Towards an Odian Philosophical Framework

Total Page:16

File Type:pdf, Size:1020Kb

Towards an Odian Philosophical Framework Looking For Mr Wednesday: Towards An Odian Philosophical Framework Christopher Jon Sharp Submitted for the degree of Ph.D. University of East Anglia September 2013 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Looking For Mr Wednesday: Towards An Odian Philosophical Framework Abstract Christopher Jon Sharp The thesis explores the theory and praxis of Odianism in order to articulate the fundamentals of a possible philosophical framework underpinning the Odian paradigm of reality. It is argued that Odian magical praxis needs to be understood as a discrete category of experience offering a specific understanding of and a particular route to self- becoming. Magic is a problematic category to define and shares fuzzy boundaries with a number of other concepts related to non-ordinary states of consciousness. The thesis seeks initially to clarify the specific nature of magic and to contextualise Odianism within the broader Western Mystery Tradition. The main body of the thesis considers the philosophical framework proposed by contemporary Odianism. This narrowing of focus is inevitably limiting, but necessary to allow a sufficiently detailed examination of a particular approach to magical praxis. The thesis explores Odian epistemological, ontological and ethical positions. Odian magical praxis is examined in the context of those philosophical perspectives. Particular attention is paid to the concept of Odian self-development or Self-becoming. It is argued that Odianism regards non-ordinary consciousness as essential to all forms of magical praxis. The thesis concludes by exploring the wider relevance and value of Odian perspectives and of magical praxis in general. 2 ii. Contents Page i. Abstract 2 ii. Contents 3 iii. Note On The Text 8 iv. Statement of Word-count 8 v. Acknowledgements 9 vi. Glossary 10 1. Introduction 28 1. The Thesis Structure 28 2. The Occult Nature of Occultism 30 3. Background to the Research 32 4. The Broad Aims of the Research 35 5. Wider Areas of Application 36 2. The Aims and Limitations of the Research 38 1. Background 38 2. Developing the Research Approach 39 3. Giving a Voice to Magic 43 4. The Problem of Validity 44 5. Ideology and Methodology 47 6. Analytical Framework 48 3. Odianism in Context 51 1. Introduction 51 2. Is Occultism a Form of Active Mysticism? 51 3. Defining Occultism 57 3 4. Esotericism 59 5. The Occultist Magician 60 6. The Relationship Between Magic and Spirituality 63 7. New Age Spirituality 64 8. The Western Mystery Tradition 68 9. The Northern Tradition 70 10. Introducing the High One 72 11. A Summary of the Rune Staves 77 12. The Rune Gild and Odianism 84 13. Óðin and the Dark Side of Liberalism 89 14. Beyond Left and Right? 90 4. Towards an Odian Epistemology 95 1. Introduction 95 2. Odian Categories of Knowledge 95 2.1 Non-Reflective Knowing (Seeing – Hearing – Troth) 97 2.2 Analytical Knowing (Knowing About – Knowing How – Understanding) 100 2.3 Wisdom (To Think – To Remember – To Be Fully Conscious) 103 2.4 The Embodied Experience 106 2.5 Progression Through The Triads 107 3. The Application of Odian Epistemology 110 3.1 Odian or Dumézilian? 112 4. Intuitive and Experiential Knowledge 113 4.1 Intuitive Knowledge 114 4.2 Experiential Knowledge 116 5. Magical Routes To Knowledge 118 5.1 Magical Language 120 6. Knowledge and Consciousness 122 4 6.1 The Role of Bracketing 123 6.2 Perceptual Consciousness 123 6.3 Representing Non-Ordinary Consciousness 126 6.4 Non-Ordinary Consciousness as epoché 127 7. Conclusions 128 5. Towards An Odian Ontology 130 1. Introduction 130 2. The Self-Complex 131 2.1 The Constituent Elements of the Self-Complex 132 3. An Odian Cosmogony 135 4. An Odian Cosmology: 138 4.1Yggdrasil 138 4.2 The Nine Worlds 140 4.3 The Ontological Status of the Runes 144 5. The Embodied Experience Within Odianism 147 5.1 Temporality 148 5.2 Subjective and Objective Existence 150 5.3 The Experiential Reality of Objects of Consciousness 153 5.4 An Odian Approach to Trans-human Entities 154 5.5 The Reality of Spiritual Experience 155 6. The Process of Being and Becoming 158 7. The Centrality of Paradox 162 8. The Multiple Realities of Odianism 163 6. Odian Magical Praxis 167 1. What is Magic? 