Cunning Folk and Familiar Spirits: Shamanistic Visionary Traditions in Early Modern British Witchcraft and Magic is a study of the beliefs regarding witchcraft and magic in Early Modern Britain written by the British historian Emma Wilby.
Toshihiko Izutsu (1967 2:19, cited by Girardot 1983:82) suggests that singing and dancing here and in Zhuangzi refers to shamanic trance-inducing ceremonies, "the monster is said to be a bird, which is most probably an indication that the shamanistic dancing here in question was some kind of feather dance in which the shaman was ritually ornamented with a feathered headdress."
In folklore the werewolves represent the cycle of legends of essentially shamanistic content - a man turning into animal and reverse - that were modified by the xenophobic in-group/out-group hatred and the whitch-hunt of the Baroque era church's inquisition, fighting against the loss of power after the scientific progress in Renaissance and the Enlightenment.
The Temple of King Dongmyeong (Hangul: 동명왕 신사, Hanja: 東明王 神祠), also known as the Temple of Jumong (Hangul: 주몽사, Hanja: 朱蒙祠), was a shamanistic temple dedicated to King Dongmyeong of Goguryeo, the founder of the Korean kingdom of Goguryeo.
The English translation included a foreword by the prominent English historian Eric Hobsbawm (1917–2012), in which he argued that the "real interest in Ginzburg's extremely interesting book" lay not in its discussion of shamanistic visionary traditions, but in its study of how the Roman Catholic Church intervened in "traditional peasant practices" and warped them to fit their own ideas about witchcraft.
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Despite such criticism, Ginzburg would later return to the theories about a shamanistic substratum for his 1989 book Ecstasies: Deciphering the Witches' Sabbath, and it would also be adopted by historians like Éva Pócs, Gabór Klaniczay, Claude Lecouteux and Emma Wilby.