The Bahá'í Faith and Wicca
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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. -
Dion Fortune, (About the Author)
Here formatted for A4 paper, but original’s page numbers are also shown. And remark that the many of the illustrations inserted here, was not in the ‘old book’- as ex.this below of Duguay – and more of this same artist further on. Audiobook of this will also be uploaded, mp3. Dion Fortune, (About the Author) Through The Gates Of Death. THE GREAT ANAESTHETIST. (Anaesthetists are doctors who have completed a full medical training. As graduate doctors they choose to complete further training to become an anaesthetist) DEATH is a universal experience. No one can hope to escape. It is only a matter of time till it comes to each one of us and each one of those we love. Yet Death is called the King of Terrors and is the supreme threat of the law to the wrong-doer. What is it that makes a natural process so terrible? Is it the pain of dying? No, for anodynes can deaden that. Most death-beds are peaceful when the time comes, and few souls go out struggling. What, then, is it we fear in death that it should be for us a thing of grief and dread? Firstly, we fear the Unknown. For in that sleep of death what dreams may come When we have shuffled off this mortal coil? Secondly, we dread the separation from those we love. These are the things which make death terrible. How differently should we set out to cross the Threshold - were our minds at rest on these two points. It is recorded that the great gift of the Greek Mysteries to their initiates was re le a se from the fear of death. -
The Magical World of Dion Fortune
THE MAGICAL WORLD OF DION FORTUNE By Gareth Knight Draw a line from St Alban's Head on the south coast of England up to the holy island of Lindisfarne in the north east, passing through the great stone circle at Avebury, and another from King Arthur's legendary birth place at Tintagel in Cornwall, across to St Albans north of London, the old Roman city of Verulamium and place of Britain's first Christian martyr, and that line too will pass through Avebury. So says Mona Wilton, heroine of Dion Fortune's novel The Goat-Foot God, to Hugh Paston when he is seeking a suitable site to construct a nature temple dedicated to the great god Pan.Thus the land of Albion (the ancient name for Britain the White Island) is divided up into four quarters of real significance, each having a different approach and response to the legends and traditions, be they Brythonic Celtic, Saxon or Viking. What makes Dion Fortune's novel differ from the average fantasy novel is that she fully believed in everything she wrote, and not least that which she wrote under the guise of fiction, for in writing fiction she could speak of things that might seem strange if presented as bare fact. For there is a truth of the imagination, that when coming from sufficient depth of knowledge and conviction is just as valid as any more prosaic speculation. GLASTONBURY CONNECTIONS The proof of this is evident in the fact that her novels written almost 70 years ago are still in print today and much of what she wrote in them has been taken on board by the esoteric world. -
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. -
Rosaleen Norton's Contribution to The
ROSALEEN NORTON’S CONTRIBUTION TO THE WESTERN ESOTERIC TRADITION NEVILLE STUART DRURY M.A. (Hons) Macquarie University; B.A. University of Sydney; Dip. Ed. Sydney Teachers College Submission for Degree of Doctor of Philosophy School of Humanities and Social Science University of Newcastle NSW, Australia Date of submission: September 2008 STATEMENT OF ORIGINALITY This work contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying subject to the provisions of the Copyright Act 1968. Signed: Date: Neville Stuart Drury ACKNOWLEDGEMENT OF AUTHORSHIP I hereby certify that the work embodied in this Thesis is the result of original research, the greater part of which was completed subsequent to admission for the degree. Signed: Date: Neville Stuart Drury 2 CONTENTS Introduction 5 Chapter One: Rosaleen Norton – A Biographical Overview 16 Chapter Two: Sources of the Western Esoteric Tradition 61 Chapter Three: Aleister Crowley and the Magic of the Left-Hand Path 127 Chapter Four: Rosaleen Norton’s Magical Universe 214 Chapter Five: Rosaleen Norton’s Magical Practice 248 Chapter Six: Rosaleen Norton as a Magical Artist 310 Chapter Seven: Theories and Definitions of Magic 375 Chapter Eight: Rosaleen Norton’s Contribution to the Western Esoteric Tradition 402 Appendix A: Transcript of the interview between Rosaleen Norton and L.J. -
Earth-Centered Religions
An Introduction To Earth-Centered Religions History Overview Earth-centered or Pagan religious traditions together constitute a major world religion—but with many unique branches. Paganism has many branches due largely to the individualized ecosystems, pantheon and mythology of the various cultures from which they have emerged. The branches often share their roots in ancient Goddess traditions. They include the pagan and earth-centered religions practiced before the introduction of Christianity as well as a growing and vibrant movement of the 21st Century. Examples of Pagan traditions include: Asatr (based upon pre-Christian Norse religion and mythology); Greek (based upon pre-Christian Greek religion and mythology); Goddess worship (drawing upon different cultures and dating back more than 35,000 years); Druidism (based upon pre-Christian Celtic religions); and, Wicca (reconstructed from pre-Christian Western European religions). Most of the Earth-Centered traditions went underground or vanished during