead at night
lsts> <lsts clss="lsts lst1">•tales of the Furious Horde (a super lss="trms">natural band that was not olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginally aslss="trms">sociated with witchlss="trms">craft)
lsts> <lsts clss="lsts lst1">•twisted chaos of the deep forest
lsts> Canon Episcopi regarding the power of demonic illusion to deceive women into lss="trms">imagining that they could lss="trms">travel great distances at night, often in the company of the goddess Diana
<lgc clss='lgc'>}lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> conjoining of witch image to demonological discourse <lgc clss='lgc'>[lgc><lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> an lss="trms">lss="trms">empirically verifiable invention in the late medieval period and the Renaissance<lgc clss='lgc'>]lgc>

<lrg clss="large lg14" stl="font-size:114%"> ls clss='strcls'>*ls>the oscillating value of the non-lss="trms">fictivels clss='strcls'>*ls> (of its discrete artifacts)

hybrid human–lss="trms">animal creatures with each “lss="trms">natural” lss="trms">species being traceable within the complete appearance of the demonic creature


(coming into contemporary performance art <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>) figures from antiquity<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•Saturn lss='at'>@lss="frds scrmbld"nttrm="Alex,Alert,Aleph,Alessi">Ale
lsts> <lsts clss="lsts lst1">•Circe lss='at'>@lss="frds scrmbld">Bryana (changing men into lss="trms">beasts, games of chance, gambling, tricks, slight of hand, illusion, hybrid lss="trms">animal–human forms of the demons dancing around the “grandmother” with surprisingly young and beautiful appearance <lgc clss='lgc'>--lgc>melancholy<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> general sense of sexual and lss="trms">societal disorder swirling around a placid, passive female protagonist) <lgc clss='lgc'>+lgc> lss="trms">lss="trms">empirical strain of the discourse of the witch
lsts> <lsts clss="lsts lst1">•Sabbat lss='at'>@lss="frds scrmbld">Jassem
lsts> <lsts clss="lsts lst1">•
lsts> <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>

pact of the witch
obsessed state of the hysteric
lss="trms">interplay of face and tableau

(Warburg's assertion that) donning a mask constitutes an active attempt “to wrest something magical from lss="trms">nature through the transformation of the person”
<lgc clss='lgc'>[lgc>putting on a mask <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> transformation of the person <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> obtaining omething magical from lss="trms">nature<lgc clss='lgc'>]lgc>

Christensen formally constructing “the witch” through a cinematic iteration of metoposcopic lss="trms">naturalism
(metoposcopy<lgc clss='lgc'>:lgc> a form of divination in which the diviner predicts personality, character, and destiny, based on the pattern of lines on the subject's forehead.)

(l clss="ppl">Avitall>) lss="trms">scientific imperative (the lss="trms">demand in the 19th century for an lss="trms">epistemological relss="trms">liable inquiry in the lss="trms">nature of things) <lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> fascination for the freak and the occult <lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> on the way to lss="trms">technology


(l clss="ppl">Baxstroml> <lgc clss='lgc'>+lgc> l clss="ppl">Meyersl> > Philippe Alain-Michaud on Warburg) “in Mnemosyne, photographic reproduction is not merely illustrative but a general plastic medium to which all figures are reduced before being arranged in the space of a panel. In this way, the viewer participates in two successive transformations of the olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal lss="trms">material<lgc clss='lgc'>:lgc> lss="trms">different types of objects (paintings, reliefs, drawings, architecture, living beings) ls clss='strcls'>*ls>are unified through photographyls clss='strcls'>*ls> before being arranged on the panel stretched with black cloth. The panel is in turn ls clss='strcls'>*ls>rephotographed in order to create a unique imagels clss='strcls'>*ls>, which will be inserted into a series intended to take the form of a lss="trms">book. The atlas, then, does not limit itself to describing the migrations of images through the lss="trms">history of relss="trms">presentation<lgc clss='lgc'>:lgc> it reproduces them. In this sense, it is based on a cinematic mode of thought, one that, by using figures, aims at not lss="trms">articulating meaning but at producing effects.”


