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The origin of curses and jujutsu is largely unknown. However, it can be surmised that because cursed energy comes from negative emotion, curses have always existed alongside humanity. During the Heian Era, the height of jujutsu, Ryomen Sukuna was recognized as the undisputed King of Curses. His influence has lived on to greatly affect the current age.
Starting in 2017, the year the Night Parade of a Hundred Demons occurred, curse-related events have begun to happen more frequently while presenting more danger than ever before. This includes Sukuna's reincarnation as well as the unregistered appearance of over four new special grade cursed spirits in Mahito's group.
Longstanding negative feelings such as humanity's relationship with plagues and natural disasters results in a collection of cursed energy so massive the cursed spirits manifested from them have a consciousness related to those feelings. For example, humanity's fear and treatment of forests has directly resulted in Hanami, a very intelligent special grade cursed spirit who wants to free the earth of its humans in order to protect the forests and trees from them. Mahito is an exceptionally strong and intelligent curse that challenges the concept of the human soul itself because he was born from the hatred humans feel toward one another.
Cursed spirits bodies are entirely made up of cursed energy. Their metaphysical existence makes it impossible for non-sorcerers to perceive or touch them. Living humans who have been cursed can only tell they have strange symptoms without realizing a cursed spirit behind it. Non-sorcerers whose lives are put in danger by a curse may gain the ability to see it in that life or death situation.
Curses come in all kinds of grotesque shapes and sizes. They tend to linger around their point of origin and instinctively curse humans. Other than that, a curse's habits vary a great deal from spirit to spirit. Curses are most stable while possessing an item, and some curses can possess inanimate objects to become cursed corpses.
Special grade cursed spirits with high intelligence tend to be bipedal creatures with shapes comparable to humans. They are capable of holding a normal conversation and working together as an organized group.
With bodies composed of cursed energy, cursed spirits cannot be harmed by conventional means. They can be hit by a physical attack but it will deal no damage regardless of how powerful it is. The general rule of jujutsu is that a curse must be exorcised using another curse. This mean curses can only be exorcised using cursed energy. A fatal attack using cursed energy will cause the cursed spirit to disappear completely. This does not apply to curses who have been incarnated using a flesh and blood human vessel, such as the Cursed Womb: Death Paintings.
Curses that are too powerful to be destroyed must be sealed away using a constraint. Sukuna has continued to exist as twenty fingers classified as special grade cursed objects that can still attract cursed spirits and choose its own vessel. Sukuna's fingers had to be individually sealed with talisman to inhibit the damage they cause.
If a vengeful spirit that is cursing someone is too powerful to exorcise, millions of figurative knots of cursed energy must be slowly analyzed and undone one by one. The cursed can do so by learning to master channeling the cursed energy being used to curse them. This was believed to be Yuta and Rika's case, however, Yuta was actually the one who turned her into a vengeful cursed spirit. If the cursed severs the bond tying servant to master and the curse doesn't desire punishment, then the curse breaks. By going beyond the limits of Rika's power and promising himself in return, the curse was broken once Rika decided not to punish him.
As jujutsu is essentially the manipulation of the energy which curses embody, it's only natural for them to be able to use it. Like sorcerers, they are capable of using a multitude of curse related abilities, most of which are cursed techniques unique to the specific curse.
Weaker spirits use their presence to curse humans or attack them with their metaphysical features (i.e. teeth, claws). They often act on animalistic instinct to attack in packs but can be frightened by superior cursed energy. Phasing through solid surfaces is an ability that can only be used by low-grade cursed spirits.
The more powerful curses possess immense levels of cursed energy and uncanny cursed techniques. In some cases special grade cursed spirits can even produce their own domains. In the current age, curses far outweigh sorcerers in terms of strength. There are over sixteen different special grade curse spirits and only four special grade sorcerers, two of whom aren't even committed to fighting curses. If it were not for Satoru Gojo, it is likely curses would completely overtake humanity, at least in Japan.
Special grade curse spirits, all of whom possess great levels of cursed energy, can manipulate their cursed energy much more naturally than a sorcerer. Unlike sorcerers, strong curses can reinforce their bodies to heal wounds without using a reverse cursed technique. Finger Bearers, special grade curses born from Sukuna's fingers, can release their cursed energy with explosive force and utilize it as a weapon. Sukuna, a far more intelligent special grade, believes this to be an obsolete form of jujutsu compared to his cursed techniques, including Domain Expansion. 
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The Cursed Carolers in Context explores the interplay between the forms and contexts in which the tale of the cursed carolers circulated and the meanings it had for medieval and early modern authors and audiences. The story of the cursed carolers has circulated in Europe since the eleventh century. In this story, a group of people in a village in Saxony skip Christmas mass to perform a circle dance in the cemetery, only to be cursed and forced to keep dancing for a whole year. By approaching the story in specific historical contexts, this book shows how the story of the cursed carolers became a space in which medieval readers, writers, and listeners could debate the meaning and significance of a surprising variety of questions, including ecclesiastical authority, gender roles, pastoral responsibility, and even the conduct of crusades. This consideration of the interplay between text and context sheds new light on how and why the story of the dancers achieved such popularity in the Middle Ages, and how its meanings developed and changed throughout the period. This book will appeal to scholars and students of medieval European history, literature, and dance, as well as those interested in cultural history. 59ce067264