Academic literature on the topic 'Satanisme'
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Journal articles on the topic "Satanisme"
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Hanegraaff, Wouter J., and Massimo Introvigne. "Enquete sur le satanisme: Satanistes et anti-satanistes du XVIIe siecle a nos jours [Inquiry into Satanism: Satanists and Anti-Satanists from the 17th Century to Our Day]." Journal for the Scientific Study of Religion 36, no. 3 (September 1997): 469. http://dx.doi.org/10.2307/1387864.
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Firdaus, Saiyidinal. "MAKNA DENOTATIF, KONOTATIF, DAN UNSUR PEMAKNAAN TINGKAT KEDUA (MITOS) PADA SIMBOL SATANISME OLEH BAND BLACK METAL." Linguistik, Terjemahan, Sastra (LINGTERSA) 2, no. 1 (May 5, 2021): 22–35. http://dx.doi.org/10.32734/lingtersa.v2i1.6121.
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Musik Black Metal merupakan musik yang kerap dikaitkan dengan satanisme, yaitu kepercayaan terhadap setan atau lucifer sebagai dewa tertinggi. Dalam implementasinya, band Black Metal menggunakan simbol-simbol tertentu yang merujuk pada perwujudan satanisme, sehingga simbol-simbol tersebut menjadi suatu tanda dalam menyampaikan pesan setan kepada para pendengar musik Black Metal. Dengan Demikian, apat dikatakan bahwa simbol satanisme merupakan tanda dalam perwujudan satanisme. Simbol satanisme tersebut menyimpan makna yang tidak diketahui oleh para pendengar musik Black Metal. Sehubungan dengan fenomena tersebut, penelitian ini bertujuan untuk menemukan makna yang terdapat pada simbol satanisme yang disampaikan oleh band Black Metal melalui musik dan lagu. Untuk mengungkapkan makna tersebut, penulis menggunakan teori semiotik Roland Barthes berdasarkan tingkat pemaknaan tanda, yaitu makna denotatif, konotatif, dan unsur pemaknaan tingkat kedua (mitos). Dalam penelitian ini, penulis menggunakan metode teknik sadap dan dokumentasi dalam mengumpulkan data (Mahsun, 2007). Kemudian, penulis juga menggunakan metode penelitian kualitatif dalam proses analisis data dengan menerapkan teknik analisis data berdasarkan enam langkah analisis data yang diperkenalkan oleh Creswell (2009). Hasil penelitian menunjukkan bahwa terdapat sembilan simbol satanisme yang digunakan oleh band Black Metal, yaitu Baphomet, Pentagram, Goat of Mendes, Inverted Cross, The Beast 666, Horned Hand, Sigil of Lucifer, Fig Hand, dan Sulphur. Kesembilan simbol tersebut mengandung makna-nya tersendiri, yaitu makna denotatif, konotatif, dan unsur pemaknaan tingkat kedua (mitos) dalam mewujudkan kepercayaan satanisme yang disampaikan melalui musik. Dalam hal ini, proses pemaknaan tanda berupa simbol satanisme pada musik Black Metal merupakan bentuk pesan non-verbal antara hubungan manifestasi pengirim pesan kepada penerima pesan, sehingga penelitian semiotika semacam ini dapat memberi kontribusi terhadap rekayasa bahasa, khususnya terhadap penelitian semiotika yang menekankan pada proses pemaknaan pesan dan makna tanda dalam bentuk komunikasi non-verbal seperti simbol, gesture, raut wajah, isyarat jari, dan lain sebagainya.
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Bobineau, Olivier. "Le satanisme ou le “religieusement incorrect”." Social Compass 56, no. 4 (December 2009): 503–14. http://dx.doi.org/10.1177/0037768609345968.
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Lewis, James Roger. "Fit for the Devil." International Journal for the Study of New Religions 1, no. 1 (July 29, 2010): 117–38. http://dx.doi.org/10.1558/ijsnr.v1i1.117.
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With the exception of a certain subgenre of professional literature that focuses on the ‘problem’ of adolescent Satanism, there have been no systematic analyses of how people become Satanists. The present article brings data from questionnaire research to bear on this issue, and draws on discussions of conversion to other alternative religions – particularly to contemporary Paganism – as lenses through which to interpret conversion to Satanism. The paper’s conclusion also raises the question of whether declaring oneself to be a member of an anarchistic Internet religion should properly be considered ‘conversion’ or whether it would be more appropriate to regard the adoption of the label ‘Satanist’ as being a form of identity construction.