transgressive approach to the archive<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•Gerhard Richter's Atlas, 2006
lsts> <lsts clss="lsts lst1">•Jean-lss='trgt hghlght 1'href='?q=L'>Luc lss="frds scrmbld"nttrm="Godard">Godard's lss="trms">Histoire(s) du cinema, 1988
lsts> <lsts clss="lsts lst1">•Christensen's lss="nms">Häxan
lsts> <lsts clss="lsts lst1">•Warburg’ Mnemosyne (lss="trms">presentation of a series of visual cliches and stereotypes, fragments which were most likely allss="trms"nttrm="already,spread">ready familiar to the viewer <lgc clss='lgc'>~lgc> lss="trms">figurative givens <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> lss="trms">lss="trms">empirical evidence <lgc clss='lgc'>+lgc> media to conjure with)
lsts> <lsts clss="lsts lst1">•l clss="ppl">Bataillel>'s journal ‘Documents’ 1929–30 <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> seizes cliched objects and then lss="trms">systematically empties them out in the course of its own expressions. l clss="ppl">Bataillel> and his contributors sought to defamiliarize the cliches, disturbing the placidly deceptive surface of the mundane in their fragmentary, juxtaposing lss="trms">methods of critique and lss="trms">presentation <lgc clss='lgc'>=/=lgc> Warburg <lgc clss='lgc'>+lgc> Christensen collecting mythological, lss="trms">figurative givens seemingly quite distant from the “really” real
lsts> <lgc clss='lgc'>}lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> unsettling distances between myth and the everyday
lss="prgrph">-weave together episodic fragments in order to draw parallels (across domains of sense that cut across time) and corlss="trms">respondences across lss="trms">situations and characters
lss="prgrph">-lss="nms">Häxan deploys the lss="trms">techniques aslss="trms">sociated with Warburg's Mnemosyne and l clss="ppl">Bataillel>'s Documents for purposes of lss="trms">affectively emphasizing the dark, chaotic forces that lss="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurk under the smooth surface of the everyday
(lss="nms">Häxan's episodic structure <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc>)
<lsts clss="lsts lst1">•characters seemingly out of a dead lss="trms">past to live again
lsts> <lsts clss="lsts lst1">•draw the lss="trms">phenomenology of the hysteric
lsts> <lsts clss="lsts lst1">•draw the work's own contemporary time to the surface
lsts>

promiscuous<lgc clss='lgc'>:lgc> neither wholly artistic nor lss="trms">scientific <lgc clss='lgc'>=/=lgc>lss='qstn'>? hybrid artistic and lss="trms">scientific

lss="trms">traverse steep slope between lss="trms">past and future in the form of an event <lgc clss='lgc'>=/=lgc> plot


<lrg clss="large lg14" stl="font-size:118%"> inability to automatically lss="trms">categorize lss="nms">Häxan (or any work of art) <lgc clss='lgc'><<lgc clss='lgc'>==lgc>lgc> ls clss='strcls'>***ls>formal strategy rooted in an lss="trms">epistemic virtuels clss='strcls'>***ls>


ls clss='strcls'>***ls>(in later Middle Ages) practices such as persecuting witchlss="trms">craft to meditating on Christ<lgc clss='lgc'> = lgc>lss="trms">techniques (of lss="trms">sorting operation) to draw distinctions among visual lss="trms">phenomena, lss="trms">differentiating, say, physical objects from fantasies, dreams, and diabolical or artful deceptions
<lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc>artist<lgc clss='lgc'>--lgc> image-makers specialized in manipulating one thing (their lss="trms">materials) in order that a viewer should see something else <lgc clss='lgc'>~lgc> ls clss='strcls'>*ls>to make something invisible visiblels clss='strcls'>*ls> <lgc clss='lgc'>[lgc><lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> this is always ideological, and is very common in art<lgc clss='lgc'>]lgc>
(lss='at'>#testing) the objective knowllss="trms"nttrm="knowledge,Knowledge">edge possessed by the uncanny (in witch's pathological lss="trms">language of diabolic proofs) <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> witch must be experienced in her own milieu, a satanic biome, her state in lss="trms">nature

lrg>lbrkr stl="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................lbrkr>

typical in 17th century<lgc clss='lgc'>:lgc> tacit lss="trms">mutuality of word lss='and'>& image
lss="prgrph">-artists habitually gave their paintings titles, mottoes, tags and quotations, and their works abound in lss="trms">literary allusions
lss="prgrph">-explicit lss="trms">interleaving of the lss="trms">verbal and visual


cat feces and dove hearts boiled in the moonlight

stereotype of a debased and corrupted priest
object of the customer's lss="trms">affections


