An Online Book of Shadows with a Focus on Lunar Magick
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The Egalitarian Occultism of Dion Fortune
1 Tea, Scones and Socially Responsible Sex Magic: The Egalitarian Occultism of Dion Fortune Georgia van Raalte Student number: 10864105 [email protected] Supervisor: Dr. Marco Pasi Second reader: Prof. Dr. Wouter J. Hanegraaff Submitted on 14th July 2015for: MA Religious Studies Department of Religious Studies, Faculty of Humanities, Universiteit van Amsterdam 2 Table of Contents 1. Preliminaries i. Introduction 3 ii. Academic Work on Fortune 7 iii. Fortune’s Biography 8 iv. The Occult Context 11 v. Fortune’s Published Work 14 2. Audience i. Egalitarian Initiation 21 ii. Esotericism for (Almost) All 23 3. Sexuality i. The Problem of Repression 27 ii. Spiritual Sexuality 30 iii. The Use of Sublimation 33 iv. The Doctrine of Polarity 35 4. Ritual i. Ritual and Ambiguity 40 ii. The Ritual Method 43 iii. Ritual as Outlet 47 3 5. Applied Sex Magic i. Sublime Sex Magic 48 ii. The Magical Relationship 51 iii. The Group Soul 55 6. Epilogue: Everyday Esotericism 56 Bibliography 59 Appendix 1 61 Appendix 2 64 Appendix 3 66 4 1. Preliminaries 1.i. Introduction: Sexual Magic and Social Responsibility Dion Fortune is a fascinating and neglected figure of 20th century occultism. In her lifetime, she published a prodigious number of books and articles on both occult and non-occult matters, and authored a number of novels. A full exploration of her work would take up many more pages that I have at my disposal, so I have limited myself to what I believe to be the most unique aspect of her work and the one which has the most significance for the modern study of Esotericism: her approach to sexual magic. -
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hn hk io il sy SY ek eh hn hk io il sy SY ek eh hn hk io il sy SY ek eh hn hk io il sy SY ek eh hn hk io il sy SY ek eh hn hk io il sy SY ek eh SCHOLASTIC INC. Copyright © 2016 by Ed Masessa All rights reserved. Published by Scholastic Press, an imprint of Scholastic Inc., hn hk io il sy SY ek eh Pub lishers since 1920. scholastic, scholastic press, and associated logos are trade- hn hk io il sy SY ek eh marks and/or registered trademarks of Scholastic Inc. hn hk io il sy SY ek eh The publisher does not have any control over and does not assume any responsibility hn hk io il sy SY ek for author or third- party websites or their content. hn hk io il sy SY ek eh No part of this publication may be reproduced, stored in a retrieval system, or hn hk io il sy SY ek eh transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or other wise, without written permission of the publisher. For information regarding permission, write to Scholastic Inc., Attention: Permissions Department, 557 Broadway, New York, NY 10012. This book is a work of fiction. Names, characters, places, and incidents are either the product of the author’s imagination or are used fictitiously, and any resemblance to actual persons, living or dead, business establishments, events, or locales is entirely coincidental. Library of Congress Cataloging- in- Publication Data Names: Masessa, Ed, author. -
Constructing the Witch in Contemporary American Popular Culture
"SOMETHING WICKED THIS WAY COMES": CONSTRUCTING THE WITCH IN CONTEMPORARY AMERICAN POPULAR CULTURE Catherine Armetta Shufelt A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2007 Committee: Dr. Angela Nelson, Advisor Dr. Andrew M. Schocket Graduate Faculty Representative Dr. Donald McQuarie Dr. Esther Clinton © 2007 Catherine A. Shufelt All Rights Reserved iii ABSTRACT Dr. Angela Nelson, Advisor What is a Witch? Traditional mainstream media images of Witches tell us they are evil “devil worshipping baby killers,” green-skinned hags who fly on brooms, or flaky tree huggers who dance naked in the woods. A variety of mainstream media has worked to support these notions as well as develop new ones. Contemporary American popular culture shows us images of Witches on television shows and in films vanquishing demons, traveling back and forth in time and from one reality to another, speaking with dead relatives, and attending private schools, among other things. None of these mainstream images acknowledge the very real beliefs and traditions of modern Witches and Pagans, or speak to the depth and variety of social, cultural, political, and environmental work being undertaken by Pagan and Wiccan groups and individuals around the world. Utilizing social construction theory, this study examines the “historical process” of the construction of stereotypes surrounding Witches in mainstream American society as well as how groups and individuals who call themselves Pagan and/or Wiccan have utilized the only media technology available to them, the internet, to resist and re- construct these images in order to present more positive images of themselves as well as build community between and among Pagans and nonPagans. -