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Introvigne, Massimo. "Le satanisme moderne et contemporain en Italie." Social Compass 56, no. 4 (December 2009): 541–51. http://dx.doi.org/10.1177/0037768609345978.
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Mayol, Pierre. "Religiosité, satanisme et gothisme chez les jeunes." Agora débats/jeunesses 46, no. 4 (2007): 86. http://dx.doi.org/10.3917/agora.046.0086.
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Vannier, Jean-Luc. "À propos du satanisme... et de la sorcière." Le Coq-héron 183, no. 4 (2005): 122. http://dx.doi.org/10.3917/cohe.183.0122.
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Toldrà i Vilardell, Albert. "Judes-Èdip en l’edat mitjana." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 12 (December 21, 2018): 143. http://dx.doi.org/10.7203/scripta.12.13669.
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Resum: Una llegenda medieval fon dos personatges literaris: el Judes dels evangelis i l’Èdip clàssic de la tragèdia de Sòfocles, de manera que ens trobem un Judes que, a més dels pecats que ja li coneixíem (traïció, avarícia, mentida, satanisme, suïcidi etc.), comet dues transgressions “edípiques”: el parricidi –mata el seu pare- i l’incest –es casa amb sa mare-. En aquest article fem un seguiment de la tradició textual d’aquesta fussió, del s. XII al XVI, en especial a través de les “passions” teatrals occitanes i catalanes, la Legenda aurea de Varazze i algunes referències de sant Vicent Ferrer i Francesc Eiximenis.
Paraules clau: Judes, Èdip, passions, incest, parricidi.
Abstract: A medieval legend joins two literary characters: the Judas from gospels and the classical Oedipus from the Sophocles tragedy; we find so a Judas that, in addition to the sins that we already know (treason, avarice, lie, satanism, suicide etc.), commits two “oedipical” transgressions: parricide –he kills his father- and incest –he marries his mother-. In this article we follow the textual tradition of this fussion, from XIIth century to XVIth, particularly over the occitan and catalan theatrical “passions”, the Varazze’s Legenda aurea and some references from saint Vincent Ferrier and Francesc Eiximenis.
Keywords: Judas, Oedipus, passions, incest, parricide.
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Orsini, François. "Le satanisme dans l’oeuvre romanesque de Jules Barbey d’Aurevilly." Études Normandes 12, no. 1 (2019): 32–41. http://dx.doi.org/10.3406/etnor.2019.3964.
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Mombelet, Alexis. "Entre metanoïa et paranoïa: Approches sociologique et médiatique du satanisme en France." Social Compass 56, no. 4 (December 2009): 530–40. http://dx.doi.org/10.1177/0037768609345974.
Full textDissertations / Theses on the topic "Satanisme"
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Martin, Thomas M. "Der bulgarische Diabolismus : eine Studie zur bulgarischen Phantastik zwischen 1920 und 1934 /." Wiesbaden : O. Harrassowitz, 1993. http://catalogue.bnf.fr/ark:/12148/cb36693225q.
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Walzer, Nicolas. "Les imaginaires satanique et païen : le cas de la musique métal extrême : une volonté de puissance schizomorphe." Paris 5, 2007. http://www.theses.fr/2007PA05H092.
