Dragon Rouge 2010
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Thomas-Karlsson-Qabala-Qliphoth
Q•"" ""· QLwu01·u ANI> Cotmc MA<:tc 10 ~004-2009 'nlOma, Karls>on Publishtd b,y :AJNA:. P. 0. Box 15'1.3, Jnck•onvillc. OR 975.30, USA www.ajnabound.com Ori,t>inoltitl~ Kabbala. IJilfot och den goeLiska mngin First published by Ouroboro' ProdukLion. Sweden. 'l004 Translottd b,y Tomn11c Eriksson 11/u.rtmtionr ·r. K.-tola. title pngc nftcr Luc:as Cranndt (ca. 15~2) Conic triangle (pagt 19~) b,y 'IllOnla<; Karls.on Boo/; d~.sig11 {; f!/pograph,y T Benninghaus & 1: Kewla Primed b,y Titomson·Shorc Second cdirion. ISUN 978·0·97~1820-1-0 TABLE OF CoNTENTs Preface 9 The 'Jtcc of Lif<· bt•fore thl' Fall - lmroduclion 13 '1'11 ~. QABALAII "~ o rllf LuT St o•· ~~ Tiu· Origin of thl· Qabalah ~3 Definition~ of Qabalah 'ln TI1c !:lephiroth and thl·1h·l· of Lifl· '18 Atn Soph and the Sephiroth 33 Tiu~ 1\,ent)'-two Paths 37 The 1h·e of Ltfe bcfon.• tlw fall 31! Lucifl•r-Daath 39 TI1e Fall of Ludlcr 4• Tite Opcniug of the Ab)~~ 44 Lilitl•-Daath and dw F'allcu Sophia 45 TtH: NATUIU. or Ev11. 48 The Scphira Cd)llrah allli the Origin of Evil 54 Ccburah and SatUII s6 Ccburah and Ct·eation 57 TIH.' Destroyed World., sll 1lw King<. of Edom flo Cl•burah and the Zinvum 61 Tiw Breaking of the Vc,wl., ()4 TuE QtiPIIOltt 66 Demouolog) 6g 11tc Qhphouc· Ocmonolob" of Ehpha., Lc,; 73 Kclippath Nogah 74 The Qliphoth and the Shd.inah 75 TuF S1TIIA AlinA 7R 'l11c Primordiality of Evil 79 TI1e Siu-a Ahra a-. -
Db:Scanner (Band)"Stephan O'mallie"@En"Maurycy "Mauser" Stefanowicz"@En "Wildeþrýð"@En Db:Nihilist (Band) "Dave Edwards"@En "Ashish Kumar"@Endb:Krieg (Band) "W.D
db:Amalie_Bruun "Dominik Immler"@en "Frater D."@en * Gunnar* Egill Þór* Birkir* Hafþór* Næturfrost "Simon O'Laoghaire"@en db:Kimmo_Heikkinen "Uri Zelcha"@en db:1349_(band) db:Dan-Ola_Persson "Itzik Levy"@en db:The_Kovenant "Zorugelion"@en "Derek MacAmhlaigh"@en db:Lord_Morbivod db:Zonata "Goran Paleka"@en "Johan Elving"@en "Damir Adžić"@en "Ines Tančeva"@en db:Alan_Averill "Elvorn"@en "Enrique Zúñiga Gomez"@en "Nick Oakes"@en db:Marcela_Bovio "Frank Calleja"@en "Miroslav Branković"@en "Maxime Aneca - Guitar"@en "*Lex Icon*Pzy-Clone*Hellhammer*Angel*Sverd"@en db:Alejandro_Mill%C3%A1n Ines Tan?eva "Cremator , Fermentor"@en Alejandro Díaz "MasterMike"@en "Maria "Tristessa" Kolokouri"@en "Martijn Peters"@en "Ivan Vasić"@en "Filip Letinić"@en "Eduardo Falaschi"@en A. db:Viathyn Bart Teetaert - Vocals "Lior Mizrachi"@en "Nikola Mijić"@en "Loke Svarteld"@en "Koen De Croo - Bass"@en "Chris Brincat"@en "Duke"@en db:The_Kovenant "Demian Tiguez"@en "*Tomislav Crnkovic*Dave Crnkovic*Jacob Wright*Alex Kot"@en "Fermentor Cremator , Fermentor"@en db:Lori_Linstruth Ivan Kutija "César Talarico"@en "Eden Rabin"@en db:Alex_Losbäck "Artyom"@en "Sami Bachar"@en "Marchozelos"@en "Morten"@en "* Wagner Lamounier* Roberto Raffan* Jairo Guedz* Max Cavalera* Igor Cavalera* Jean Dolabella"@en Lazar Zec - Guitar "Dave Hampton"@en "Wellu Koskinen"@en "VnoM"@en db:Sabbat_(Japanese_band) "* Christofer Johnsson* Thomas Vikström* Johan Koleberg* Nalle "Grizzly" Påhlsson* Christian Vidal* Lori Lewis"@en db:Arjen_Anthony_Lucassen "Mića Kovačević"@en "Roberto Raffan"@en db:Memnock db:Henrik_Carlsson db:Throllmas "Lazar Zec - Guitar"@en "Chris Calavrias"@enEric Hazebroek "Mathias"* PauloSchlegl"@en Jr.* Andreas Kisser* Derrick Green* Eloy Casagrande"@en"Yatziv Caspi"@en "Erkki Silvennoinen"@en "Gaahnt, Nattulv, Bahznar, Dermorh"@en "Marco Cecconi"@en Antti Kilpi "Gezol"@en Koen De Croo - Bass Elizabeth Toriser "Ze'ev Tananboim"@en db:Jukka_Kolehmainen J. -
Lilith: Gooddess of Sitra Ahra