167 1.1 The Aims of Magical Praxis 169 1.2 Explanations of Magical Causality 170 1.2.1 Magic and Spirituality 172 2. Odian Magic in Summary 172 5 2.1 The Distinctive Nature of Odian Magic 172 2.2 The Relationship of Odian Praxis to the Western Mystery Tradition 174 2.3 Causality in Odian Magical Praxis 178 2.3.1 The Power of the Will 179 2.3.2 Magical Communication 180 2.3.3 The Physical Dimension 183 2.3.4 A Magical Formula 184 2.4 Spiritual Dimensions of Odian Magical Praxis 184 3. Odian Magical Praxis in Detail 186 3.1 Preparatory Praxis 186 3.2 Ritual Structure 189 3.3 Galdor 190 3.3.1 Magical Speech 191 3.3.2 Non-Ordinary Consciousness 192 3.3.3 Galdor and Desire 194 3.3.4 Effective Galdor Praxis 194 3.4 Divination 195 3.5 Taufr Workings 196 3.6 Staves and Symbols 198 3.6.1 The Cultural Dimension 198 3.6.2 Galdor Staves 199 3.7 Seiðr Work 201 7. Towards An Odian Ethical Framework 204 1. Ethics and the Occult 204 2. Left Hand Path Associations 205 2.1 Self-deification 208 2.2 Of the Devil’s Party? 209 3. Relativistic Aspects of an Odian Ethical Framework 214 3.1 The Exclusivity of Odian Ethics 214 4. Odianism and Society 216 6 4.1 Odian Ideology 217 4.2 Elitism 218 4.3 A Problematic Inheritance 220 4.4 The Occultist as folk magician and magician of the folk 221 5. The Role of Traditionalism 224 5.1 The Northern Tradition 224 5.2 The Perennial Tradition 226 5.3 Hierarchy and Tradition 228 5.4 The Social Role of Tradition 230 5.5 Meta-Genetics and the Biological Inheritance 231 6. Conclusions 233 8. Odian Self- Development 236 1. What is Odian Self-Development? 236 2. Traditional Sources of the Odian Model of Self-Development 240 3. Manifesting the Self-Complex 244 4. The Role of Wyrd 249 5. The Polarian Model of Self-Becoming 251 6. Holism and Odianism 255 7. Conclusions 259 9. Conclusion 262 1. Approaching an Odian Philosophy 262 2. The Relevance of the Thesis in the Wider World 263 3. Magical Praxis and Research Methodology 264 4. Future Research Possibilities 267 Bibliography 270 7 iii. Note On The Text. Many of the terms found within the thesis have a number of etymological cognates. Except where explicitly stated, terms have been rendered in Old Norse. Similarly, Old Norse orthography has been applied to proper names and associated terms. Quotations from the Edda and the Poetic Edda have been taken from the Faulkes’ (Sturluson, 1987) and Larrington (Larrington, 199) translations respectively, except where otherwise stated. Where material is quoted in translation, the translator is provided in the bibliography. Where non-published translations have been used, this is made clear in the body of the thesis. iv. Statement of Word-Count. Total Word-Count: 101,125 Word-Count excluding Title-page, Abstract, Acknowledgements and Contents: 99,873 8 v. Acknowledgements First and foremost my huge appreciation goes out to my family, Caroline, Vicki and Joanne. Without Caroline’s encouragement this thesis would have remained no more than an aspiration. I would like to thank my supervisors Campbell and Judy for their encouragement, incisive critique and most of all for their ability to see how an unusual and problematic research theme could be most usefully approached. I would extend my heartiest thanks to those with whom I have explored the Mysteries. Magical work, like academic endeavour consists of long stretches of frustration punctuated by flashes of inspiration and is much more rewarding when the experiences are shared. I must also thank my fellow Odians within the Rune Gild and in particular the members of Eormensyl Hall. Each member of Eormensyl Hall has taught me much and what I have learned from them has proved invaluable in the process of working on my thesis. This thesis will also serve as my Master Work within the Rune Gild and it is to the Gild, the Old Gods and the Master of Secrets that my work is dedicated. :rtr: 9 vi. Glossary A:. A:. : The A:. A:. was an occult organisation established by Alastair Crowley. Initiates worked with a variety of magical and meditative techniques within a grading system that drew on the structure of the Order of the Golden Dawn. Aesir: Within the Northern Tradition, the Gods belonged to either the Aesir or the Vanir. There are a number of theories about the basis for the separation between these two groups, but it is generally agreed (and etymologically supported) that the Aesir are the Gods of consciousness. Alchemy: Most people are familiar with the concept of alchemy as a form of proto- chemistry. However, alchemy involves a range of practical experimental approaches such as Spagyrics (working with plant tinctures). Moreover, alchemical praxis often focuses on internal or Self-development as well as the generation of external effects. Armanen: The term was coined by List to describe the earliest Priest/Magicians of pre- Christian Germania.
