AUTHOR · PERSON

Margaret Alice Murray

Source entries are currently shown in Spanish; English-first entries arrive with the next cataloguing pass.

Egiptóloga de University College London cuya tesis sobre un culto brujeril superviviente fue la fuente que la brujería pagana moderna invocó como respaldo histórico. Valiente, desde dentro, la presenta como «a remarkable woman» y precisa que la brujería era para ella una línea secundaria «Valiente — The Rebirth of Witchcraft (1989) · p. 19»; Hutton, desde fuera, examina su método.

Margaret Murray · Murray

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Works attributed to this actor

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Murray — The Witch-Cult in Western Europe (1921) [DECLARED]

la portada la da como «Margaret Alice Murray» y el prefacio habla en primera persona del alcance que se impuso y de las fuentes que consultó«Murray — The Witch-Cult in Western Europe (1921) · p. 2»

About the author

7 entries — what others say about them

«The distinction of Margaret Murray, however, lies both in the wide range of fields in which she worked and the huge volume of her publications, and in her ardent feminism, which caused her to campaign actively for female suffrage, and to speak bitterly about the prejudices against women within academe» — el retrato que hace Hutton de su obra y de su feminismo militante.

— Hutton — The Triumph of the Moon (2.ª ed., 2019)«Hutton — The Triumph of the Moon (2.ª ed., 2019) · p. 249»

«Most of the material was Scottish, with some from England and a little from the Continent, and Murray combined it all to give an impression of a fairly uniform pagan religion, surviving all across Western Europe until the seventeenth century» — cómo construyó la impresión de una religión pagana uniforme.

— Hutton — The Triumph of the Moon (2.ª ed., 2019)«Hutton — The Triumph of the Moon (2.ª ed., 2019) · p. 250»

«When advancing theories which she sensed to be potentially controversial, Murray usually became hectoring, characterizing scholars who had made different interpretations of the evidence as possessed of ‘bias’, ‘prejudice’, and ‘unscientific attitudes» — y cómo trataba a quien leía la evidencia de otro modo.

— Hutton — The Triumph of the Moon (2.ª ed., 2019)«Hutton — The Triumph of the Moon (2.ª ed., 2019) · p. 250»

«A decade passed, in which Murray returned to Egyptology, and then in 1933 she brought out a sequel to The Witch Cult, entitled The God of the Witches» — la secuela de 1933.

— Hutton — The Triumph of the Moon (2.ª ed., 2019)«Hutton — The Triumph of the Moon (2.ª ed., 2019) · p. 251»

«The approach was no longer analytical, but celebratory, the ‘Old Religion’ (Murray having picked up Leland’s phrase) being characterized as a joyous and life-affirming one, contrasted with the gloom of Christianity; the picture of it was now being soaked in the characteristic language of neo-paganism» — y el cambio de registro que Hutton le adjudica, con la frase que toma de Leland.

— Hutton — The Triumph of the Moon (2.ª ed., 2019)«Hutton — The Triumph of the Moon (2.ª ed., 2019) · p. 251»

«A case-study of the way in which Murray could appropriate and redevelop an image in the book is provided by her treatment of a rockpainting at Cogul in north-eastern Spain» — el caso que Hutton usa para examinar su método.

— Hutton — The Triumph of the Moon (2.ª ed., 2019)«Hutton — The Triumph of the Moon (2.ª ed., 2019) · p. 253»

«Of her own Cambridge friends and colleagues, Gilbert Murray and Arthur Bernard Cook both accepted the model of a female-centred religion of magic and unreason preceding that of classical Greece, at once repulsive and fascinating» — el clima erudito en que su tesis encaja.

— Hutton — The Triumph of the Moon (2.ª ed., 2019)«Hutton — The Triumph of the Moon (2.ª ed., 2019) · p. 163»

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