Lilith: Goddess of Sitra Ahra Black Tower Publishing © Black Tower Publishing 2015 LILITH: GODDESS OF SITRA AHRA Second Edition Design & Layout: Black Tower Publishing Website: www.blacktowerpublishing.com Contact: [email protected] Black Tower Publishing © 2015 The materials contained here may not be reproduced or published in any form or by any means, electronic or mechanical, without written permission from the authors. Individual contributors retain copyright of their essays and artwork. Content Foreward Ama Lilith -Daemon Barzai- Arachnid Lilith -Salomelihecatel- The Legacy of Lilith -Frater Nephilim- BINAH -David ‘Eosphorus’ Maples- Opening The Eye Of Lilith -Edgar Kerval- The Red Serpent -Frater G.S- The Abode of the Dark Mother -Walter García- The Huluppu Tree -Frater G.S- Lilith - The Night Hag -Pairika - Eva Borowska- The Witch of the Night -Daemon Barzai- Lilit -Astartaros Magan- Gnosis of Lilith -James L George- Lilith Invocation -Lucien von Wolfe- Three Rituals for the Queen of Night -Chertograd Daemon- Lilith:The Spider Queen of the Qlipoth -Daemon Barzai- The womb of art -Tim Katteluhn- Lilith as the Great Qabalistic Initiator -Rev Bill Duvendack- My Triple Goddess Lilith My Eternal Freedom -Selene-Lilith- Lilith Serpina -James George- Rite of the Seduction of the Virgin -Matthew Wightman- Lilit and the consorts of Samael -Yla Ysgarlad- Lilith Poetry -Ari- The Pilgrimage of Viryklu -Luis G. Abbadie- The Baptism of Witchblood -Kazim- The Evocation of Lilith -Daemon Barzai- List of Illustrations and Artwork: Lilith - Kazim- Arachnid Lilith -Salomelihecatel- Isheth Zenunim -Edgar Kerval- Lilith - Sitra Ahra -Soror Basilisk- Possession - Soror Basilisk- Lilith - Anna Krajewski- Samshan Lilith -Kazim- Foreword Lilith is one of the most well known Goddesses within the Left Hand Path magic and this anthology was written from different points of view, with different visions, experiences and personal gnosis. -
SATANISMO E SETTE SATANICHE: Ordo Draconis Et Atri Adamantis – Dragon Rouge
Istituto MEME associato a Université Européenne Jean Monnet A.I.S.B.L. Bruxelles SATANISMO E SETTE SATANICHE: Ordo Draconis et Atri Adamantis – Dragon Rouge Scuola di Specializzazione: SST in SCIENZE CRIMINOLOGICHE Relatore: Dott. ssa Cristina Caparesi Collaboratori: Dott. ssa Roberta Frison, Dott. ssa Silvana Radoani Contesto di Project Work: Satanismo Tesista Specializzando: Dott. ssa Clio Pizzigati Anno di corso: Primo Modena: 14/06/2009 Anno Accademico: 2008 - 2009 ISTITUTO MEME S.R.L.- MODENA ASSOCIATO UIVERSITÉ EUROPÉENNE JEAN MONNET A.I.S.B.L. BRUXELLES CLIO PIZZIGATI - SST in SCIENZE CRIMINOLOGICHE (Primo anno) A.A. 2008/2009 INDICE 1. Introduzione …………………………………………………………………………. 4 Capitolo I Il Satanismo ………………………………………………………………… 7 1. Definizione di satanismo ………………………………………………...………….. 7 2. Origine del satanismo ……………………………..………………………………….8 3. Classificazioni del satanismo ………………………………………………………. 11 3.1 Classificazione di Aleister Crowley …………………….………………………… 11 3.2 Classificazione di Massimo Introvigne ………………………………………..….12 3.3 Classificazione di Francesco Barresi ……………………………..………………. 13 3.4 Classificazione di Vincenzo Mastronardi …………………….…..………………. 13 4. Struttura del satanismo……………………………………………………...…….... 14 5. Definizione di setta e setta satanica …………………………………………………15 5.1 Formazione della setta satanica …………………………………………………... 16 6. Satanismo e musica …………………………………………………………..……. 18 6.1 I messaggi subliminali (Backward masking)……………………...………………. 19 6.1.1 Esempi di messaggi subliminali ………………………………………….......… 20 7. Il satanismo -
Embracing the Dark ÅA
Embracing The Dark ÅA The study of Western Esotericism is an the Dark Embracing Granholm: Kennet emerging academic fi eld with research mainly Kennet Granholm being carried out on historic currents ranging from the renaissance to early modern Europe, and on ”The New Age Movement”. The mode of spirituality called the Left Hand Path has, Embracing the Dark however, not yet attracted the attention of academia. The present study of the dark The Magic Order of Dragon Rouge– magic order DRAGON ROUGE constitutes an attempt to contribute thoroughly and Its Practice in Dark Magic creatively to this line of research. Objects of study are the