Recommended publications
  • Norse Myth Guide
    Norse Myth If it has a * next to it don’t worry about it for the quiz. Everything else is fair game within reason as I know this is a lot. Just make sure you know the basics. Heimdall -Characteristics -Can hear grass grow -Needs only as much sleep as a bird -Guards Bifrost -Will kill and be killed by Loki at Ragnarok -He is one of the Aesir -Has foresight like the Vanir -Other Names -Vindhler -Means "wind shelter" -The White God As -Hallinskidi -Means "bent stick" but actually refers to rams -Gullintani -Received this nickname from his golden teeth -Relationships -Grandfather to Kon the Young -Born of the nine mothers -Items -Gjallarhorn -Will blow this to announce Ragnarok -Sword Hofund -Horse Golltop -Places -Lives on "heavenly mountain" Himinbjorg -Stories -Father of mankind -He went around the world as Rig -He slept with many women -Three of these women, Edda, Amma, and Modir, became pregnant -They gave birth to the three races of mankind -Jarl, Karl, and Thrall -Recovering Brisingamen -Loki steals Brisingamen from Freya -He turns himself into a seal and hides -Freya enlists Heimdall to recover the necklace -They find out its Loki, so Heimdall goes to fight him -Heimdall also turns into a seal, and they fight at Singasteinn -Heimdall wins, and returns the necklace to Freya -Meaning of sword -A severed head was thrown at Heimdall -After this incident, a sword is referred to as "Heimdall's head" -Possession of knowledge -Left his ear in the Well of Mimir to gain knowledge Aegir* -Characteristics -God of the ocean/sea -Is sometimes said
    [Show full text]
  • Discourses of Decay and Purity in a Globalised Jazz World
    1 Chapter Seven Cold Commodities: Discourses of Decay and Purity in a Globalised Jazz World Haftor Medbøe Since gaining prominence in public consciousness as a distinct genre in early 20th Century USA, jazz has become a music of global reach (Atkins, 2003). Coinciding with emerging mass dissemination technologies of the period, jazz spread throughout Europe and beyond via gramophone recordings, radio broadcasts and the Hollywood film industry. America’s involvement in the two World Wars, and the subsequent $13 billion Marshall Plan to rebuild Europe as a unified, and US friendly, trading zone further reinforced the proliferation of the new genre (McGregor, 2016; Paterson et al., 2013). The imposition of US trade and cultural products posed formidable challenges to the European identities, rooted as they were in 18th-Century national romanticism. Commercialised cultural representations of the ‘American dream’ captured the imaginations of Europe’s youth and represented a welcome antidote to post-war austerity. This chapter seeks to problematise the historiography and contemporary representations of jazz in the Nordic region, with particular focus on the production and reception of jazz from Norway. Accepted histories of jazz in Europe point to a period of adulatory imitation of American masters, leading to one of cultural awakening in which jazz was reimagined through a localised lens, and given a ‘national voice’. Evidence of this process of acculturation and reimagining is arguably nowhere more evident than in the canon of what has come to be received as the Nordic tone. In the early 1970s, a group of Norwegian musicians, including saxophonist Jan Garbarek (b.1947), guitarist Terje Rypdal (b.1947), bassist Arild Andersen (b.1945), drummer Jon Christensen (b.1943) and others, abstracted more literal jazz inflected reinterpretations of Scandinavian folk songs by Nordic forebears including pianist Jan Johansson (1931-1968), saxophonist Lars Gullin (1928-1976) bassist Georg Riedel (b.1934) (McEachrane 2014, pp.