Protestant discourse against the Catholic Church in the 16th century <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> artists of the period extended the lss="trms">instrumentalization of slander through the production of proto-pornographic images of bishops, priests, and the pope engaged in myriad obslss="trms">cene acts <lgc clss='lgc'>--lgc>depicting<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> the emotional states and desires of the clergy

magical salves (considered particularly powerful and troubling by demonologists)

lss="nms">Häxan self-lss="trms">positioning as a lss="trms">scientific investigation <lgc clss='lgc'>+lgc> constantly pull back from the dramatic outcomes of what lss="nms">Häxan depicts

lss="nms">Häxan's delss="trms">monstration of the power of the witch <lgc clss='lgc'>=/=lgc> lss="trms">paranoid delusions of witch- crazed villagers


widely held set of beliefs regarding the “lss="trms">nature” or “essence” of women
Christina lss='trgt hghlght 1'href='?q=L'>Larner's assertion that witch trials were gender-related (but not by delss="trms">finition gender-lss="trms">specific)
<lgc clss='lgc'>--lgc>l clss="ppl">Baxstroml><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> ls clss='strcls'>*ls>women often came under suspicion of being witches because they were understood to be particularly susceptible to lust, avarice, and jealousy by their very lss="trms">nature <lgc clss='lgc'>[lgc><lgc clss='lgc'>~lgc> 16th century<lgc clss='lgc'>:lgc> ls clss='strcls'>**ls>women “lss="trms">naturally” susceptible to witchlss="trms">craftls clss='strcls'>***ls> <lgc clss='lgc'>+lgc> women were presumed to possess elements of the lss="trms">nature more than men<lgc clss='lgc'>]lgc> <lgc clss='lgc'>=/=lgc> Federici's understanding of witch-hunt as straight-forward instance of misogynyls clss='strcls'>*ls>
<lgc clss='lgc'>--lgc>Roper<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> ls clss='strcls'>*ls>one cannot approach witchlss="trms">craft or possession from a vantage point in the lss="trms">present without granting some legitimate status to the ways in which the Devil and witches were not only asserted to be real but were experienced as suchls clss='strcls'>*ls>


(debates over) politics and evil
satan's malefic lss="trms">presence (in Dreyer's lss='trgt hghlght 1'href='?q=L'>Leaves)
ls clss='strcls'>*ls>a lss="trms">density of parallelismsls clss='strcls'>*ls>
Dreyer figures Satan as a problem of the lss="trms">present
“Bolsheviks violently engaged in revolutionary struggle<lgc clss='lgc'> = lgc>manifestation of a transcendental demonic power”

lss="trms">question of theodicy <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> God's seeming absence from the lss="trms">world

sleep-walking <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> enticing a nude female lss="trms">somnambulss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list out of her home into the forest, where she eventually kneels before a demon who embraces her

<lrg clss="large lg14" stl="font-size:104%"> proving sexual lss="trms">relations with the devil <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> lss="trms">lss="trms">empirical evidence for satan's existence

(l clss="ppl">Benjaminl> > Christensen's art sets out) to conquer meaning

<lrg clss="large lg14" stl="font-size:118%">
...so it is no stretch to suglss="trms">gest that...

subject and subtext



dreamtime of the 16h century
dreamtime of the witch


<lsts clss="lsts lst1">•Durer, Baldung, Cranach, artists at the dawn of the Reformation sought to relss="trms">present the void as a figure
lsts> <lsts clss="lsts lst1">•strategies by which Expressionist painting sought to externalize states of mind
lsts>
(l clss="ppl">Baxstroml> <lgc clss='lgc'>+lgc> l clss="ppl">Meyersl> emphasizing) how lss="nms">Häxan ls clss='strcls'>*ls>corlss="trms">responds with a variety of traditionsls clss='strcls'>*ls> without seeking to assimilate the film fully within one over another



stillness and fixity of tableau-like shot comlss="trms">position (Dreyer, Murnau, Christensen) <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> (the lss="trms">affect of) suffocating organization

l clss="ppl">Deleuzl>e summary of Expressionism<lgc clss='lgc'>:lgc> play of light and darkness, with the mixture of the two producing an effect that suglss="trms">gests either falling into the black hole or ascending towards the light <lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> ls clss='strcls'>*ls>facels clss='strcls'>*ls> makes this lss="trms">affective power mobile