the centuries-long period of Christianization wherein many Pagan holidays and traditions were absorbed into the Christian calendar and its practices. As an example, the Pagan holiday of Eastre celebrated the Goddess of Spring and the idea of fertility (through the symbolism of eggs and rabbits). Eastre became Easter, the Celebration of the Risen Christ. After decades of dormancy, the modern Pagan movement began emerging in the 1950’s. It matured in the context of the ecological, civil rights and womenʼs movements. This emergence resulted in strong ties between Paganism and the social justice and environmental move-ments. Wiccan author and activist Starhawk is a popular articulator of the Pagan tradition. Today Pagan celebrations such as The Burning Man Festival and fictional Wiccan characters such as Willow on Buffy the Vampire Slayer have brought Pagan expression into mainstream pop- culture at a time when the tradition is growing in numbers and in visibility. -
Modern Minoica As Religious Focus in Contemporary Paganism
The artifice of Daidalos: Modern Minoica as religious focus in contemporary Paganism More than a century after its discovery by Sir Arthur Evans, Minoan Crete continues to be envisioned in the popular mind according to the outdated scholarship of the early twentieth century: as a peace-loving, matriarchal, Goddess-worshipping utopia. This is primarily a consequence of more up-to-date archaeological scholarship, which challenges this model of Minoan religion, not being easily accessible to a non-scholarly audience. This paper examines the use of Minoan religion by two modern Pagan groups: the Goddess Movement and the Minoan Brotherhood, both established in the late twentieth century and still active. As a consequence of their reliance upon early twentieth-century scholarship, each group interprets Minoan religion in an idealistic and romantic manner which, while suiting their religious purposes, is historically inaccurate. Beginning with some background to the Goddess Movement, its idiosyncratic version of history, and the position of Minoan Crete within that timeline, the present study will examine the interpretation of Minoan religion by two early twentieth century scholars, Jane Ellen Harrison and the aforementioned Sir Arthur Evans—both of whom directly influenced popular ideas on the Minoans. Next, a brief look at the use of Minoan religious iconography within Dianic Feminist Witchcraft, founded by Zsuzsanna Budapest, will be followed by closer focus on one of the main advocates of modern Goddess worship, thealogian Carol P. Christ, and on the founder of the Minoan Brotherhood, Eddie Buczynski. The use of Minoan religion by the Goddess Movement and the Minoan Brotherhood will be critiqued in the light of Minoan archaeology, leading to the conclusion that although it provides an empowering model upon which to base their own beliefs and practices, the versions of Minoan religion espoused by the Goddess Movement and the Minoan Brotherhood are historically inaccurate and more modern than ancient. -
An Examination of Societal Impacts on Gender Roles in American and English Witchcraft
Illinois Wesleyan University Digital Commons @ IWU Honors Projects Religion 4-18-2006 Who's in Charge? An Examination of Societal Impacts on Gender Roles in American and English Witchcraft Austin J. Buscher '06 Illinois Wesleyan University Follow this and additional works at: https://digitalcommons.iwu.edu/religion_honproj Part of the Religion Commons Recommended Citation Buscher '06, Austin J., "Who's in Charge? An Examination of Societal Impacts on Gender Roles in American and English Witchcraft" (2006). Honors Projects. 6. https://digitalcommons.iwu.edu/religion_honproj/6 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Who's In Charge? An Examination of Societal Impacts on Gender Roles in American and English Witchcraft Austin J. Buscher Senior Honors Research Carole Myscofski, Advisor th Received Research Honors April 18 , 2006 Ie INTRODUCTION Since its genesis in the 1970s, American Witchcraftl has shown itself to be one ofthe most forward-looking and tolerant religions in the area ofwomen's roles and gender theory. -
The Neo-Pagan Goddess
TheNeoͲPaganGoddess KatyJennisongivesabriefintroducƟontotheplaceoftheGoddessin contemporaryPaganism. One factor propelling the growth of contemporary logical discoveries (see Ronald Hutton, Triumph of Paganism is dissatisfaction with the almost-exclusive the Moon (1999), chapter 2). maleness of the deities of mainstream religions. The many branches of neo-Paganism all offer at least one This Goddess, in Wicca and its derivatives, is Goddess, usually but not always accompanied by at frequently perceived as a Triple Goddess, and least one God. This is a very brief and necessarily combines some of the imagined characteristics of a incomplete overview. Goddess of the Moon, sometimes called Diana, with those of a great Earth Mother and with the Crone, Sofia readers will understand that to any individual who may be called Hecate. Wicca has spread within Pagan ‘the Goddess’ may be a personification, a Britain, north America, and Europe, and as it has metaphor, a developed and been symbol, an adapted by many archetype, or an people, including independent Alex Sanders (1926- supernatural entity, 1988) in Britain and or all of these at Raymond Buckland, different times. Starhawk and Some Pagans are others in the USA, polytheists; some adherents have visualise a Divine found different pair, a Goddess names for their and a God, with Goddess, many different sometimes from names. In some antiquity, traditions ‘all the sometimes using gods are one God names of local and all the deities, sometimes goddesses are one simply calling her Goddess’: all the RainbowoverGlastonburyTor ‘the Lady’ or ‘the different deities are Goddess’. She is aspects of a single Deity. And some (particularly invoked by the priestess during Wiccan ceremonies in numerous in the USA) are exclusively Goddess- a rite called ‘Drawing down the Moon’. -
