ahistorical and essentializing nature of selectively chosen and decontextualized secondary accounts of ``shamanic traditions'' in Eliade's work. Marcel de Lima does not seem troubled by such critical voices. In this sense he remains true to his chosen title, defending the value of shamanic tradition as a deep reflection of artistic expression. If his work were less preoccupied with blaming anthropology for all Western ills, he might find a wider circle of allies, who, if uncomfortable with his chosen approach and critical of its legacy, would nonetheless share his concern for recognizing a range of artistic forms. ´ ´ silvia tomaskova University of North Carolina-Chapel Hill isak niehaus. Witchcraft and a Life in the New South Africa. Cambridge: Cambridge University Press, 2013. Pp. vii 239. In Witchcraft and a Life in the New South Africa, anthropologist Isak Niehaus draws on the biography of his late research assistant and friend Jimmy Mohale to explore witchcraft not only as a fluid and shifting set of discourses but also as a phenomenon that is socially grounded and intimately personal. Jimmy, a black South African from the rural village of Imapalahoek1 and an aspiring middle-class professional, finds that his aspirations for a better
Magic, Ritual, and Witchcraft – University of Pennsylvania Press
Published: Feb 5, 2015
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