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Cette thèse de doctorat de sociologie traite de la prégnance des imaginaires satanique et païen dans notre société en prenant le cas d'une musique jeune et actuelle : le métal extrême. Né en 1970, le métal est une radicalisation du rock, le métal extrême est lui-même une radicalisation du métal. Elle est de plus en plus populaire si l'on en croit la première place à l'Eurovision d'un groupe de métal finlandais en 2006. Nous l'étudions ici par le prisme de ses musiciens et de la production musicale. Cette thèse revient, en trois grandes parties divisées en six chapitres, sur l'histoire du métal extrême et sa logique ascensionnelle, la typologie de ses musiciens (initiation, formation, confirmation), la marginalité culturelle de cette tribu postmoderne et enfin sur la question des rapports entre satanisme/paganisme et métal extrême - conclusions déjà partiellement ébauchées lors d'un stage à la Mission Interministérielle de Vigilance et de Lutte contre les Dérives Sectaires. Les conclusions scientifiques du travail reviennent en détail sur la portée du traitement médiatique partial accordé au phénomène du métal en FranceThis thesis deals with the pregnancy of satanic and pagan imaginaries in our society, considering the case of young and topical music : extreme metal. Born on 1970, the metal is a rock's toughening and the extreme metal is itself a metal's one. It's getting more and more popular at the sight of the first place occupied by the Finnish metal group in Eurovision 2006. We study it here by its musicians prism and music production. This thesis comes back, in three major parts divided into six chapters, on the extreme metal history and its logical ascensional, its musicians' typology (initiation, training, confirmation), the cultural marginality of this postmodern tribe and at last the issue on the relationship between satanism/paganism and extreme metal - findings are already draft at the time of our vocationnal training at Mission Interministerielle de Vigilance et de Lutte centre les Derives Sectaires. Scientific findings of this issue return in detail the significant range of the biaised media's treatment awarded to this metal's phenomenon in France
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Jeddi, Sophie. "Les figures de Vénus dans l'esthétique fin de siècle (Vénus, personnage satanique)." Paris 4, 1999. http://www.theses.fr/1998PA040245.
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La présente étude se propose de rendre a venus la place qui lui revient de droit au sein de l'esthétique décadente et de montrer que la déesse constitue une figure féminine majeure de l'art fin de siècle. Dans le contexte général de la mort des dieux, la divinité païenne renait de ses cendres pour cristalliser les angoisses de l'homme et de l'artiste décadents, écartelés entre le ciel et l'enfer. Image de la luxure, elle est l'incarnation du Satan féminin. Une telle identification entraine une remise en cause de la notion traditionnelle de nature, désormais en proie à la stérilité et au dérèglement, tout en posant les bases d'une esthétique inédite qui élève l'érotisme au rang d'art. Charnelle et morbide, la beauté fin de siècle, fondée sur la perversion des modèles antérieurs, consacre alors le règne des formes grotesques et primitives, dans un esprit résolument novateur.
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Arnould, Colette. "Un aspect de la superstition dans la France médiévale : le Diable et la sorcière (XIIe-XVe siècles)." Paris 1, 1990. http://www.theses.fr/1990PA010559.
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Entre le XIIe et le XVe siècle, c'est autour du diable que vont se structurer toutes les superstitions. Les contestations qui surgissent au sein de l'église l'incitent à le voir partout. Responsable des hérésies, l'hérésie s'étend à toute marginalité, jusqu'à l'assimilation définitive hérésie sorcellerie. L'inquisition prend la une nouvelle dimension: aidée des autorités, elle engagera une lutte sans merci, dont les intérêts personnels ne seront pas absents. Si magie et sorcellerie tendaient à se développer dans le contexte de plus en plus trouble de la fin du moyen âge, rien, dans un premier temps, ne permettait de mettre l'accent sur la sorcière. Seule une lente dévalorisation de la femme associée au péché originel et à la sexualité, ainsi qu'a tout un imaginaire ancestral, permettra d'en faire "la sorcière" liée corps et âme à Satan. Le discours des inquisiteurs se fera alors le reflet d’une société mue par la peur. Loin de détruire la superstition, l'église, en perdant toute fonction sécurisante, incitera les hommes à se tourner vers les pratiques les plus insensées, tandis que du besoin de se donner des coupables naitra, au siècle suivant, la "chasse aux sorcières". Si le moyen âge n'a pas été l'époque des grands buchers, il en a du moins fourni les bases en codifiant, et détient la une évidente responsabilitéThe devil was to be the central figure responsible for all forms of superstition between the 12 th and the 15 th century. The internal conflicts within the church caused it to be seen everywhere, be held responsible for all forms of heresy and, as any nonconformist act was judged heretical, the result led to "heresy-witchoraft". The inquisition thus took on a new dimension and waged a ruthless war on nonconformity with the help of authorities motivated by personal gain. If magic and witchoraft were to develop in an increasingly troubled period by the end of the midle ages, nothing, at first indicated the role played by the witch. It was only the gradual depreciation of women, associated with original sin, sexuality and ancestral dread, that would make of women "witches" bound body and soul to Satan. The inquisitor's speeches henceforth reflected a society living in fear and, far from discouraging superstition, the church, having lost its consoling role, gave the way to the most unreasonable acts while the need for scape-goats was to give birth to the witch-hunts a century later. Though the midle ages preceded era of stake-burnings, it had already created the basic behaviour codes accounting for their very existence
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Bianciotto, Benjamin. "Figures de Satan : l'art contemporain face à ses démons : de 1969 à nos jours." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H049.
