Abstract: What charm is we, by definition, can’t quite say: it notoriously eludes the language that would fix it analytically into semantic place. But its ineffability or discursive resistance occupies a theoretically complex and historically informative relation to the antique or outlandish quality – I call it irreference – of the language of magic charms: the spells whereby a sorcerer uses words not to mean something but to do something. This conjunction offers fresh ways of approaching the designs of modern literature, for the past half millennium, to enchant readers. Even as magic has come under steady suspicion, opprobrium, ridicule, and apparent neglect, writers have with great versatility continued to practice charm through modes of more or less frankly deployed incantation. In dramatic performance, fictional illusion, and above all the versification of a poetry (e.g., Coleridge’s “Kubla Khan”) modern literature has cultivated species of the charm that still comes and goes after magic.

中文翻译：

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魔幻之后：历史，理论和实践中的现代魅力

摘要：根据定义，我们到底有什么魅力不能说：它臭名昭著地躲过了将其分析性地固定到语义位置的语言。但是，它的无效性或话语抗性与魔术符的语言在古董或古怪的品质（我称之为不推荐）上占据着理论上复杂的和历史上有意义的关系：巫师使用咒语来表达单词的意思不是什么意思而是做某事。这种结合为迷住读者的读者提供了在近半个世纪中处理现代文学设计的新方法。即使魔术一直受到人们的怀疑，嘲讽，嘲笑和明显的忽视，作家们还是通过各种或多或少坦率地提出咒语的方式继续发挥魅力。在戏剧表演，虚幻的幻想中，