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THE ROLE OF GENDER IN ACCUSATIONS OF WITCHCRAFT: THE CASE OF EASTERN SLOVENIA

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Mencej M.
Český lid: etnologický časopis (Český lid: Ethnological journal)
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2011
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vol. 98
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issue 4
393-412
EN
The paper deals with the role of gender in the context of witchcraft. It focuses on the situation in a rural area in eastern Slovenia, where the author and her students researched witchcraft in 2000 and 2001. The meaning of a gender in witchcraft accusations is presented with respect to various levels and types of witch (social level – neighborhood witches, village witches; supernatural level – night witches; counterwitches). Among neighborhood witches (about whom people believe that they perform some kind of magic: placing eggs etc. in the hope that they will hurt neighbors; intentional praise), women are typically assumed to be guilty; men appear only in the subcategory of people with evil eye. Similar holds for all the subcategories of village witches, except for those who earned their reputation because of the assumption of their possession of a book of magic (where men predominate). Night witches (in the form of lights or vague presences which make it difficult for people to find their way) are always female (they are spoken about using the feminine gender; when they are recognized as people from the village, they are always women). In contrast, the ratio of men to women among counterwitches, to whom people turned for help against witches, rises dramatically. The most influential counterwitch whom people visited in this area was a men. The relationship between the sexes can also be seen through an analysis of (migratory) legends about witches whereby many of them reveal a concealed misogyny.
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ROK 1948: EMANCIPÁCIA ŽIEN A SLOVENSKÉ DIVADLO. PRÍSPEVOK K DEJINÁM RODOVÝCH VZŤAHOV NA SLOVENSKU

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Lindovská N.
Slovenské divadlo (Slovak Theatre)
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2018
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vol. 66
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issue 2
141 – 163
EN
From the cultural and art point of view, the year 1948 in Czechoslovakia was not just the so-called "Victorious February” of the working people. The remarkable phenomenon of this era, which was related to the post-war political and social movement, was the phenomenon of female emancipation and feminization of the stage production. During the two consecutive theatre seasons 1947/1948 and 1948/1949, at The New Scene Theatre of the National Theatre in Bratislava, several women, led by the director JUDr. Magda Husáková created several productions. These women contributed to deconstructing the beliefs of typically male and typically female professions as well as transforming traditional views of the role and position of both sexes in society and the arts. The attention of theatre historiography in the recapitalization of the impacts of the breakthrough events of the Czechoslovak post-war politics of the forty years on cultural events so far focused mainly on the issues of dramaturgy and poetics, the process of ideological transformation and the sovietisation of art in the spirit of socialist realism. The subject of socialist emancipation and theatre was at the edge of the interest of our theatrology. Ten years ago, a collective monograph, dedicated to the first lady of the Slovak theatre directors, Magda Husáková-Lokvencová, managing to free her forgotten personality and work and return her to the context of Slovak theatre history in the second half of the 20th century. There is still room for further research, complementing the knowledge and reflection of the advent of women in the sphere of theatre directory, dramaturgy and scenography artwork, as part of the history of gender relations in Slovakia. Increased interest in the history of women provokes a new reflection on the issue of emancipation and theatre.
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