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La représentation de Satan et de ses différentes dénominations a constitué un sujet majeur de l’histoire de l’art occidental chrétien des premiers siècles de notre ère jusqu’au début du vingtième siècle. Alors que nous estimions le thème définitivement abandonné suite au fort recul de la pensée religieuse – notamment de la croyance au Diable – dans les sociétés actuelles, nous relevons que l’art contemporain lui accorde une place prépondérante dans sa production et ses manifestations. Le constat de ce décalage ostensible est à l’origine de la volonté d’étudier les raisons, les expressions et les conséquences qui accompagnent la présence de Satan dans l’art d’aujourd’hui. Pour rendre compte de cette discordance, cette thèse se scinde en trois mouvements : une étude comparative de l’histoire de la figure entre son passé et son présent, puis de sa disparition relative à sa réincarnation effective ; une analyse du traitement de l’imagerie diabolique par les artistes, et des messages qu’ils transmettent à travers elle ; une réflexion sur la survie théorique de la figure, et sur le silence du monde de l’art face à l’omniprésence de sa représentation. Le «retour» du Diable s’explique par deux raisons principales : détaché de ses racines théologiques, il est devenu aisément manipulable ; héritière de son glorieux passé, son image possède une force symbolique irremplaçable. La figure de Satan dans l’art contemporain est le reflet de nos sociétés, de nos angoisses, et de nos espoirs de libération – symptôme et possible remède. Vouloir l’ignorer revient à refuser d’affronter la préoccupante situation sociopolitique du monde : un vœu pieux potentiellement dangereuxThe representation of Satan in his various denominations has constituted a major topic for Western Christian art history, from the first centuries A.D. to the beginning of the twentieth century. While, following the large decline of religious thought and of the belief in the Devil, the theme was considered as permanently obsolete in our present day societies, we notice that contemporary art provides it a leading place in its productions and expressions. The genuine will to study the reasons, the manifestations and the consequences accompanying the presence of Satan in today’s art comes from the observation of this blatant discrepancy. In order to figure out this discordance, this thesis is divided in three parts: a comparative study of the figure between its past and its present, then from its relative disappearance to its effective reincarnation; an analysis of the diabolical imagery as it is treated by artists, and of the messages they deliver through it; a reflection on the theoretical survival of the figure, and on the art world’s silence in the face of his omnipresent representation. The Devil’s “come back” can be explained by two main reasons: cut from his theological roots, this character is easily maneuverable; his image possesses an irreplaceable strength inherited from his glorious past. The figure of Satan in contemporary art mirrors our societies, our fears, our hope for liberation – a symptom and a possible remedy. To try to avoid it is to refuse to contend with the worrying socio-political situation of the world: a potentially dangerous vain wish
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Fügmann, Dagmar. "Zeitgenössischer Satanismus in Deutschland Weltbilder und Wertvorstellungen im Satanismus." Marburg Tectum-Verl, 2008. http://d-nb.info/998983071/04.