<lsts clss="lsts lst1">•(in Murnau) tableau <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> frees the viewer for introspection regarding lss="trms">nature in a kind of emotional, spiritual release <lgc clss='lgc'>=/=lgc> close-up (disruptive pathos)
lsts> <lsts clss="lsts lst1">•(in lss="nms">Häxan) tableau <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> grounds the uncontrollable forces at work on the faces of those confronted by the power of the witch (constituting a shot that is intensive <lgc clss='lgc'>=/=lgc> introspective)
lsts>
<lrg clss="large lg6" stl="font-size:111%">
lss="nms">Häxan film <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> progressive unlss="trms">folding of the lss="trms">material lss="trms">world through the style of a lss="trms">lecture
lss="prgrph">-exploration of the lss="trms">wonders and “errors” of the lss="trms">past (with near-messianic belief in the perfectibility of man)
magnified form of realss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list cinema <lgc clss='lgc'>+lgc> rooted in a lss="trms">naturalss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list impulse <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> Christensen's witch is not only here now, it has always been here<lgc clss='lgc'>:lgc> “witch<lgc clss='lgc'> = lgc>a figure of lss="trms">nature”
lss="prgrph">-lss="nms">Häxan begins with woodcuts, drawings, and paintings that olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginate from ls clss='strcls'>*ls>an act of touchls clss='strcls'>*ls> <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> haptic vision <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> to lss="trms">present lss="trms">figurative cliched givens <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> establish the ground
lss="prgrph">-seizes (the audience) and is seized (by the witch)
lss="prgrph">-seeing and touching ls clss='strcls'>*ls>virtual beingsls clss='strcls'>*ls> (such as devils)
<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigorously logical structure <lgc clss='lgc'>+lgc> expressing the tangible singularity of the power of the witch

ls clss='strcls'>*ls>(from) tales <lgc clss='lgc'>--lgc>to<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> theology <lgc clss='lgc'>--lgc>to<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> diagnosisls clss='strcls'>*ls>


“advancement” of lss="trms">natural knowllss="trms"nttrm="knowledge,Knowledge">edge <lgc clss='lgc'><<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>lgc> demonology


witch<lgc clss='lgc'>:lgc> a viral character


witch hunters's trial by water ls clss='strcls'>*ls>is not a “trial” but rather an experimentls clss='strcls'>*ls> (to identify evidence of evil's lss="trms">presence<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>in the absence of direct unmotivated proof) <lgc clss='lgc'>--lgc>operating<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> though a form of non-knowllss="trms"nttrm="knowledge,Knowledge">edge <lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> mastery of nonsense
= ls clss='strcls'>***ls>a deep appreciation of (that might seem misguided to us)<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•cause-and-effect lss="trms">relations
lsts> <lsts clss="lsts lst1">•forces at work in the lss="trms">natural lss="trms">world
lsts> (<lgc clss='lgc'>=/=lgc> inlss="trms">difference to the truth, retreat into superstition)
<lgc clss='lgc'>~lgc>
<lgc clss='lgc'>[lgc>these<lgc clss='lgc'>]lgc> cases suglss="trms">gestive of and lss="trms">lss="trms">empirically linked to general laws. the case said something about the lss="trms">world, and once a case was established, it would splss="trms"nttrm="already,spread">read like a contagion (<lgc clss='lgc'>=/=lgc> proof of misogy or genocide as Federici asserts)



Flaherty <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> a certain truth regarding the total lss="trms">social environment <lgc clss='lgc'>:lgc> force of Nanook's life not only provides lss="trms">lss="trms">empirical evidence as to his mode of living but also allows for a refl ection on “lss="trms">nature”, “humanness”, “lss="trms">modernity” rooted in the haptic qualities of Flaherty's images

maleficium (of the witch <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> palpable<lgc clss='lgc'>:lgc> destructive weather magic, assault of farm lss="trms">animals, sickness, unexplained death, etc.)

saturn's mythological violence <lgc clss='lgc'><<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>lgc> satan
lss='thdf'>the idea that saturn serves as patron to lss="trms">social outliers<lgc clss='lgc'>:lgc> the poor, elderly, disabled, criminals, jews, cannibals, magicians, witches

(early lss="trms">modern period <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>) ls clss='strcls'>**ls>satan<lgc clss='lgc'> = lgc>the principal lss="trms">authority of the lss="trms">natural lss="trms">worldls clss='strcls'>**ls>, “master of the knowllss="trms"nttrm="knowledge,Knowledge">edge of lss="trms">natural properties and the lss="trms">techniques of their lss="trms">instrumentalization” <lgc clss='lgc'>=/=lgc> lss="trms">techniques of the healer <lgc clss='lgc'>=/=lgc> lss="trms">lss="trms">empirical lss="trms">instruments

(l clss="ppl">de Certeaul> observed that) every exercise of trained judgment is lss="trms">authorized through the <lgc clss='lgc'>[lgc>ls clss='strcls'>*ls><lgc clss='lgc'>]lgc>dark<lgc clss='lgc'>:lgc> ratifying force of theology
ls clss='strcls'>**ls>dark forces <lgc clss='lgc'>--lgc>ratify<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> all forms of lss="trms">natural expertisels clss='strcls'>**ls>

