Coven - Usage in Literature and Popular Culture

Usage in Literature and Popular Culture

In fantasy stories and popular culture, a coven is a gathering of witches to work spells in tandem. Such imagery can be traced back to Renaissance prints depicting witches and to the three "weird sisters" in Shakespeare's play Macbeth. More orgiastic witches' meetings are also depicted in Robert Burns' poem "Tam o' Shanter" and in Goethe's play Faust. Movie portrayals have included, for example, Suspiria, Rosemary's Baby, The Covenant, Underworld and Underworld: Evolution, The Craft, Coven and Paranormal Activity 3. In television, covens were portrayed in the U.S. supernatural drama Charmed and the HBO series True Blood.

In novels such as The Vampire Chronicles by Anne Rice and the Twilight series by Stephenie Meyer, covens are families or unrelated groups of vampires who live together.

Read more about this topic:  Coven

Famous quotes containing the words usage, literature, popular and/or culture:

    I am using it [the word ‘perceive’] here in such a way that to say of an object that it is perceived does not entail saying that it exists in any sense at all. And this is a perfectly correct and familiar usage of the word.
    —A.J. (Alfred Jules)

    But it is fit that the Past should be dark; though the darkness is not so much a quality of the past as of tradition. It is not a distance of time, but a distance of relation, which makes thus dusky its memorials. What is near to the heart of this generation is fair and bright still. Greece lies outspread fair and sunshiny in floods of light, for there is the sun and daylight in her literature and art. Homer does not allow us to forget that the sun shone,—nor Phidias, nor the Parthenon.
    Henry David Thoreau (1817–1862)

    The very nursery tales of this generation were the nursery tales of primeval races. They migrate from east to west, and again from west to east; now expanded into the “tale divine” of bards, now shrunk into a popular rhyme.
    Henry David Thoreau (1817–1862)

    Any historian of the literature of the modern age will take virtually for granted the adversary intention, the actually subversive intention, that characterizes modern writing—he will perceive its clear purpose of detaching the reader from the habits of thought and feeling that the larger culture imposes, of giving him a ground and a vantage point from which to judge and condemn, and perhaps revise, the culture that produces him.
    Lionel Trilling (1905–1975)