Abstract
“Magic” for Collingwood takes on a special meaning and needs to be understood as a correlate to amusement which was treated in the previous chapter. While amusement is the relatively benighted and problematic mode of artistic expression that comes in for some extended analysis in relation to “pathological” instances of pseudo-art and cultural malaise, magic enjoys a status that places it closer to the mode of expression and experience that approximates the character of art proper, while not fulfilling the definition quite as it ought (Collingwood, 1938: 68–69). As with amusement, magic is a craft, a technique which can be honed down and employed to great effect — but Collingwood continues to insist that an artist’s capacity to produce it is not the same as being an artist per se. Some definitions and examples help to clarify why this might be the case.
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Notes
Ichiyanagi on the themes of blood in Princess Mononoke . Ichiyanagi Hirotaka, “Kyōkaisha-tachi no Yukue” in Yonemura Miyuki (ed.), Jiburi no Mori e: Takahata Isao to Miyazaki Hayao wo Yomu , Shinwasha, 2008: 176–179.
See Jolyon Baraka Thomas, “Shūkyō Asobi and Miyazaki Hayao’s Anime” in Nova Religio: The Journal of Alternative and Emergent Religions , 10(3), 2007, pp. 73–95.
See Graham J. Murphy and Sherryl Vint (eds), Beyond Cyberpunk: New Critical Perspectives , Routledge, 2010; McHale, Constructing Postmodernism , Routledge, 1992.
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© 2015 Alistair D. Swale
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Swale, A.D. (2015). Anime as Magic. In: Anime Aesthetics. Palgrave Macmillan, London. https://doi.org/10.1057/9781137463357_6
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DOI: https://doi.org/10.1057/9781137463357_6
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