    [Show full text]
  • University of Birmingham Oscar Wilde, Photography, and Cultures Of
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Portal University of Birmingham Oscar Wilde, photography, and cultures of spiritualism Dobson, Eleanor License: None: All rights reserved Document Version Peer reviewed version Citation for published version (Harvard): Dobson, E 2020, 'Oscar Wilde, photography, and cultures of spiritualism: ''The most magical of mirrors''', English Literature in Transition 1880-1920, vol. 63, no. 2, pp. 139-161. Link to publication on Research at Birmingham portal Publisher Rights Statement: Checked for eligibility 12/02/2019 Published in English Literature in Transition 1880-1920 http://www.eltpress.org/index.html General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document.
    [Show full text]
  • Borr Drilling Limited (BDRILL) Announces Results for the First Quarter 2019
    Borr Drilling Limited (BDRILL) Announces Results for the First Quarter 2019 Hamilton, Bermuda, May 29, 2019: Borr Drilling Limited (“Borr”, “Borr Drilling” or the “Company”) announces unaudited results for the three months ended March 31, 2019 Highlights in the first quarter 2019 • Operating revenues of $51.9 million, EBITDA* of negative $15.3 million and net loss of $56.4 million for the first quarter of 2019 • Technical utilisation for the operating rigs was 99.1% in the first quarter of 2019 • Purchased a KFELS Super B Bigfoot jack-up newbuild, the “Thor”, from BOT Lease Co., Ltd. for a cash consideration of $122.1 million, financed by a $120 million bridge loan facility from two commercial banks • Awarded two 18-month contracts for two premium newbuild jack-up rigs with Pemex in Mexico, under an integrated services model with our principal shareholder Schlumberger, with scheduled commencement mid-2019 • Secured $160 million revolving credit and guarantee lines facility from two commercial banks • Took delivery of the premium jack-up rig “Njord” from PPL Shipyard including delivery financing of $87.0 million Subsequent events • Received final credit approved commitments for financing in the total amount of $645 million • Completed the successful activation/reactivation and commencement of contracts for the premium jack- ups Gerd, Groa, Natt, Odin and Ran • Secured contract for premium jack-up “Mist” for an approximate six-month program in Malaysia • Entered into agreement to sell three standard jack-up rigs for non-drilling activities,
    [Show full text]
  • Pale Spectrum Part Two of the Book of Gray Magic
    Looking for voices for 1) Pale Spectrum by Ithaqua Labs ​ An Adventure Visual Novel Major characters Voice Acting Auditions sheet for Pale Spectrum Part Two of the Book of Gray Magic Character total for this round of auditions: 6 ● Priamos (m) ~300 lines at $115 ​ ● Ogland (m) ~300 lines at $115 ​ ● Vrayis (m) ~100 lines at $40 ​ ● Rheswenn (m) ~100 lines at $40 ​ ● Gwen (f) ~100 lines at $40 ​ ● Swan (f) ~30 lines at $15 ​ This is a commercial visual novel that will be available on PC/Mac/Linux. You will be required to sign an NDA and give us permission to use your voice in a commercial game. General rule of thumb for line payment is 30 cents a line + a bit extra base. Payment: Payment for the lines will be sent via paypal once all of the lines are completed. (Or half before, half after for larger payments/line counts.) Pale Spectrum is a visual novel and a sequel to Brilliant Shadows. Both are chapters/games from the Book of Gray Magic. Before you decide to audition, please make sure you understand the rules. ● Please use a quality mic! (no background noises, puffs, peaking, etc) ​ ​ ● There is a possibility that you will be asked to voice the same character in future games containing the character. Deadline for auditions: July 1st, 2016 ​ Deadline for readings: If you are chosen for the role, all lines must be completed within 3 months ​ ​ of being given the script. Make sure you save and send your files properly. ● Record in 44100hz 16­bit Mono wav format ​ ​ ● Save files as: Username_Character Name [ex: John Doe_Gwen] ​ ​ ● Do NOT say your name in the audio clip.