organization, philosophy and Meaning Making and practices of the order, as well as the complex discursive conventions involved in the adherents’ construction of coherent world views. In an attempt to shed light on the particularities of this contemporary, late modern esoteric phenomenon, a historical perspective on Western Esotericism has here been combined with a discussion on the impact of recent societal change. Åbo Akademi University Press ISBN 951-765-251-8 2005 Kennet Granholm born 1977 M.A. Åbo Akademi University 2001 Researcher Department of Comparative Religion, Åbo Akademi University Cover: Tove Ahlbäck Åbo Akademi University Press Tavastg. 30 C, FIN-20700 ÅBO, Finland Tel. int. +358-2-215 3292 Fax int. +358-2-215 4490 E-mail: forlaget@abo.fi http://www.abo.fi /stiftelsen/forlag/ Distribution: Oy Tibo-Trading Ab P.O.Box 33, FIN-21601 PARGAS, Finland Tel. int. +358-2-454 9200 Fax int. +358-2-454 9220 E-mail: [email protected] http://www.tibo.net Kennet Granholm born 1977 M.A. -
Avhandling 13.Indd
Götisk kabbala och runisk alkemi: Johannes Bureus och den götiska esoterismen Thomas Karlsson Stockholms universitet Religionshistoriska avdelningen ISBN 978-91-628-8030-9 © Thomas Karlsson 2009 Grafisk form och illustrationer T. Ketola/tentacula.org där inte annat anges (utom s. 119 t.h., 132, 136 t.h., 139 och 140). Omslagets litografi av Joh. Cardon 1841. Innehållsförteckning Förord 6 I INLEDNING OCH BAKGRUND 9 1 Bureus och den götiska esoterismen – en introduktion 11 1.1 Esoteriska begrepp 19 1.2 Litteratur och tidigare forskning 20 1.3 Teori och metod 22 1.4 Bureus och renässansen 28 1.4.1 Nyplatonismen under renässansen 33 2 Esoterismen 38 2.1 Bureus esoterism 38 2.2 Esoterism och religionshistoria 39 2.3 Magin under renässansen 57 3 Göticismen 61 3.1 Synen på runor under sextonhundratalet 71 4 Esoteriska traditioner 75 4.1 Kabbala 75 4.1.1 Kabbalans ursprung 78 4.1.2 Definitioner av kabbala 80 4.1.3 Sefirot och Livets träd 81 4.1.4 De tjugotvå stigarna 83 4.2 Alkemi 84 II BUREUS VERK 93 5 Den svenska sextonhundratalskontexten 94 5.1 Bureus esoteriska skrifter 98 6 Bureus dagbok 99 7 Adulruna Rediviva 116 7.1 Den liggande och den fallande stenen 117 7.2 Runkorset 125 7.3 Konungen klädd i runor 139 7.4 Adulrunans innersta håfvebur och skattkammare 140 7.5 De tre kronorna 145 8 Cabbalistica: Bureus esoteriska anteckningar 148 9 Nymäre Wijsor: Esoteriska motiv i Bureus vissamling 167 10 Nord Landa Lejonsens Rytande 177 10.1 Det nedre Azara: Tiden från år 136 till 1369 182 10.2 Det andra Azara: Tiden för Jan Huss och Luthers framträdande -
Popular Culture and the ‘Darker Side’ of Alternative Spirituality
MARCUS MOBERG Popular Culture and the ‘Darker Side’ of Alternative Spirituality The case of metal music Introduction Recent decades have seen a growing interest in a wide range of alternative religions and spiritualities in the West. This has led to the emergence of an al- ternative spiritual environment that is often referred to as the ‘holistic milieu’ (e.g. Heelas & Woodhead 2005) or, more broadly, ‘the alternative spiritual milieu’ (e.g. Partridge 2004). Commenting on the changing face of religion in the West, scholars such as Christopher Partridge (2004, 2005) argue that contemporary Western society and culture is experiencing a process of ‘re- enchantment’, while Paul Heelas and Linda Woodhead (2005) contend that the West may be experiencing the beginning of a ‘spiritual revolution’ as a re- sult of the overall ‘massive subjective turn’ of Western culture and society. In relation to these debates, scholars of religion have also increasingly started to draw attention to the role played by popular culture within the overall context of religious change and transformation in the West. Popular culture not only reflects these changes but, in turn, also provides important sources of inspir- ation for the transformation of religious and spiritual practices and identities (e.g. Partridge 2004, 2005; Lynch 2006; Forbes 2005). Metal is perhaps the most extreme and aggressive form of contemporary Western popular music. Even though it continues to spark controversy and debate, it has also enjoyed enduring popularity for decades and has spread on a global scale. Metal music and culture has always been characterized by its fascination for dark and austere themes and imagery. -
