Enhancing Your Magical Practice with Self-Executing Spells: Tips and Tricks

Self-executing magic refers to the concept of magic that operates automatically without the need for a magician to actively perform it. It is a form of enchantment or spell that is set in motion by its own design and does not require any external intervention to complete its intended purpose. This type of magic is often depicted in fantasy literature or films, where enchanted objects or spells are activated by specific triggers or conditions. For example, a magical amulet may have the power to protect its wearer from harm, and will automatically create a protective shield whenever it senses danger. In this case, the magic contained within the amulet is self-executing, as it acts independently and without the need for someone to specifically activate it. Self-executing magic can also be seen in the form of curses or hexes, where a spell is cast upon an individual and begins to take effect without any additional effort from the spellcaster.

Gaziantep University Journal of Social Sciences

Nevertheless, enduring practices of both punishing and utilizing the suicide corpse served several specific purposes, ranging from a desired general deterrence to a contribution to medical progress and thus to the common weal. The scene is set by a brief introductory chapter and is then followed by four chapters entitled Criminal Bodies, The Corpse Gives Life, The Places and Tools of Execution and Lingering Influences.

Self-executing magic can also be seen in the form of curses or hexes, where a spell is cast upon an individual and begins to take effect without any additional effort from the spellcaster. For instance, a curse may cause a person to slowly transform into a different creature or suffer from a particular ailment over time, without any further input from the spellcaster. The idea of self-executing magic adds an element of mystery and intrigue to magical systems, as it suggests that there are powerful forces at play that can operate beyond the control of individuals.

Executing Magic in the Modern Era: Criminal Bodies and the Gallows in Popular Medicine

From the eighteenth century through to the abolition of public executions in England in 1868, the touch of a freshly hanged man’s hand was sought after to cure a variety of swellings, wens in particular. While the healing properties of corpse hands in general were acknowledged and experimented with in early modern medicine, the gallows cure achieved prominence during the second half of the eighteenth century. What was it about the hanged man’s hand (and it always was a male appendage) that gave it such potency? While frequently denounced as a disgusting ‘superstition’ in the press, this popular medical practice was inadvertently legitimized and institutionalized by the authorities through changes in execution procedure.

Richard Ward (Ed.): A Global History of Execution and the Criminal Corpse (Houndmills/Basingstoke, 2015), pp. 147-169

Based on judicial sources and records of anatomical institutes from 17th- and 18th-century Germany, Austria and Sweden, this chapter provides a fresh perspective on the criminal corpse in the context of historical suicide studies. Analysing a wide range of punishment practices in cases of suicide within their social contexts, the study focuses primarily on the dragging of the corpses by hangmen and the bodies’ transfer to anatomical institutes. By discussing the use of suicide corpses in different settings Kästner and Luef show that the suicide corpse was indeed an 'ill-treated body'. Nevertheless, enduring practices of both punishing and utilizing the suicide corpse served several specific purposes, ranging from a desired general deterrence to a contribution to medical progress and thus to the common weal.

(The Georgian Underworld: Criminal Subcultures in Eighteenth-Century England; Chapter 17)

Gaziantep University Journal of Social Sciences

Martin McDonagh’s Hangmen(2015) is a contextual play as the work derives its material from an actual historical event, the abolition of capital punishment in the 1960s, and presents this topic at a time in which the same issue is debated again in 2015. The play refers to two distinct socio-historical backgrounds, 1960s Britain as the context of the plot, and the 21stcentury as the context of the audience/reader. Hangmentakes place in a very specific date in history, the year in which hanging was suspended in Britain. The portrayal of what seems to be the last hanging case in the country makes it possible to problematise the integrity of the judicial system at the time. Presentation of the rivalry between two famous executioners in the country, Harry Allen and Albert Pierrepoint, also underlines the play’s socio-political relation to a certain context. What is equally noteworthy about Hangmenis McDonagh’s choice of this topic at a time in which the issue of capital punishment is raised again in Britain. Concerning recent arguments about the reintroduction of death penalty in 2015, it is observed that McDonagh also initiates a discussion concerning the legitimation of state violence through a depiction of the history of hanging. In light of this observation, the aim of this article is to discuss McDonagh’s topical dark comedy as a political intervention in the debate over death penalty in Britain by providing appropriate case studies of several hanging offences in the history of Britain.

Peer Reviewed Proceedings of the 8th Annual Popular Culture Association of Australia and New Zealand (PopCAANZ) Conference: 11-24. ISBN: 978-0-473-41892-2

When the British established a penal colony and military outpost in New South Wales, in 1788, they transformed the Great Southern Land. This reimagination of the continent was the result of transposing, from the Kingdom of Great Britain to the far side of the world, cultural and social practices as well as ideas of justice and punishment. This paper looks at how the tradition of the public execution was brought to Australia with the First Fleet. This is done through highlighting some colonial experiences—three public hangings and one hanging undertaken behind prison walls—of execution as exhibition. These are: the first man hanged in the new settlement (Thomas Barrett, 27 February 1788); the man they could not hang (Joseph Samuels, 26 September 1803); the man who drew an enormous crowd (John Knatchbull, 13 February 1844); and the most famous Australian man to be hanged (Edward Kelly, 11 November 1880).

This study by Owen Davies and Francesca Matteoni concentrates on the early modern period, from the 1700s to the early 20th century, by which time most European states and several in the US had ended the practice of public execution and, in many cases, abolished capital punishment altogether.

It also introduces the concept of unintended consequences, as self-executing spells may continue to affect the world even after the original spellcaster has lost control or passed away. Overall, self-executing magic highlights the idea that magic can have a life of its own, operating independently and without the need for constant intervention from a magician. It adds depth and complexity to magical worlds, and can make for compelling storytelling in the realm of fantasy and fiction..

Reviews for "Unleashing the Power of Self-Execution: Breaking Through Magical Barriers"

- Sarah - 2 stars - I was really disappointed with "Self executing magic". The concept seemed interesting, but the execution fell flat for me. The characters were poorly developed and I found it hard to connect with them. The pacing was also off, with boring stretches and then sudden rushed moments. Overall, I wouldn't recommend this book.

- John - 1 star - I couldn't even finish "Self executing magic". The writing was so convoluted and confusing that I couldn't follow the plot. It was like the author was trying to be overly clever and it just made everything muddled and difficult to understand. I don't understand the hype around this book at all.

- Emily - 2 stars - "Self executing magic" had an interesting premise, but it unfortunately didn't deliver. The plot was predictable and lacked any real surprises. The dialogue felt forced and unnatural, making it hard for me to stay engaged with the story. I had high hopes for this book, but it turned out to be a letdown.

- Mark - 1 star - To put it bluntly, "Self executing magic" was a complete waste of time. The writing was amateurish, filled with grammatical errors and awkward phrasing. The characters were one-dimensional and lacked depth. I found myself skimming through the pages just to get it over with. I wouldn't recommend this book to anyone.

The Ethical Use of Self-Executing Spells: Balancing Power and Responsibility