<lrg clss="large lg10" stl="font-size:116%"> mastery of nonsense <lgc clss='lgc'>--lgc>driving<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> confirming the suspicion of witchlss="trms">craft<lgc clss='lgc'> = lgc>a form of non-knowllss="trms"nttrm="knowledge,Knowledge">edge <lgc clss='lgc'>==lgc>opens<lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> a gap in knowing (lss="trms">specifically, ‘who’)


line of accusation that was quite common in the early lss="trms">modern period <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> “the desperate search for the cause of what was other wise an unexplained illness or misfortune was frequently the catalyst for lss="trms">specific witchlss="trms">craft accusations between friends, acquaintances, and often between family lss="trms">members themselves”
16th century <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> this violence now bore the sanction of both secular and lss="trms">religious institutions (<lgc clss='lgc'><<lgc clss='lgc'>==lgc>lgc> peasant lss="trms">complaints of maleficium زيان <lgc clss='lgc'><<lgc clss='lgc'>==lgc>lgc> human beings have been suffering misfortune, illness, and death long before the power of the witch was felt during this time)
lrg>
Dominican order <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> aggressively promoting the cult of the virgin, to the status of the “perfect” woman <lgc clss='lgc'>{lgc>elevating the status of sexual lss="trms">neurosis to a virtue<lgc clss='lgc'>}lgc> <lgc clss='lgc'>=/=lgc> lustful credulous lss="trms">nature of common women (who were often aslss="trms">sociated with the temptations of Eve)


ls clss='strcls'>*ls>conflicted status of womenls clss='strcls'>*ls>
<lsts clss="lsts lst1">•in lss="nms">Häxan <lgc clss='lgc'>--lgc>through<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> sternly patrilineal visual motifs (condescension <lgc clss='lgc'>+lgc> bemusement <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> frail <lgc clss='lgc'>+lgc> hysterical)
lsts> <lsts clss="lsts lst1">•in lss="nms">ajayeb lss="trms">bestiary <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>
lsts>
<lrg clss="large lg3" stl="font-size:111%"> lrg>
(lss="nms">Häxan's) witch hunters act in lss="trms">accordance with their own procedures for investigating truth and falsehood and not simply out of malice, fear, or stupidity

the inquisitor priest/friar (within the realm of their own assumptions about the lss="trms">world) were dedicated to investigating and verifying the claims <lgc clss='lgc'>[lgc>of the accused witch) <lgc clss='lgc'>=/=lgc> (mainstream depiction of inquisitors as) gullible, fanatical, overtly misogynistic

(during the witch craze) ls clss='strcls'>**ls>desire to believe <lgc clss='lgc'>=/=lgc> simple beliefls clss='strcls'>**ls>
despite the unbelievable scope of demonic power, the inquisitors must believe that what the young maiden is reporting is possible

<lrg clss="large lg4" stl="font-size:112%"> lrg>
ls clss='strcls'>****ls>important changes in the legal lss="trms">systems in europe well into the 14th century<lgc clss='lgc'>:lgc> proffering a formal indictment against another individual required the plaintiff to submit to an accusatory form of criminal procedure. (derived from Roman law) this procedure presumed such offenses as ls clss='strcls'>*ls>lss="trms">matters between the accused and accuserls clss='strcls'>*ls> <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> lss='thdf'>the idea that “crime” was a lss="trms">matter between lss="trms">society and the accused did not exist (<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> the lss="trms">presentday distinction between criminal and civil lss="trms">complaints meaningless)
raising a formal lss="trms">complaint required<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•the accuser to furnish proof of the allegation
lsts> <lsts clss="lsts lst1">•to submit to severe penalties agreed in advance if the judge was unconvinced of the lss="trms">complaint's merit
lsts> ls clss='strcls'>*ls>it was complex, expensive, and very risky to enter into this formal framework in order to address disputes or everyday injusticesls clss='strcls'>*ls> <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> most ordinary people did not do so, choosing instead to pursue local and less formal modes of redress

15th and 16th century <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> this procedure changed dramatically (with the emergence of the witch in europe)
<lsts clss="lsts lst1">•witch was understood as an lss="trms">agent of satan
lsts> <lsts clss="lsts lst1">•lss="trms">responsibility of civil and lss="trms">religious lss="trms">authorities to protect pious christians (from a power that would overwhelm the faithful regardless of their individual acts, intentions, or lsts>[...]