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Santos, Andrio de Jesus Rosa dos. ""AMANTE DE SELVAGEM REBELIÃO": A FIGURAÇÃO SATÂNICA NAS PROFECIAS CONTINENTAIS DE WILLIAM BLAKE." Universidade Federal de Santa Maria, 2015. http://repositorio.ufsm.br/handle/1/9949.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorIn this study, I analyze the thematic development of William Blake s satanic figure, the character Orc. To this end, I approach the illuminated poems called ―Continental Prophecies‖, which are composed by the books America A Prophecy (1793), Europe A Prophecy (1794) and The Song of Los (1795), that is divided into two parts, ―Africa‖ and ―Asia‖. In these works, Blake articulates themes such as apocalypse, energy, imagination and revolution in a relation to the French and the American Revolution and criticizes the political, religious and artistic thinking of the period. Of the matter of methodology, this work presents four chapters. In the first, I discuss the problems about the Devil s theme, from the Middle Ages to the Romanticism, starting by a mythical-religious approach of this figure, and then investigating the demon as a literary myth. In the second, I present a discussion about the characterization of Orc and his opponent, Urizen. I also analyze the poem America, focused on questions about desire, revolution and liberty. In he third, I discuss about Europe and proceed with the mapping of the satanic theme in Blake s prophecies. I also approach the question of the repression of desire, represented by the character Enitharmon, and discuss the subversions undertaken by Blake on religious dogma. In the fourth, I approach The Song of Los and argue about the blakean mythology, his ideal of Satanism, and also confront critical reading and interpretive perspectives of Blake s work. My discussion is developed in a constant dialogue between three instances: religious, social and artistic. This conception was thought by Peter Schock (2003), treated as a ―Cultural Matrix‖. This study explores how Blake s art dialogues with eighteenth century revolutions, it discuss its religious, political and artistic influences, and offers a conception of Blake s satanic ideal in his prophecies. The character Orc, in these poems, presents an amalgam of his artistic, religious and social thinking, an instance of confrontation through which Blake conceive metaphysical ideals, as the philosophy of contraries or the sensual enjoyment. Through the development of the Devil s theme, the artist tries to signify conflicting thoughts as sin and sensual delight, heaven and hell, body and soul, subverting these issues by a infernal ideal.
Neste estudo, analiso o desenvolvimento temático da figura satânica na obra de William Blake, a personagem Orc. Para tal, trabalho com os poemas iluminados denominados de ―Continental Prophecies‖, compostos pelas obras America A Prophecy (1793), Europe A Prophecy (1794) e The Song of Los (1795), este dividido em duas partes, ―Africa‖ e ―Asia‖. Nessas obras, Blake articula temas como apocalipse, energia, imaginação e revolução em relação à Revolução Francesa e à Americana e tece críticas ao pensamento político, religioso e artístico do período. Este trabalho apresenta quatro capítulos. No primeiro, discuto os problemas acerca do tema do Diabo, desde o medievo até o Romantismo, partindo de uma abordagem mítico-religiosa para então abordar o demônio como mito literário. No segundo, apresento uma discussão sobre a caracterização da personagem Orc e sua relação com seu opositor, Urizen. Construo também uma análise do poema America, centrada em questões sobre desejo, revolução e liberdade. No terceiro, trato de Europe e prossigo com o mapeamento da temática satânica nas profecias de Blake. Abordo também a questão da repressão do desejo, representada pela personagem Enitharmon, e as subversões empreendidas por Blake acerca de dogmas religiosos. No quarto, abordo The Song of Los e discorro sobre a mitologia blakeana, seu ideal de satanismo, além de confrontar vieses críticos de leitura e interpretação da obra de Blake. Minha discussão é desenvolvida em um constante diálogo entre três instâncias: religiosa, social e artística. Tal concepção é abordada por Peter Schock (2003), tratada como ―Matriz Cultural‖. Este estudo explora como a arte de Blake dialoga com as revoluções do século XVIII, discute suas influências religiosas, políticas e artísticas, além de oferecer uma concepção acerca do ideal satânico de Blake em suas profecias. A personagem Orc, nesses poemas, apresenta um amálgama do pensamento artístico, religioso e social do artista, uma instância de confronto através da qual Blake concebeu ideais metafísicos, como a filosofia dos contrários ou o deleite dos sentidos. Através do desenvolvimento do tema do diabo, o artista tenta significar pensamentos conflitantes, como pecado e deleite sensual, céu e inferno, corpo e alma, subvertendo tais questões a partir de um ideal infernal.
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Souza, Luciano de. "Satã e satanismo(s) em Fernando Pessoa." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-22022019-161328/.