    [Show full text]
  • Sniðmát Meistaraverkefnis HÍ
    MA ritgerð Norræn trú Að hitta skrímslið í skóginum Animal Shape-shifting, Identity, and Exile in Old Norse Religion and World-view Caroline Elizabeth Oxley Leiðbeinandi: Terry Adrian Gunnell Október 2019 Að hitta skrímslið í skóginum Animal Shape-shifting, Identity, and Exile in Old Norse Religion and World-view Caroline Elizabeth Oxley Lokaverkefni til MA–gráðu í Norrænni trú Leiðbeinandi: Terry Adrian Gunnell 60 einingar Félags– og mannvísindadeild Félagsvísindasvið Háskóla Íslands Október, 2019 Að hitta skrímslið í skóginum Ritgerð þessi er lokaverkefni til MA-gráðu í Norrænni trú og er óheimilt að afrita ritgerðina á nokkurn hátt nema með leyfi rétthafa. © Caroline Elizabeth Oxley, 2019 Prentun: Háskólaprent Reykjavík, Ísland, 2019 Caroline Oxley MA in Old Nordic Religion: Thesis Kennitala: 181291-3899 Október 2019 Abstract Að hitta skrímslið í skóginum: Animal Shape-shifting, Identity, and Exile in Old Norse Religion and World-view This thesis is a study of animal shape-shifting in Old Norse culture, considering, among other things, the related concepts of hamr, hugr, and the fylgjur (and variations on these concepts) as well as how shape-shifters appear to be associated with the wild, exile, immorality, and violence. Whether human, deities, or some other type of species, the shape-shifter can be categorized as an ambiguous and fluid figure who breaks down many typical societal borderlines including those relating to gender, biology, animal/ human, and sexual orientation. As a whole, this research project seeks to better understand the background, nature, and identity of these figures, in part by approaching the subject psychoanalytically, more specifically within the framework established by the Swiss psychoanalyst, Carl Jung, as part of his theory of archetypes.
    [Show full text]
  • Boofi 6HEEH SIATE UNIVERSITY LIBRARY I
    RUNIC EVIDENCE OF LAMINOALVEOLAR AFFRICATION IN OLD ENGLISH Tae-yong Pak A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 1969 Approved by Doctoral Committee BOOfi 6HEEH SIATE UNIVERSITY LIBRARY I 428620 Copyright hy Tae-yong Pak 1969 ii ABSTRACT Considered 'inconsistent' by leading runologists of this century, the new Old English runes in the palatovelar series, namely, gar, calc, and gar-modified (various modi­ fications of the old gifu and cën) have not been subjected to rigorous linguistic analysis, and their relevance to Old English phonology and the study of Old English poetry has remained unexplored. The present study seeks to determine the phonemic status of the new runes and elucidate their implications to alliteration. To this end the following methods were used: 1) The 60-odd extant Old English runic texts were examined. Only four monuments (Bewcastle, Ruthwell, Thornhill, and Urswick) were found to use the new runes definitely. 2) In the four texts the words containing the new and old palatovelar runes were isolated and tabulated according to their environments. The pattern of distribution was significant: gifu occurred thirteen times in front environments and twice in back environments; cen, eight times front and once back; gar, nine times back; calc, five times back and once front; and gar-modified, twice front. Although cen and gifu occurred predominantly in front environments, and calc and gar in back environments, their occurrences were not complementary. 3) To interpret the data minimal or near minimal pairs with the palatovelar consonants occurring in front or back environments were examined.
