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The Magic Wand Represents the Wandabsolute Will of the Magician
The Magic Wand represents the Wandabsolute will of the magician. This potent magical agic tool can be used for almost any energy-directing purpose, The M tinos which includes healing, the charging of other magical implements, and y Konstan the evocation of benevolent spirits (malevolent entities should be called with B the magic sword, which is explained below). Over the years, several occult orders and magical traditions have each developed specific magic wands for use in their rituals. The Golden Dawn, for example, had a different wand for every officer of the temple (Chief Adept's Wand, Praemonstrator's Wand, etc.), a wand for invoking the element of Fire (described above), and a Lotus Wand that was useful for many types of rituals. As a solitary ceremonial magician, however, you only need to concern yourself with the already explained Fire weapon and one other type of wand, the Magic Wand, which is used for directing energy and willpower. This Magic Wand does not have any particular elemental or astrological correspondences associated with it, therefore it is free of markings, unlike the Golden Dawn Elemental Weapons. The Magic Wand is a universal instrument, and can be used within the context of any magical current or tradition. When charging and consecrating your other magical weapons, this is the instrument you will use to help you direct energy and Divine Light into them. The type of material selected for a Magic Wand's construction is very important. Over the centuries, several different woods have been used and the ones recommended here are used almost universally. -
Author Book(S) Own Read Anderson, Poul the Broken Sword (1954)
Author Book(s) Own Read Anderson, Poul The Broken Sword (1954) The High Crusade (1960) Three Hearts and Three Lions (1953) Bellairs, John The Face in the Frost (1969) Brackett, Leigh * Sea-Kings of Mars and Otherworldly Stories Brown, Fredric * From these Ashes: The Complete Short SF of Fredric Brown Burroughs, Edgar Rice Mars series: A Princess of Mars (1912) The Gods of Mars (1914) The Warlord of Mars (1918) Thuvia, Maid of Mars (1920) The Chessmen of Mars (1922) The Master Mind of Mars (1928) A Fighting Man of Mars (1931) Swords of Mars (1936) Synthetic Men of Mars (1940) Llana of Gathol (1948) John Carter of Mars (1964) Pellucidar series: At the Earth’s Core (1914) Pellucidar (1923) Tanar of Pellucidar (1928) Tarzan at the Earth’s Core (1929) Back to the Stone Age (1937) Land of Terror (1944) Savage Pellucidar (1963) Venus series: Pirates of Venus (1934) Lost on Venus (1935) Carson of Venus (1939) Escape on Venus (1946) The Wizard of Venus (1970) Carter, Lin World’s End series: The Warrior of World’s End (1974) The Enchantress of World’s End (1975) The Immortal of World’s End (1976) The Barbarian of World’s End (1977) The Pirate of World’s End (1978) Giant of World’s End (1969) de Camp, L. Sprague Fallible Fiend (1973) Lest Darkness Fall (1939) de Camp, L. Sprague & Pratt, Fletcher Carnelian Cube (1948) Harold Shea series: The Roaring Trumpet (1940) The Mathematics of Magic (1940) The Castle of Iron (1941) The Wall of Serpents (1953) The Green Magician (1954) Derleth, August * The Trail of Cthulhu (1962) Dunsany, Lord * The King of -
How Feminist Criticism Has Transformed the Character of Morgan Le Fay: a Literary and Media Analysis
Emilee Ruhland “WHY?” QUESTIONS AND GOALS M. Wendy Hennequin • Medievalist and Feminist? How has feminism affected representations of the character Morgan le Fay? Can all these representations work together? Feminism Beginnings Le Morte d’Arthur The Mists of Avalon Merlin Conclusions Feminine • 1840-1880 Female • “appearance of the • 1920- male pseudonym” 19 • “trying to unify the Feminist fragments of • 1880-1920 female experience • “rebelled against through artistic the dictatorship of vision” 35 male establishment” 31 “Feminism’s goal is to change this degrading view of women so that all women will realize that they are not a ‘nonsignificant Other,’ but that each woman is a valuable person possessing the same privileges and rights as every man.” Bressler 180 Mythology • Modron • Morrígan 1150 AD “she has learned the “positive and even use of all plants in androgynous” (Fries 2) curing the ills of the body. She knows, too, the art of changing her shape, of flying through the air…” Morgan le Fey 1485 “she was a grete clerke of nygromancye” (5) Attempts on life and pride “Feminism’s goal is to change this degrading view of women so that all women will realize that they