Magic, Witchcraft, and Faërie: Evolution of Magical Ideas in Ursula K
Volume 39 Number 2 Article 2 4-23-2021 Magic, Witchcraft, and Faërie: Evolution of Magical Ideas in Ursula K. Le Guin’s Earthsea Cycle Oleksandra Filonenko Petro Mohyla Black Sea National University Follow this and additional works at: https://dc.swosu.edu/mythlore Recommended Citation Filonenko, Oleksandra (2021) "Magic, Witchcraft, and Faërie: Evolution of Magical Ideas in Ursula K. Le Guin’s Earthsea Cycle," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 39 : No. 2 , Article 2. Available at: https://dc.swosu.edu/mythlore/vol39/iss2/2 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract In my article, I discuss a peculiar connection between the persisting ideas about magic in the Western world and Ursula Le Guin's magical world in the Earthsea universe and its evolution over the decades. -
DIVINATION SYSTEMS Written by Nicole Yalsovac Additional Sections Contributed by Sean Michael Smith and Christine Breese, D.D
DIVINATION SYSTEMS Written by Nicole Yalsovac Additional sections contributed by Sean Michael Smith and Christine Breese, D.D. Ph.D. Introduction Nichole Yalsovac Prophetic revelation, or Divination, dates back to the earliest known times of human existence. The oldest of all Chinese texts, the I Ching, is a divination system older than recorded history. James Legge says in his translation of I Ching: Book Of Changes (1996), “The desire to seek answers and to predict the future is as old as civilization itself.” Mankind has always had a desire to know what the future holds. Evidence shows that methods of divination, also known as fortune telling, were used by the ancient Egyptians, Chinese, Babylonians and the Sumerians (who resided in what is now Iraq) as early as six‐thousand years ago. Divination was originally a device of royalty and has often been an essential part of religion and medicine. Significant leaders and royalty often employed priests, doctors, soothsayers and astrologers as advisers and consultants on what the future held. Every civilization has held a belief in at least some type of divination. The point of divination in the ancient world was to ascertain the will of the gods. In fact, divination is so called because it is assumed to be a gift of the divine, a gift from the gods. This gift of obtaining knowledge of the unknown uses a wide range of tools and an enormous variety of techniques, as we will see in this course. No matter which method is used, the most imperative aspect is the interpretation and presentation of what is seen. -
The Locked Room and Other Horror Stories
LEVEL 4 Answer keys Teacher Support Programme The Locked Room and Other Horror Stories Book key 21 Open answers EASYSTARTS 1 Open answers 22 a is b is c at different times 2 a Open answer d walks in his sleep e doesn’t hear anything b Latin f thinks g no one h garden i Mr Abney c At Christmas j closes the door LEVEL 2 d pleasantly uncomfortable 23 Possible answers 3 Open answers a The ghosts of Phoebe and Giovanni. b Because Mr Abney murdered them. LEVEL 3 4 a climbs a tree at night b hanged c only for a moment d don’t know e nothing c He was going to murder Stephen with it. f doesn’t follow g plans to cut down d The ghosts of Phoebe and Giovanni. h tree i men e Because he needed the hearts of three children LEVEL 4 5–6 Open answers under twenty-one. 7 a John b Turkey c remember d McLeod f Perhaps he thinks no one will believe him. e white f about midnight g Sampson’s 24 Open answers LEVEL 5 h never i Ireland j two bodies 25 a 6 b 10 c 7 d 2 e 9 f 8 g 1 h 5 8–9 Open answers i 4 j 3 10 a ✗ b ✓ c ✗ d ✗ e ✓ f ✓ g ✗ h ✓ 26 Possible answers: LEVEL 6 i ✓ a At the beginning of the story he is popular and 11 Possible answers: kind. He becomes angry, murders someone and a … he goes into a bookshop. -
Episode #030 – the Inspiring Wendy Rule