Deutsche Nationalbibliografie 2019 T 02
Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2019 T 02 Stand: 06. Februar 2019 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2019 ISSN 1613-8945 urn:nbn:de:101-201811221820 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie sche Katalogisierung von Ausgaben musikalischer Wer- auf der Sachgruppenübersicht angegeben, entsprechend ke (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD (PM)“ zugrunde. -
Kontrakulturní Tvorba Thursatrú Countercultural Formation of Thursatrú
STŘEDOŠKOLSKÁ ODBORNÁ ČINNOST Obor SOČ: 17 Filozofie, Politologie a ostatní humanitní a společenskovědní obory Kontrakulturní tvorba Thursatrú Countercultural Formation of Thursatrú Autor: Matouš Mokrý Škola: Gymnázium a Střední odborná škola Klášterec nad Ohří, Chomutovská 459, 431 51 Klášterec nad Ohří Kraj: Ústecký kraj Odborný konzultant: Mgr. Pavel Horák Klášterec nad Ohří 2016 Prohlášení Prohlašuji, že jsem svou práci vypracoval samostatně za pomoci podkladů uvedených v přiloženém seznamu a postupem při zpracování a nakládání s prací, který je v souladu se zákonem č. 121/2000 sb., o právu autorském, o právech souvisejících s právem autorským a o změně některých zákonů (autorský zákon platného znění). V Klášterci nad Ohří dne …………………. Podpis: …………………………… 2 Poděkování Tímto bych rád vyjádřil poděkování těm, kteří mě v práci podpořili. Děkuji především mému odbornému konzultantovi Mgr. Pavlu Horákovi z Univerzity Pardubice, dále pak Ing. Mgr. et Mgr. Miroslavu Vrzalovi z Masarykovy univerzity v Brně a Doc. PhDr. Zdeňku Vojtíškovi, Th.D. za velmi cenné rady ve studiu. Rád bych také poděkoval všem anonymním uživatelům internetu, kteří mi umožnili nahlédnout do literatury, ke které bych jinak vůbec neměl přístup. 3 Anotace Práce se věnuje problematice esoterického proudu Thursatrú. Thursatrú spadá pod širší esoterický proud chaos-gnosticismus, který představuje syntézu gnosticismu, učení Left-Hand Path a satanismu. Thursatrú aplikuje myšlenky chaos-gnosticismu do germánského pohanství. Práce sleduje, jak se Thursatrú vymezuje vůči většinové společnosti, satanismu, Left-Hand Path a Ásatrú na příkladu vyjadřování blackmetalových hudebníků, kteří tvoří jádro Thursatrú. Vyznavači Thursatrú se vlivem gnostického dualismu proti všem výše zmíněným pojmům staví velmi odmítavě, zatímco se sami považují za povýšené nad okolní svět. -
HD's MYTHOMYSTICAL POETICS by Adriana Cheta Hetram A
“THE BLACK IMPRINT OF SANDALS IN WHITE MOSAIC FLOORS”: H.D.’S MYTHOMYSTICAL POETICS by Adriana Cheta Hetram A thesis submitted to the Department of English in conformity with the requirements for the degree off Doctor of Philosophy Queen’s University Kingston, Ontario, Canada August, 2011 Copyright © Adriana Cheta Hetram, 2011 Abstract My dissertation examines the traces of inverse (mytho)mysticism, more synchronous with mythical alchemy than transcendent mystery, in H.D.’s mature work (1946-1961). Whereas H.D.’s earliest works respond to a fin de siècle occultism and a collective psyche troubled by the eschatological distress that, as Susan Acheson writes, “was widespread amongst modernist writers grappling with …world events and with the implications of Nietzsche’s inaugural annunciation of modernity in terms of the death of God” (187), her later oeuvre is dedicated to the same work of soul undertaken by the “secret cult of Night” in Vale Ave. Here, her thematic scope faces two ways: backward to ancient Greek mystery cults and their palingenesic rites and forward to depth psychologists searching for the Soul of the World. Vale Ave plays a pronounced role in my study as symbolic guide; in its seventy- four sequences the layering of time in the “trilogy” of past, present, and future that H.D. had explored during the years of the Second World War in order to get behind the fallen walls of cause and effect collapses into two distinct phases of human origin—“meeting” (evolution) and “parting” (involution)—and the poem invites Lilith and Lucifer to be its archetypal guides. -