are not a ‘nonsignificant Other,’ but that each woman is a valuable person possessing the same privileges and rights as every man.” Bressler 180 400 years “most medieval literature did not accept this simple feminist idea, and the few medieval texts that do accept that women are people do not accept that women are equal people or good people” Hennequin 49 Morgaine 1983 “is it any wonder I hated him?” Avalon Feminist • “rebelled against the dictatorship of male establishment” 31 Morgaine 1983 Virgin Huntress and the Horned One “Never again—never!” Female • “trying to unify the fragments of female experience through artistic vision” 35 “courageous self-exploration” 33 Morgana 2008- “I don’t understand anything anymore. -
Meike Weijtmans S4235797 BA Thesis English Language and Culture Supervisor: Dr
Weijtmans, s4235797/1 Meike Weijtmans s4235797 BA Thesis English Language and Culture Supervisor: dr. Chris Cusack Examiner: dr. L.S. Chardonnens August 15, 2018 The Celtic Image in Contemporary Adaptations of the Arthurian Legend M.A.S. Weijtmans BA Thesis August 15, 2018 Weijtmans, s4235797/2 ENGELSE TAAL EN CULTUUR Teacher who will receive this document: dr. Chris Cusack, dr. L.S. Chardonnens Title of document: The Celtic Image in Contemporary Adaptations of the Arthurian Legend Name of course: BA Thesis Date of submission: August 15, 2018 The work submitted here is the sole responsibility of the undersigned, who has neither committed plagiarism nor colluded in its production. Signed Name of student: Meike Weijtmans Student number: s4235797 Weijtmans, s4235797/3 Abstract Celtic culture has always been a source of interest in contemporary popular culture, as it has been in the past; Greek and Roman writers painted the Celts as barbaric and uncivilised peoples, but were impressed with their religion and mythology. The Celtic revival period gave birth to the paradox that still defines the Celtic image to this day, namely that the rurality, simplicity and spirituality of the Celts was to be admired, but that they were uncivilised, irrational and wild at the same time. Recent debates surround the concepts of “Celt”, “Celticity” and “Celtic” are also discussed in this thesis. The first part of this thesis focuses on Celtic history and culture, as well as the complexities surrounding the terminology and the construction of the Celtic image over the centuries. This main body of the thesis analyses the way Celtic elements in contemporary adaptations of the Arthurian narrative form the modern Celtic image. -
The King of the Witches: the World of Alex Sanders
This torrent represents a w o rk of LOVE All texts so far gathered, as 'well as all future gatherings aim at e xposing interested students to occ u lt infonnation. Future re leases w ill include submissions fro m users like YOU. For some of us, the time has come to mobilize. If yo u h ave an interest in assisting in this process - w e all h ave strengths to b rin g to the tab le - please email occult.digital.mobilizationiGgmail.com Complacency serves the old gods, By the same author .itcbt~ The Grasshopper Boy i{iug of tbt : Zoo Without Bars The World of Alex Sanders JUNE JOHNS With photographs by JACK SMITH PETER DAVIES LONDON © 1969 byJuneJohns <toutents First published .1969 page Glossary viii Introduction I Chapters I. The Young Initiate 10 2. A Magic Childhood IS 3. The Haunted Hill 23 4. Call Down the Spirits 3° 5. Bewitched 36 6. The Devil to Pay 45 illustrations © 1969 byJack Smith 7. Time ofAtonement 53 8. In. Search ofAngels 64 9. The Unwelcome Apprentice 72 10. Relic of the Past 80 II. Witch Wedding 88 12. King ofthe Witches 96 13. Toil and Trouble l°S 14. Betrayal in the Coven II4 An Interview withAlex Sanders 120 Appendices A. The Book of Shadows 13° B. The Witches' Calendar 142 C. Initiation Ceremonies 145 D. The Magic ofMatter 152 Made and printed in Great Britain by Morrison and Gibb Limited; London and Edinburgh 3JIlustrations The illustrations appear between pages 56-57 and 72-73. Alex Sanders with his crystal Maxine blesses her athame Tarot cards The witches' circle . -
The Logic of the Grail in Old French and Middle English Arthurian Romance
