The person from Porlock who interrupted Coleridge’s laudanum-inspired vision is only one of many well-intentioned intruders who have unwittingly cut across a writer’s creative entrancement, and spoiled an experience of dreamlike intensity and significance.
Christine Rice’s Marguerite was no winsome maiden but a passionate woman bewildered by erotic entrancement, her anguish in D’amour l’ardente flamme devastatingly tender, mirrored by Rachael Pankhurst’s cor anglais.
The startup scene in Egypt is also highly impacted by the quick pace in technology adoption we are witnessing, which is evident in the entrancement of new ventures and the transformation of existing businesses.
In other works, Offemaria conjures the entrancement that technology affords, which seems to challenge religion’s old power to enchant and to impress.
I felt like a voyeur watching her entrancement unfold a few feet away, witnessing what Henry James urged: “Try to be one on whom nothing is lost.”
(34) Here we have come full circle, since one of the theorists of immersion, MarieLaure Ryan, lists exactly such enchantment among the effects of immersion, together with concentration, imaginative involvement, entrancement, and addiction (Narrative as Virtual Reality 98-99).
Citing the work of Edward Conze, Loy, in–A New Buddhist Path, suggests that perception can be divided into three stages: “(1) an object of attention provides (2) a basis for recognition, which then becomes (3) an occasion for what he [Conze] calls ‘entrancement‘” (42).
From his 1821 Confessions of an English Opium-Eater to his later political essays on the “China Question” dating from the 1840s and 1850s to his revised and expanded Confessions of 1856, the orientalist rhetoric of Thomas De Quincey reveals a persistent vacillation between virulent John Bullism and an anxious, indeed fearful, entrancement with the Orient and its powers of possession and imaginative expansion.
Montesquieu’s seeming entrancement by forms of state reflected an as-yet undeveloped conceptual scaffolding for a fully sociological theory of the essential elements and particular forms of societal organisation (29e, 31e), encouraging a residual tendency to treat sovereignty “at first sight” as the “most important” property.
(37) Perhaps one of the secret meanings of Natalie Waite’s name is its relationship with Arthur Edward Waite, the co-creator of the Rider-Waite Tarot deck and author of The Pictorial Key to the Tarot, in which Waite uses the words Natalie speaks when describing the Hanged Man card: ‘It should be noted (1) that the tree of sacrifice is living wood, with leaves thereon; (2) that the face expresses deep entrancement, not suffering; (3) that the figure, as a whole, suggests life in suspension, but life and not death’.