Advance Version Advance Version Doyle White / Correspondences 7, No
Advance Version Research Article Correspondences 7, no. 2 (2019): 1–43 “One Magical Movement from Kether to Malkuth”: Occultism in the Work of David Bowie Ethan Doyle White [email protected] Abstract One of the twentieth century’s best-known popular musicians, David Bowie (1947–2016) drew upon a diverse range of influences in crafting his lyrics. Among these was occultism. As with many members of his generation, Bowie pursued a ‘pick and mix’ individualist approach to what he called ‘spirituality,’ rejecting institutionalised Christianity while taking an interest in a broad variety of culturally alternative belief systems. Bowie introduced occultist elements into his work in the early 1970s, adding references to Aleister Crowley and the Hermetic Order of the Golden Dawn in songs like “Quicksand” and possibly also “After All.” Rather than reflecting a committed adherence or practice of these occultist currents, such references probably represented attempts to imitate other popular musicians like The Beatles and Led Zeppelin. Bowie’s interest in occultism resurfaced in a more concentrated fashion when living in the United States in 1974–75. Suffering from severe paranoia, he came to believe that male- volent supernatural forces were acting against him and turned to occultist literature, particu- larly the work of Arthur Edward Waite and Dion Fortune, for protective purposes. He also developed an interest in Qabalah, demonstrating this in the lyrics to “Station to Station”. After 1976, he vocally distanced himself from occultism, but his work continues to offer an impor- tant case study for the influence of occultism in the history of popular music. -
Wicca, Witchcraft and the Goddess Revival: an Examination of the Growth of Wicca in Post-War America
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UDORA - University of Derby Online Research Archive Wicca, witchcraft and the Goddess revival: An examination of the growth of Wicca in post-war America. Item type Book chapter Authors Ball, Caroline Citation Ball, C. (2018) 'Wicca, Witchcraft and the Goddess Revival: An examination of the growth of Wicca in post- war America', in Beavis, M.A. & Hwang, H.H-S., M. (eds.) 'Goddesses in Myth, History and Culture', Lytle Creek, CA: Mago Books. Publisher Mago Books Downloaded 13-Jan-2019 02:54:54 Link to item http://hdl.handle.net/10545/622746 Chapter 20 Wicca, Witchcraft and the Goddess Revival: An examination of the growth of Wicca in post-war America Caroline Ball Preface When dealing with a topic as unfamiliar as Wicca is to many, it seems important before progressing further to establish just what is meant by the terms ‘pagan’, ‘neopagan’, ‘witch’ and ‘Wiccan’, both to scholars and those to whom the terms apply. There is a great deal of debate concerning this matter, which does not look to be reconciled any time soon, and many, scholars included, are wont to use these terms interchangeably. It does not help that in many cases there is no single specific definition accepted by both groups, as in the case of Wicca; or that the official dictionary definition is outdated and reflects a quite clearly Christian bias. For example, the Oxford English Dictionary defines a ‘pagan’ as “heathen; unenlightened or irreligious”. One can see immediately how offensive, not to mention inaccurate, such a description would seem to pagans, who are neither unenlightened nor irreligious. -
From Decadent Diabolist to Roman Catholic Demonologist: Some Biographical Curiosities from Montague Summers’ Black Folio
From Decadent Diabolist to Roman Catholic Demonologist: Some Biographical Curiosities from Montague Summers’ Black Folio Bernard Doherty Introduction The history and practice of black magic, witchcraft, and Satanism have long held a deep fascination in British—and indeed international—popular culture. Beginning with the gothic literature of the eighteenth century, through to the nineteenth century occult revival and Victorian “penny dreadful,” and then into twentieth century pulp fiction, tales of the supernatural involving maleficent magic have been authored some of Britain’s most popular—if not always critically acclaimed—writers including, among others M. R. James, Arthur Machen, William Somerset Maugham, Agatha Christie, Charles Williams, and Dennis Wheatley. These writers, as well as various other short story writers, novelists, and journalists, have all played an important role in shaping, recording, and reflecting popular beliefs about these topics. Indeed, not a few occult practitioners, most notably Aleister Crowley, Dion Fortune, Gerald Gardner, and Doreen Valiente, even turned their hands to writing popular occult fiction. Despite this, the frequent blurring of the often porous boundary between actual occult practices and groups, and the imagined worlds of the purveyors of popular and literary fiction, has been seldom explored outside of highly specialised academic literature dedicated to the history of gothic or weird fiction and the burgeoning study of what has come to be called Western Esotericism.1 Bernard Doherty is a lecturer in the School of Theology at Charles Sturt University. 1 See, for example, Nick Freeman, ‘The Black Magic Bogeyman 1908–1935’, in The Occult Imagination in Britain, 1875–1947, ed. Christine Ferguson and Andrew Radford, pp.