John Dee: Consultant to Queen Elizabeth I
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Alchemical Culture and Poetry in Early Modern England
Alchemical culture and poetry in early modern England PHILIP BALL Nature, 4–6 Crinan Street, London N1 9XW, UK There is a longstanding tradition of using alchemical imagery in poetry. It first flourished at the end of the sixteenth century, when the status of alchemy itself was revitalised in European society. Here I explain the reasons for this resurgence of the Hermetic arts, and explore how it was manifested in English culture and in particular in the literary and poetic works of the time. In 1652 the English scholar Elias Ashmole published a collection of alchemical texts called Theatrum Chymicum Britannicum, comprising ‘Several Poeticall Pieces of Our Most Famous English Philosophers’. Among the ‘chemical philosophers’ represented in the volume were the fifteenth-century alchemists Sir George Ripley and Thomas Norton – savants who, Ashmole complained, were renowned on the European continent but unduly neglected in their native country. Ashmole trained in law, but through his (second) marriage to a rich widow twenty years his senior he acquired the private means to indulge at his leisure a scholarly passion for alchemy and astrology. A Royalist by inclination, he had been forced to leave his London home during the English Civil War and had taken refuge in Oxford, the stronghold of Charles I’s forces. In 1677 he donated his impressive collection of antiquities to the University of Oxford, and the building constructed to house them became the Ashmolean, the first public museum in England. Ashmole returned to London after the civil war and began to compile the Theatrum, which was intended initially as a two-volume work. -
Heads Or Tails
Heads or Tails Representation and Acceptance in Hadrian’s Imperial Coinage Name: Thomas van Erp Student number: S4501268 Course: Master’s Thesis Course code: (LET-GESM4300-2018-SCRSEM2-V) Supervisor: Mw. dr. E.E.J. Manders (Erika) 2 Table of Contents List of Figures ............................................................................................................................ 5 Figure 1: Proportions of Coin Types Hadrian ........................................................................ 5 Figure 2: Dynastic Representation in Comparison ................................................................ 5 Figure 3: Euergesia in Comparison ....................................................................................... 5 Figure 4: Virtues ..................................................................................................................... 5 Figure 5: Liberalitas in Comparison ...................................................................................... 5 Figure 6: Iustitias in Comparison ........................................................................................... 5 Figure 7: Military Representation in Comparison .................................................................. 5 Figure 8: Divine Association in Comparison ......................................................................... 5 Figure 9: Proportions of Coin Types Domitian ...................................................................... 5 Figure 10: Proportions of Coin Types Trajan ....................................................................... -
The Bulletin of the American Society of Papyrologists 44 (2007)
THE BULLETIN OF THE AMERICAN SOCIETY OF PapYROLOGIsts Volume 44 2007 ISSN 0003-1186 The current editorial address for the Bulletin of the American Society of Papyrologists is: Peter van Minnen Department of Classics University of Cincinnati 410 Blegen Library Cincinnati, OH 45221-0226 USA [email protected] The editors invite submissions not only fromN orth-American and other members of the Society but also from non-members throughout the world; contributions may be written in English, French, German, or Italian. Manu- scripts submitted for publication should be sent to the editor at the address above. Submissions can be sent as an e-mail attachment (.doc and .pdf) with little or no formatting. A double-spaced paper version should also be sent to make sure “we see what you see.” We also ask contributors to provide a brief abstract of their article for inclusion in L’ Année philologique, and to secure permission for any illustration they submit for publication. The editors ask contributors to observe the following guidelines: • Abbreviations for editions of papyri, ostraca, and tablets should follow the Checklist of Editions of Greek, Latin, Demotic and Coptic Papyri, Ostraca and Tablets (http://scriptorium.lib.duke.edu/papyrus/texts/clist.html). The volume number of the edition should be included in Arabic numerals: e.g., P.Oxy. 41.2943.1-3; 2968.5; P.Lond. 2.293.9-10 (p.187). • Other abbreviations should follow those of the American Journal of Ar- chaeology and the Transactions of the American Philological Association. • For ancient and Byzantine authors, contributors should consult the third edition of the Oxford Classical Dictionary, xxix-liv, and A Patristic Greek Lexi- con, xi-xiv. -