The Logic of the Grail in Old French and Middle English Arthurian Romance Submitted in part fulfilment of the degree of Doctor of Philosophy Martha Claire Baldon September 2017 Table of Contents Introduction ................................................................................................................................ 8 Introducing the Grail Quest ................................................................................................................ 9 The Grail Narratives ......................................................................................................................... 15 Grail Logic ........................................................................................................................................ 30 Medieval Forms of Argumentation .................................................................................................. 35 Literature Review ............................................................................................................................. 44 Narrative Structure and the Grail Texts ............................................................................................ 52 Conceptualising and Interpreting the Grail Quest ............................................................................ 64 Chapter I: Hermeneutic Progression: Sight, Knowledge, and Perception ............................... 78 Introduction ..................................................................................................................................... -
Scribal Authorship and the Writing of History in Medieval England / Matthew Fisher
Interventions: New Studies in Medieval Culture Ethan Knapp, Series Editor Scribal Authorship and the Writing of History in SMedieval England MATTHEW FISHER The Ohio State University Press • Columbus Copyright © 2012 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Fisher, Matthew, 1975– Scribal authorship and the writing of history in medieval England / Matthew Fisher. p. cm. — (Interventions : new studies in medieval culture) Includes bibliographical references and index. ISBN-13: 978-0-8142-1198-4 (cloth : alk. paper) ISBN-10: 0-8142-1198-4 (cloth : alk. paper) ISBN-13: 978-0-8142-9299-0 (cd) 1. Authorship—History—To 1500. 2. Scribes—England—History—To 1500. 3. Historiogra- phy—England. 4. Manuscripts, Medieval—England. I. Title. II. Series: Interventions : new studies in medieval culture. PN144.F57 2012 820.9'001—dc23 2012011441 Cover design by Jerry Dorris at Authorsupport.com Typesetting by Juliet Williams Type set in Adobe Minion Pro and ITC Cerigo Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 CONTENTS List of Abbreviations vi List of Illustrations vii Acknowledgments ix INTRODUCTION 1 ONE The Medieval Scribe 14 TWO Authority, Quotation, and English Historiography 59 THREE History’s Scribes—The Harley Scribe 100 FOUR The Auchinleck Manuscript and the Writing of History 146 EPILOGUE 188 Bibliography 193 Manuscript Index 213 General Index 215 ABBrEviationS ANTS Anglo-Norman Text Society BL British Library CUL Cambridge University Library EETS Early English Text Society (OS, Original Series, ES, Extra Series, SS Supplementary Series) LALME A Linguistic Atlas of Late Medieval English, ed. -
Treasures of Middle Earth
T M TREASURES OF MIDDLE-EARTH CONTENTS FOREWORD 5.0 CREATORS..............................................................................105 5.1 Eru and the Ainur.............................................................. 105 PART ONE 5.11 The Valar.....................................................................105 1.0 INTRODUCTION........................................................................ 2 5.12 The Maiar....................................................................106 2.0 USING TREASURES OF MIDDLE EARTH............................ 2 5.13 The Istari .....................................................................106 5.2 The Free Peoples ...............................................................107 3.0 GUIDELINES................................................................................ 3 5.21 Dwarves ...................................................................... 107 3.1 Abbreviations........................................................................ 3 5.22 Elves ............................................................................ 109 3.2 Definitions.............................................................................. 3 5.23 Ents .............................................................................. 111 3.3 Converting Statistics ............................................................ 4 5.24 Hobbits........................................................................ 111 3.31 Converting Hits and Bonuses...................................... 4 5.25 -
Morgan Le Fay's Ultimate Treason Revealed