I Det Glimrande Mörkrets Djup
I det glimrande mörkrets djup Om religiöst gränsöverskridande, identitetssökande och meningsskapande i svensk extrem metallyrik Robert Andersson 2010 Examensarbete, Grundnivå (kandidatexamen), 15 hp Religionsvetenskap Religionsvetenskap C Människa-natur -religionsprogrammet Handledare: Juan Carlos Gumucio Examinator: Peder Thalén Abstract This study is an attempt to investigate religious perceptions and its development, function and connection to religious practise within the Swedish extreme metal scene. This is performed mainly by a qualitative method of investigation, studying lyrical content published on a number of extreme metal albums, thereafter relating the lyrical progression to the progession of the scene as a whole and also to the development of individual religious belief and practise. The lyrically expressed manifestations of religiosity within the extreme metal scene prove to be related to religious practise in some cases, most visibly in the Christian parts of the scene. The study also indicates that development of religious expression often is evident regardless of religious preference. This development also regularly relates to an increase in musical evolution and prowess often achieved with increased age and maturity. Musically and lyrically, the extreme metal scene displays transgressive attributes which assist both individual and group in the process of creating identity, meaning and individuality. Experiencing extreme metal, in concert or in the privacy of one´s own home, can be one way of perceiving spirituality in -
Contemporary Esotericism Kennet Granholm
370 Contemporary Esotericism Kennet Granholm Introduction What is esotericism? While we may recognize various phenomena, practices, and beliefs as belonging to “esotericism”, “the occult”, or “mysticism” when we come across them, we have difficulties when trying to explain what the core characteristics of this larger category are and what in specific qualifies phenomena for inclusion in it. The domain of the esoteric is vague, amorphous, and generally perplexing, not least because many of the phenomena that it houses have for a very long time been deemed unworthy of serious scholarly or theological attention. It is thus not surprising that when scholars have finally come around to studying “esotericism” there are no definitions, demarcations, or descriptions that are undisputedly agreed upon. Instead there are a multitude of different and sometimes conflicting approaches and perspectives, each shedding light on different but equally important aspects. Nonetheless, there are phenomena, groups, and philosophies – such as “the occult sciences” (commonly magic, alchemy, and astrology), German naturphilosophie and Christian Theosophy, initiatory societies, and nineteenth century occultism – that more or less all scholars agree belong within esotericism. The situation is complicated considerably, however, when contemporary phenomena are discussed. I will here briefly deal with some of the various ways in which esotericism has been conceptualized, before moving on to discuss esotericism in late modernity, a number of modern esoteric currents, and esotericism in relation to society at large. Esotericism as inner tradition Among self-avowed occultists, in much non-specialist scholarship, and in some older specialist research esotericism is presented as a more or less self-contained and homogenous tradition.