Johann Georg Faust
Johann Georg Faust Dr. Johann Georg Faust (approx. 1480 – 1540) was a German alchemist who was born in the village of Knittlingen, Württemberg (it is also claimed in Roda in the province of Weimar, and also in Helmstadt near Heidelberg in 1466). He has alternatively been known by the names “Johann Sabellicus” and “Georg Faust.” In 1507, Johannes Trithemius of Sponheim wrote that Faust was a con-man and a drifter who preyed on the gullible. He said he had fled a teaching position in Kreuznach after molesting several of the boys there. He may have then gone on to the University of Heidelberg to study, obtaining a degree in divinity from Heidelberg University in 1509, and then to Poland where a friend of Martin Luther, Philip Melanchthon, says Faust studied magic at the University of Kraków. Martin Luther and Philipp Melanchthon are said to have alleged Faust’s companionship with the devil. After that, he appears at the University of Ehrfut in central Germany. It is said that when he lectured on Homer he conjured up Homer’s heroes for his students. He was expelled from Ehrfut by the Franciscan monk Dr. Klinge (who was the cathedral preacher from 1520-1556). Dr. Klinge asked for Faust’s repentance. Faust refused the monk’s offer of intervention and admitted having signed a pact with the Devil, and said that he trusted the Devil more than God. In 1523 he is said to have visited Auerbach’s Tavern in Leipzig where he conjured wine out of a table, and rode a barrel of wine. -
Easy Comeback for Skalleti
MONDAY, 22 MARCH 2021 MOGUL ON SONG FOR SHEEMA CLASSIC EASY COMEBACK Mogul (GB) (Galileo {Ire}) is in good form ahead of a start in FOR SKALLETI the $5-million G1 Dubai Sheema Classic at Meydan on Mar. 27. Last seen in action taking the G1 Longines Hong Kong Vase at Sha Tin in December, the Coolmore partners-owned 4-year-old also saluted in the 2020 G3 Gordon S. at Goodwood in July, ran second in the Aug. 19 Great Voltigeur S. and returned to the winner=s circle in the G1 Juddmonte Grand Prix de Paris at ParisLongchamp in September. Fifth in the GI Longines Breeders= Cup Turf a month prior to his Hong Kong triumph, the 3.4- million gns Tattersalls October Book 1 yearling will fly to Dubai on Monday and step out for morning trackwork after clearing 48 hours of quarantine on Thursday. AWe=re happy with everything he=s done,@ trainer Aidan O=Brien, who won the race with the late St Nicholas Abbey (Ire) (Montjeu {Ire}) in 2013, told the Tamarkuz Media notes team. Skalleti & Pierre-Charles Boudot winning for fun in the Prix Exbury Cont. p3 Scoop Dyga Freshened up since his foray to Sha Tin for the G1 Hong Kong IN TDN AMERICA TODAY Cup, Jean-Claude Seroul=s Skalleti (Fr) (Kendargent {Fr}) was all TIME TO BRING BACK DOWNHILL RACING AT SA class in Saint-Cloud=s deep ground as he sauntered to a In the latest The Week in Review, Bill Finley calls for the turn of confidence-restoring win in the G3 Prix Exbury. -
Trials and Tribulations: Readings and Misreadings of the Revolutionary Body in French Women Novelists, 1792-1799
Trials and Tribulations: Readings and Misreadings of the Revolutionary Body in French Women Novelists, 1792-1799. The Revolution! An unutterable word. Who can claim to understand clearly and precisely that set of events, alternatively glorious and deplorable, some of them the fruit of genius and daring, or again, of the most respectable integrity, and others born of the most perverse iniquity. Jeanbon Saint-André, Committee of Public Safety One would be hard pressed to find a more confusing period than that of the French Revolution, a time when the body politic tried to integrate and embody two equally powerful but ostensibly oppositional ideologies of the eighteenth century: sensibility and rationalism. The dramatic and tragic disjunction between the two, the one calling on passion, the other dispassion, resulted in a schizophrenic production of contradictory signs, symbols, discourse and actions during the revolutionary period, coming into sharp focus during the Terror, 1793-1794. For the Revolutionaries, it was not a question of one mode opposing the other, but rather they conceived the two modes along a continuum as one led to, and justified, the other. The philosophical, medical, and literary work on materialism and sensationism earlier in the century and in the years leading up to 1789 set the foundations for this connection. Following J. J. Rousseau, the revolutionary’s aim was to embody reason, virtue and sensibility. The violent acts resulting from the sensibility/rationalism dyad, however, showed up the contradictions inherent in connecting the two. The internal conflict within revolutionary discourse, which proclaimed on the one hand love and compassion for one’s fellow man, and cold hard impartial justice on the other, was subject to heated discussion amongst the revolutionaries whose members tried to negotiate the disjunction; for some, such as St. -
An Archeology of Cryptography: Rewriting Plaintext, Encryption, and Ciphertext