    [Show full text]
  • ERILAZ a Ritual for Baritone, Violoncello and Percussion
    Jeffrey Holmes ERILAZ a ritual for baritone, violoncello and percussion Score 2018 ce-jh1e1-dl-s JEFFREY HOLMES :ERILAZ: eRilay:ayt:alu A Ritual... for Baritone, Violoncello, and Percussion Text from the Lindholm amulet (DR 261, Rundata) ca. 3rd century, Skåne Full Score ii iii PERFORMANCE NOTES General 1. All tempi are approximate, but the relationships between tempi should be proportionally exact. 2. All accidentals apply through the measure and within one octave, and many cautionary accidentals are provided. 3. The following microtonal accidentals are used: B Quarter tone flat µ Quarter tone sharp J 1/6 tone lower than flat j 1/6 tone higher than flat K 1/6 tone lower than natural k 1/6 tone higher than natural L 1/6 tone lower than sharp l 1/6 tone higher than sharp 4. Pitches based on the harmonic series are labeled above the staff by their hypothetical fundamental and partial number. For example, G(7) indicates the seventh partial in the overtone series of G. (The fundamental is partial number 1.) These precise tunings are notationally approximated to the nearest quarter or sixth tone. Performers may either produce the notated quarter or sixth tone or, if accustomed to performing in just intonation, may produce the exact pitches of the indicated partials. Baritone In addition to singing, the baritone is asked to perform on three instruments: an Uruz horn (a primitive cowhorn) tuned to Eb, a lyre (or psaltery), and a drum, preferably a very large skinned tom-tom. Notation is as follows: iv Violoncello 1. The abbreviation s.t.
    [Show full text]
  • Yggdrasil: Asgard Rulebook
    All the base rules for Yggdrasil still apply when playing with this expansion except for the transe and Hel’s effect. In renouncing my divinity, My brothers’ power grew mightily. For, by the magic of the Sejdr, Trance These worlds and I are now bound. In a selfless act of sacrifice, a God can enter a trance to increase all of the other Gods’ power. This expansion adds a new action in addition to the original nine. For one action, the active God can enter or leave a trance. Simply turn the God sheet over to the other side (normal or trance). The active God cannot enter and leave a trance during the same turn. Trance As long as a God is in a trance, • he and all the Gods get a new power: the Trance Power of the God under the trance. The Trance Power can be used by any of the Gods, including the one under the trance. However • This God under a trance loses his Personal Power and • the God under a trance cannot perform an action in Asgard, i.e., the God under a trance cannot attack one of the six enemies. Personal Power Trance Power el The Viking counters that Hel removes from the H bags are not placed on the World of the Dead any more, but are permanently discarded. The Gods cannot use them again during the game. At the beginning of his turn, Odin draws 2 When they play on the Ice Fortress and Enemy cards instead of one, chooses which defeat a Giant, the Gods discard the Giant one he wants to play and puts the other one of their choice, one who is active or one odin back on or under the deck.
    [Show full text]
  • Sekrety Run Z Rök. Pismo, Odczyty, Interpretacje 1 Sekrety Run Z Rök
    Dysertacje Wydziału Neofilologii UAM w Poznaniu (Nowa seria) 9 Językoznawstwo Dominika Skrzypek Sekrety run z Rök. Pismo, odczyty, interpretacje 1 Sekrety run z Rök. Pismo, odczyty, interpretacje 1 Fot. 1. Kamień runiczny z Rök, tylna strona. (fot. Bengt A. Lundberg / Kulturmiljöbild, Riksantikvarieämbetet) 2 Dysertacje Wydziału Neofilologii UAM w Poznaniu 9 (Nowa seria) Językoznawstwo Dominika Skrzypek Sekrety run z Rök. Pismo, odczyty, interpretacje Poznań 2020 3 Projekt okładki: Wydawnictwo Rys Na okładce: Fragment fasady Biblioteki Wydziału Neofilologii UAM w Poznaniu Recenzja wydawnicza: dr hab. Witold Maciejewski, prof. Uniwersytetu SWPS Copyright by: Dominika Skrzypek Copyright by: Wydawnictwo Rys Redakcja Naukowa Dysertacji Wydziału Neofilologii UAM: Przewodniczący: prof. UAM dr hab. Dominika Skrzypek Wice-przewodniczący: prof. UAM dr hab. Marta Woźnicka Członkowie: prof. UAM dr hab. Sylwia Adamczak-Krysztofowicz prof. UAM dr hab. Barbara Łuczak prof. zw. dr hab. Piotr Muchowski prof. UAM dr hab. Wawrzyniec Popiel-Machnicki prof. UAM dr hab. Krzysztof Stroński prof. UAM dr hab. Janusz Taborek prof. UAM dr hab. Władysław Zabrocki Wydanie I, Poznań 2020 ISBN 978-83-66666-23-8 DOI 10.48226/dwnuam.978-83-66666-23-8_2020.9 Wydanie: Wydawnictwo Rys ul. Kolejowa 41 62-070 Dąbrówka tel. 600 44 55 80 e-mail: [email protected] 4 www.wydawnictworys.com Spis treści Wyjaśnienia skrótów ............................................................................................ 6 I. Wstęp ............................................................................................................