CORE Metadata, citation and similar papers at core.ac.uk Provided by Lehigh University: Lehigh Preserve Lehigh University Lehigh Preserve Theses and Dissertations 1993 Avalon revisited : Morgan le Fay's ultimate treason revealed: and 'The veils of wretched love':uncovering Sister Loepolda's hidded truths in Louise Erdrich's Love medicine and Tracks Ann Maureen Cavanaugh Lehigh University Follow this and additional works at: http://preserve.lehigh.edu/etd Recommended Citation Cavanaugh, Ann Maureen, "Avalon revisited : Morgan le Fay's ultimate treason revealed: and 'The eiv ls of wretched love':uncovering Sister Loepolda's hidded truths in Louise Erdrich's Love medicine and Tracks" (1993). Theses and Dissertations. Paper 201. This Thesis is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. UH R: Cavanaugh,. nn Maureen T~TLE:, valon Revisited: Morgan La Fayus Ultimate I Treason Revealedaac ""'l DATE: October 10,1993 Avalon Revisited: Morgan Ie Fay's Ultimate Treason Revealed and 'The Veils of Wretched Love': uncovering sister Leopolda's Hidden Truths in Louise Erdrich's Love Medicine and Tracks by Ann Maureen Cavanaugh A Thesis Presented to the Graduate and Research Committee of Lehigh University in candidacy for the Degree of Master of Arts in the Department of English Lehigh university October 1993 "Yet in every winter's heart there is a quivering spring, and behind the veil of each night there is a smiling dawn. Now my despair has turned into hope." (Kahlil Gibran) Thanks Dad, Mom, Gr~ndmom, Bert, steen, Andrea, and Maurice for your loving support. -
ADVENTURERS' GUIDE to ROLE PLAYING Oogft T and S\(Agic®VII C)Tte Stor1' an Uneasy Peace Has Fallen Upon Erathia
ADVENTURERS' GUIDE To ROLE PLAYING OOgft t and S\(agic®VII C)Tte Stor1' An uneasy peace has fallen upon Erathia. When the human king, icolas 6}1t is CJ3ook Gryphonheart, died, .great battles were fought as the elves, hinterland tribes The Adventurers' Guide To Role Playing is written to provide you with an and other factions all made their moves to take advantage of the ensuing 11 introduction to this game-covering the general sorts ot things one should turmoil (This is all resolved in Heroes of Might and Magic III). Things have know about computer role playing and the Migl1t and Magic system. The other settled for the moment, and hopefully for a long time. book, the Player Manual, has all the nitty gritty info about how tlrn interface o longer consumed with mnning a war, Lord Markham has turned lus works, statistical tables, and such. attentions to other pursuits. Among them has been the organizing of a great contest. Scant as it is on information, his invitation has nevertheless proven ~re )Pfa1'in9 in the CWorfd of ~\i9Ftt and ~\.a9ic VII an inesistible draw to a certain small, and slightly down on its luck, party of What is a role playing game? Well, consider this example: adventurers. Gathering their meager equil?ment, they board the sl1ip provided by Lord Markham and set sail to Emerald Island, the site of tlus contest. \ You are a swordsman in a world where magic works and medieval tecl=ology is state of the art. Your king has asked you to deliver a sealed message to his cousin, a baron who rules the mountain territories. -
The Old Kingdom
The Old Kingdom Does the jumper choose the path, or the path the jumper? Welcome to the world of the Old Kingdom. It is a troubled time: the government has collapsed, and anarchy reigns. What's worse, the Dead rise from their graves, both on their own and at the behest of necromancers. Charter Magic, the force that would bring order, is weaker now than it has ever been. And Kerrigor, one of the Greater Dead, has begun to set his schemes into motion. But there is still hope: by your actions, the land may yet be restored. Alternatively, you would rather stay in Ancelstierre to the south, a world of 20thcentury technology where charter and necromancy alike have no place. Or perhaps you would see this world slide even further into darkness, that you yourself might flourish. Regardless, you have 1000 choice points to start you off. You’ll have to survive here for 10 years, so spend them wisely. Backgrounds: Your age is 16 + 2d8. You may alter your age and gender for 100 cp. DropIn (Free): You enter the world as you are, with no added memories of the world. Charter Mage (50 cp): Long ago, order was imposed over chaos. Charter magic is the expression of that order, and you've grown up learning its structure. You may start at Wyverley College. Free Magic Sorcerer (50 cp): When charter magic first entered the world, free magic was driven back, reduced to necromancy alone. With the breaking of two of the Great Charter, and many lesser charter stones, it made its resurgence. -
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.