An Archeology of Cryptography: Rewriting Plaintext, Encryption, and Ciphertext By Isaac Quinn DuPont A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Faculty of Information University of Toronto © Copyright by Isaac Quinn DuPont 2017 ii An Archeology of Cryptography: Rewriting Plaintext, Encryption, and Ciphertext Isaac Quinn DuPont Doctor of Philosophy Faculty of Information University of Toronto 2017 Abstract Tis dissertation is an archeological study of cryptography. It questions the validity of thinking about cryptography in familiar, instrumentalist terms, and instead reveals the ways that cryptography can been understood as writing, media, and computation. In this dissertation, I ofer a critique of the prevailing views of cryptography by tracing a number of long overlooked themes in its history, including the development of artifcial languages, machine translation, media, code, notation, silence, and order. Using an archeological method, I detail historical conditions of possibility and the technical a priori of cryptography. Te conditions of possibility are explored in three parts, where I rhetorically rewrite the conventional terms of art, namely, plaintext, encryption, and ciphertext. I argue that plaintext has historically been understood as kind of inscription or form of writing, and has been associated with the development of artifcial languages, and used to analyze and investigate the natural world. I argue that the technical a priori of plaintext, encryption, and ciphertext is constitutive of the syntactic iii and semantic properties detailed in Nelson Goodman’s theory of notation, as described in his Languages of Art. I argue that encryption (and its reverse, decryption) are deterministic modes of transcription, which have historically been thought of as the medium between plaintext and ciphertext. -
The Alchemy of Prague
The Alchemy of Prague with Dan Winter, Vincent Bridges, Erik Berglund & Roger Green 6 days of seminars in the heart of Prague including day trip to Kutna Hora sponsored by www.FengShuiSeminars.com & www.AcademySacredGeometry.com ITINERARY April 9th Highlights International group 6 days of seminars held in the heart of Prague arrives into Prague Teachings from Dan Winter – International expert on Alchemy, Sacred April 10 – 15 Geometry, Bio Feedback, Ancient cultures and Bloodlines, includes Prague 6 day unique teachings from Dan Winter on the alchemist John Dee. seminar & tour. Teachings from Vincent Bridges –Vincent Bridges is an authority on the English Alchemist John Dee. He will be giving numerous presentations at April 16th the Prague Easter event – espeically on the angelic writings of John Dee. Group departs for home Erik Berglund (Celtic Harpist, Tenor and Spiritual Healer). Angelic Harp Music, Singing, and Healing Stories with Erik Berglund. Local guest speakers including Michal Juza, Cheryl Yambrach Rose-Hall, Radovan Foit and Jiri Maria Masek. Visit sacred sites and special off the track locations, walking tours. Visit the ancient alchemical township of Kutna Hora. Prague seminar held in a renovated building completely based on ecological principles and design using green materials – a special place in the heart of Prague, includes vegetarian restaurant and tea house on site. Celebration Saturday dinner and cruise on the beautiful Vltava River. Price includes lunches, transport, and tuition. Accommodation ideas and suggestions based on your price range in Prague. page 2 Prague – The Golden City into the Rosy Heart of Alchemy and the Science of The Sacred o rich and beautiful was The greatest flourishing of Alchemy in Prague five centuries Europe came during the reign of Rudolf ago that it was called 11 (Fifteenth Century), when important “The Golden City” (die Czech and foreign alchemists lived in Goldene Stad) - and the Bohemia. -
Enochian 101
ENOCHIAN 101 Illustration by Michael Arndt - (c) 1997 e.v. AN INTRODUCTION TO ENOCHIAN MAGICK by Christeos Pir (Text of a seminar given at Ecumenicon/Sacred Space VIII, an occult/pagan-oriented ecumenical conference that took place July 13 - 16, 1995 e.v. in Herndon VA.) I. Int roduction II. H istory 1. Dee & Kelley 2. Causabon & Ashmole 3. Golden Dawn 4. Crowley 5. Modern i. Scheuler ii. Church of Satan iii.Aurum Solis iv. Ben Rowe v. Independents III.T he Enochian System 1. Misc. Dee & Kelley i. Requirements (Table, Sigil, etc.) ii. Book of Enoch iii.Tribes of Israel iv. Banners v. 91 Parts (see also Aethyrs, below) 2. Bonorum 3. Elemental Tablets 4. Aethyrs 5. Modern Variations i. Golden Dawn ii. Ben Rowe iii.Various Independents IV.Bi bliography INTRODUCTION "I�m Christeos Pir, and I�m a student of Enochian Magick. I say that not out of formality or false modesty, but because I have a pretty good idea (I hope) of my level of expertise with the Enochian system. Those of you who have some experience with Enochian are invited to chime in with comments or corrections when needed, though if something is a statement of opinion it�d be good to clearly label it as such. Likewise, those new to Enochian are encouraged to speak up with any questions, which I�ll do my best to answer as best I can. If I don�t know the answer, I�ll be glad to make something up on the spot. "So, what is Enochian Magick? Simply put, it is an approach to ceremonial magick based on the alleged conversations between Dr. -