    [Show full text]
  • The Project Gutenberg Ebook of What's Mine's Mine, by George Macdonald (#20 in Our Series by George Macdonald)
    The Project Gutenberg EBook of What's Mine's Mine, by George MacDonald (#20 in our series by George MacDonald) Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg eBook. This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it. Do not change or edit the header without written permission. Please read the "legal small print," and other information about the eBook and Project Gutenberg at the bottom of this file. Included is important information about your specific rights and restrictions in how the file may be used. You can also find out about how to make a donation to Project Gutenberg, and how to get involved. **Welcome To The World of Free Plain Vanilla Electronic Texts** **eBooks Readable By Both Humans and By Computers, Since 1971** *****These eBooks Were Prepared By Thousands of Volunteers!***** Title: What's Mine's Mine Author: George MacDonald Release Date: June, 2004 [EBook #5969] [Yes, we are more than one year ahead of schedule] [This file was first posted on October 1, 2002] Edition: 10 Language: English Character set encoding: ASCII *** START OF THE PROJECT GUTENBERG EBOOK, WHAT'S MINE'S MINE *** Charles Aldarondo and the Online Distributed Proofreading Team. WHAT'S MINE'S MINE By George MacDonald IN THREE VOLUMES VOL. I. CONTENTS OF VOL. I. CHAPTER I. HOW COME THEY THERE? II. A SHORT GLANCE OVER THE SHOULDER III. THE GIRLS' FIRST WALK IV.
    [Show full text]
  • THE NINE DOORS of MIDGARD a Curriculum of Rune-Work
    ,. , - " , , • • • • THE NINE DOORS OF MmGARD A Curriculum of Rune-Work - • '. Second Revised Edition EDRED Yrmin·Drighten of the Rune-Gild THE NINE DOORS OF MIDGARD A Curriculum of Rune-Work Second Revised Edition EDRED Yrmin-Drighten of the Rune-Gild 1997 - Introduction This work is the first systematic introduction to Runelore available in many centuries. This age requires and allows some new approaches to be sure. We have changed over the centuries in question. But at the same time we are as traditional as possible. The Gild does not fear innovation - in fact we embrace it - but only after the tradition has been thoroughly examined for all it has to offer. Too often in the history of the runic revival various proponents have actually taken their preconceived notions about what the Runes should say- and then "runicized" them. We avoid this type of pseudo-innovation at all costs. Our over-all magical method is a simple one. The tradition posits an outer­ world (objective reality) and an inner-world (subjective reality). The work of the Runer is the exploration of both of these worlds for what they have to offer in the search for wisdom. In learning the Runes, the Runer synthesizes all the objective lore and tradition he can find on the Runes with his subjective experience. In this way he "makes the Runes his own." All the Runes and their overall system are then used as a sort of "meta-Ianguage" in meaningful communication between these objective and subjective realities. The Runer may wish to be active in this communication - to cause changes to occur in accordance with his will, or he may wish to learn from one of these realities some information which would normally be hidden from him.
    [Show full text]