“The Infinite and the Beyond” hosted by Chris Orapello Episode #030 – The Inspiring Wendy Rule 1 Episode #030 – The Inspiring Wendy Rule The Infinite and the Beyond An esoteric podcast for the introspective pagan mind hosted by Chris Orapello www.infinite-beyond.com Underline Theme: Awen and Inspiration Show Introduction MM, BB, 93, Hello and Welcome to the 30th Episode of “The Infinite and the Beyond,” an esoteric podcast for the introspective pagan mind. Where we explore a variety of topics which relate to life and one’s unique spiritual journey. I am your host Chris Orapello. Intro music by George Wood. In this episode… We speak with Australian Visionary Songstress Wendy Rule and get to enjoy some of her music. “Creator Destroyer” from her album The Wolf Sky “Guided by Venus” from her album Guided by Venus “My Sister the Moon” from her album Guided by Venus “The Wolf Sky (Live)” from her album Live at the Castle on the Hill “Circle Open (Live)” from her album Live at the Castle on the Hill We learn about the controversial, “King of the Witches,” Alex Sanders in A Corner in the Occult. In the spirit of creativity we learn about the Awen in The Essence of Magic, but first lets hear “Creator Destroyer” a haunting track by Wendy Rule. Featured Artist “Creator Destroyer” by Wendy Rule Interview Part 1 : Wendy Rule ➢ Wild, passionate and empowering, Australian Visionary Songstress Wendy Rule, weaves together music, mythology and ritual to take her audience on an otherworldly journey of depth and passion. Drawing on her deep love of Nature and lifelong fascination with the worlds of Faerie and Magic, Wendy’s songs combine irresistible melodies with rich aural textures and a rare personal honesty. -
CLOSE ENOUGH a Thesis Presented to the Graduate Faculty of California State University, Hayward in Partial Fulfillment of the Re
CLOSE ENOUGH A Thesis Presented to the Graduate Faculty of California State University, Hayward In Partial Fulfillment of the Requirements for the Degree Master of Arts in Anthropology By Robert A. Blew May, 1992 Copyright © 1992 by Robert A. Blew ii CLOSE ENOUGH By Robert A. Blew Date: iii ACKNOWLEDGEMENTS It is impossible to thank everyone who helped with this paper, most of whom did not know they had done so. without their help and encouragement this paper would not have been possible: All those who attended the festivals sponsored by South Bay Circles and New Reformed Orthodox Order of the Golden Dawn (NROOGD), these past few years. Leigh Ann Hussey and D. Hudson Frew of the Covenant of the Goddess for their contributions to the original research. Carole Parker of South Bay Circles for technical editing. Carrie Wills and David Matsuda, fellow anthropology graduate students, for conducting the interviews and writing the essays that were the test of the hypothesis. Ellen Perlman, of the Pagan/Occult/Witchcraft Special Interest Group of Mensa, and Tom Johnson, of the Covenant of the Goddess, for being willing to be interviewed. Lastly, Valerie Voigt of the Pagan/Occult/Witchcraft Special Interest Group of Mensa, for laughing at something I said. iv Table of Contents I. Introduction.. .... .. .. 1 II. Fictional Narrative ................ 3 1. Communication............... 3 2. Projection .............. 8 3. Memory and Perception. 13 4. Rumor Theory .... ...• .. 16 5. Compounding and Elaboration .. ...•.. 22 6. Principle of Least Effort .. 24 III. Test of the Hypothesis ... .. 26 1. Collection Methodology .... .. 26 2. Context and Influences . .. 30 3. -
A FURTHER Divination GUIDE Company, 197 Tism
32 -Ologies & A FURTHER DIViNATION GUIDE Company, 197 tism. Take y< METOPOSCOI ination of thE NAUSCOPY. ing ships or DMITRI A. BORGMANN Dayton, Washington OMOPLATOS< blotched or c In the May 1982 issue of Word Ways, Paul Hellweg presented a ONE I ROSCOF list of 124 English words designating various forms of divination. All of the terms listed ended in the combining form -MANCY, which OOSCOPY. [ specifically means "divination." ORNISCOPY. A second, though considerably smaller, group of words denoting ORNlTHOSCC forms of divination ends in the combining form -SCOPY, meaning "observation, scruti ny I exami nation." Si nce this addi tiona I group PYROSCOPY. seems never to have been collected anywhere, I present a first SCATOSCOP) list of -SCOPY terms for divination here. Readers are invited to expand the list, as well as to compile lists of divination terms TERATOSCOI ending in still other suffixes or combining forms. BLETONISM, for All of the instance, is the faculty for discovering subterranean streams or either from springs through supernatural means, as by using a divining rod. Dictionary. 1 BRONTOSCOPY. Divination of the omen of a clap of thunder. Hellweg's lis graphical en CERAUNOSCOPY. The observance of thunder as an omen; alternativ ly as a vari ely, divination by means of lightning. term (see be DEUTEROSCOPY. Clairvoyance, second sight, or prophetic vision. wi th names E of the two s1= GELOSCOPY. An inferior form of the term GELOTOSCOPY. CHAOMANCY GELOTOSCOPY. Divination of someone I s character or future from the individual's way of laughing. COUNTERNEI HEPATOSCOPY. Divination by inspecting the livers of animals. -