Agrippa's Cosmic Ladder: Building a World with Words in the De Occulta Philosophia
chapter 4 Agrippa’s Cosmic Ladder: Building a World with Words in the De Occulta Philosophia Noel Putnik In this essay I examine certain aspects of Cornelius Agrippa’s De occulta philosophia libri tres (Three Books of Occult Philosophy, 1533), one of the foun- dational works in the history of western esotericism.1 To venture on a brief examination of such a highly complex work certainly exceeds the limitations of an essay, but the problem I intend to delineate, I believe, can be captured and glimpsed in its main contours. I wish to consider the ways in which the German humanist constructs and represents a common Renaissance image of the universe in his De occulta philosophia. This image is of pivotal importance for understanding Agrippa’s peculiar worldview as it provides a conceptual framework in which he develops his multilayered and heterodox thought. In other words, I deal with Agrippa’s cosmology in the context of his magical the- ory. The main conclusion of my analysis is that Agrippa’s approach to this topic is remarkably non-visual and that his symbolism is largely of verbal nature, revealing an author predominantly concerned with the nature of discursive language and the linguistic implications of magical thinking. The De occulta philosophia is the largest, most important, and most complex among the works of Heinrich Cornelius Agrippa von Nettesheim (1486–1535). It is a summa of practically all the esoteric doctrines and magical practices ac- cessible to the author. As is well known and discussed in scholarship, this vast and diverse amount of material is organized within a tripartite structure that corresponds to the common Neoplatonic notion of a cosmic hierarchy. -
Roman Reading Permits for the Works of Bruno and Campanella Leen Spruit
ROMAN READING PERMITS FOR THE works OF Bruno AND Campanella Leen Spruit Summary Since the second half of the sixteenth century the Roman Congregations of the Holy Office and the Index granted licences for reading forbidden books. As a rule, reading permits for books by authors who were condemned for heresy, could not be issued. However, after the promulgation of the Clementine Index in 1596, the congregations gradually attenuated the total prohibitions, and started to issue licences for books prohibited in the first class of the Index. Here, the cases of Bruno and Campanella are discussed. eading permits started being issued after the Church of Rome had R begun to systematically censure ideas and works. The grant of licenc- es for reading forbidden books was not the effect of an official decision, issued on a certain date, but rather a practice that arose with individual epi- sodes related to quite dissimilar cases. The licences granted by the Roman Congregations of the Holy Office and the Index are the main, or rather the only, instrument for assessing the difference between the hypothetical and the real efficacy of ecclesiastical censorship, and this is because the inten- tional or casual inobservance of the prohibitions, the other factor determin- ing this difference, can only be measured in an indirect way and solely for individual cases. Initially, the prohibition to grant licences for works that were considered heretical, due to the author or the content, was total. Considering that the reading of suspect or prohibited works granted to confutate « haereses et errores » frequently led to contrary results, in 1564 the licences were limited to Inquisitors only. -
Rules of Play - Game Design Fundamentals
Table of Contents Table of Contents Table of Contents Rules of Play - Game Design Fundamentals.....................................................................................................1 Foreword..............................................................................................................................................................1 Preface..................................................................................................................................................................1 Chapter 1: What Is This Book About?............................................................................................................1 Overview.................................................................................................................................................1 Establishing a Critical Discourse............................................................................................................2 Ways of Looking.....................................................................................................................................3 Game Design Schemas...........................................................................................................................4 Game Design Fundamentals...................................................................................................................5 Further Readings.....................................................................................................................................6