Magic, Greek Radcliffe .G Edmonds III Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Greek, Latin, and Classical Studies Faculty Research Greek, Latin, and Classical Studies and Scholarship 2019 Magic, Greek Radcliffe .G Edmonds III Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: https://repository.brynmawr.edu/classics_pubs Part of the Classics Commons Custom Citation Edmonds, Radcliffe .,G III. 2019. "Magic, Greek." In Oxford Classical Dictionary in Oxford Research Encyclopedia of Classics. New York/Oxford: Oxford University Press, April 2019. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/classics_pubs/121 For more information, please contact [email protected]. magic, Greek Oxford Classical Dictionary magic, Greek Radcliffe G. Edmonds III Subject: Greek History and Historiography, Greek Myth and Religion Online Publication Date: Apr 2019 DOI: 10.1093/acrefore/9780199381135.013.8278 Summary and Keywords Greek magic is the discourse of magic within the ancient Greek world. Greek magic includes a range of practices, from malevolent curses to benevolent protections, from divinatory practices to alchemical procedures, but what is labelled magic depends on who is doing the labelling and the circumstances in which the label is applied. The discourse of magic pertains to non-normative ritualized activity, in which the deviation from the norm is most often marked in terms of the perceived efficacy of the act, the familiarity of the performance within the cultural tradition, the ends for which the act is performed, or the social location of the performer. -
A Short Course in Scrying
A Short Course in Scrying Benjamin Rowe copyright 1997, 1998 Introduction This paper was written in response to requests by participants of the “enochian-l” and “Praxis” internet discussion groups; it first appeared as a series of posts on those groups in early 1997. The current version has been slightly rewritten to enhance the clarity of the presentation, and to include a small amount of additional material. The techniques described herein are adaptations of techniques I learned from two sources. The first of these is Mr. Brian D., who taught me the basic method many years ago. The second is Mr. Paul Solomon and his group, the Fellowship of the Inner Light, who had transformed that method into the foundation of their system of spiritual work. Special thanks also to the “secret chiefs” of the Fellowship, for their direct and effective contribution to my work at a critical point. Some debts can never be repaid; the best that can be done is to pass on what was given. ïL Chapter 1. Preliminary Considerations To begin, the reader should understand that scrying is as much a learned skill as is reading or ice-skating. Persistent practice is necessary to teach the nervous system how to do it, even where the person has some innate talent. And as with other learned skills, there is a learning curve. At first there will be a long period when you don't seem to be making any significant progress. Then things will suddenly fall together and your practice will improve markedly in a short period, before leveling off again at something close to your highest level of skill. -
The Significant Other: a Literary History of Elves
1616796596 The Significant Other: a Literary History of Elves By Jenni Bergman Thesis submitted for the degree of Doctor of Philosophy Cardiff School of English, Communication and Philosophy Cardiff University 2011 UMI Number: U516593 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U516593 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DECLARATION This work has not previously been accepted in substance for any degree and is not concurrently submitted on candidature for any degree. Signed .(candidate) Date. STATEMENT 1 This thesis is being submitted in partial fulfilment of the requirements for the degree of PhD. (candidate) Date. STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by explicit references. Signed. (candidate) Date. 3/A W/ STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed (candidate) Date. STATEMENT 4 - BAR ON ACCESS APPROVED I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan after expiry of a bar on accessapproved bv the Graduate Development Committee.