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Ao longo dos anos, a obra de Fernando Pessoa tem sido objeto de diferentes miradas da crítica especializada. Poucas foram, porém, as ocasiões em que os comentadores se ocuparam da figura de Satã e dos diferentes matizes que colorem o episódico diabolismo dos escritos do poeta lisboeta. Todavia, embora errático, o percurso do Tentador nos textos de Pessoa indica a insuspeitada, porém indisputável marca do Demônio no pensamento do autor, mormente em sua juventude literária e em textos ensaísticos de cariz hermético. Por essa ascendência, é possível reconhecer Fernando Pessoa como herdeiro imediato da \"satânica geração\" de escritores lusitanos que, sob o efeito dos vapores mefistofélicos que então pairavam sobre o ambiente literário europeu, redefiniram as letras portuguesas no final dos oitocentos. Assim, partindo do exame das origens e das várias configurações do que se entende por satanismo literário, bem como dos sinais e sintomas de sua manifestação na literatura de Portugal em fins do século XIX, esta pesquisa tenciona investigar a presença do Diabo e a expressão do satânico na obra de Fernando Pessoa. O que se pretende, por meio de leituras analíticocomparativas que tracem as andanças do Tinhoso nos escritos pessoanos orto e heteronímicos, é entender as formas pelas quais o satânico toma posse, em verso e prosa, da escrita de Fernando Pessoa e, com isso, revelar em que sentido é possível reconhecer nele a faceta de um autor inspirado pelo Gênio das Trevas.Throughout the years, Fernando Pessoa\'s work has been under different gazes by the specialized criticism. However, few were the occasions in which scholars occupied themselves with the figure of Satan and the different shades that color the episodic diabolism in the writing of the Lisbon-born poet. Albeit erratic, the Tempter\'s route in Pessoa\'s texts points at the unsuspected yet indisputable mark of the Devil in the author\'s thought, mainly in his early writings and in essays on hermeticism. Consequently, Pessoa can be seen as the immediate heir of the \"satanic generation\" of Portuguese writers that, under the influence of the mephistophelic vapors then hovering over Europe\'s literary environment, redefined Portugal\'s literature at the end of the eighteen hundreds. Thus, starting with an examination of the origins and sundry configurations of what is known as literary Satanism, as well as the signs and symptoms of its manifestation in Portuguese literature by the end of the nineteenth century, this research aims at investigating the Devil\'s presence and the expression of the satanic in the work of Fernando Pessoa. Using an analytical-comparative approach that traces Old Nick\'s wanderings in Pessoa\'s orto and heteronymic texts, the research intends to understand the ways in which the satanic possesses, in verse and prose, Fernando Pessoa\'s writings, thereby revealing to what extent it is possible to recognize in him the face of an author inspired by the Genius of Darkness.
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Vicente, Natalia Simões de. "O satanismo na obra de Julio Perneta." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269862.
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Orientador: Suzi Frankl SperberDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Résumé : Ce travail consiste, premièrement, à la compilation de l¿¿uvre de Júlio Perneta. A la suite de la compilation, on entame l¿analyse des ressources littéraires utilisées par le poète, pour la construction d¿une atmosphère satanique dans les livres Bronzes et Malditos.Tout d¿abord, pour mieux situer l¿auteur et son ouvrage, on discute le contexte historique et culturel du Symbolisme au Brésil et à Curitiba. Aussi bien on étudie le mouvement anticlérical de l¿État de Paraná, Brésil, auquel le poète appartient. Ensuite, on présente l¿¿uvre de Júlio Perneta, aussi bien celle de caractère littéraire que ses essais critiques et anticléricaux. A ce moment, on discute encore des genres littéraires ¿ le poème en prose et la prose poétique ¿ tous les deux utilisés par le poète dans les deux livres étudiés. On aborde le thème du satanisme depuis l¿apparition de tel mythe jusqu¿à sa répercussion dans l¿¿uvre des poètes romantiques et symbolistes, a fin d¿analyser, postérieurement, comment l¿influence de ces poètes collaborait à la conception et à l¿idéalisation de l¿¿uvre de Júlio Perneta. Finalement, on analyse diverses ressources littéraires employées par le poète dans la composition des textes de thématique satanique
Resumo: Este trabalho consiste, primeiramente, na compilação da obra de Júlio Perneta. Como conseqüência da compilação, passa-se a fazer a análise dos recursos literários utilizados, pelo poeta, para a construção de uma atmosfera satânica nos livros Bronzes e Malditos. Inicialmente, para melhor situar o autor e sua obra, discutem-se o contexto histórico e cultural do Simbolismo no Brasil e em Curitiba, bem como se estuda o movimento anticlerical paranaense, do qual o poeta fez parte. A seguir, apresenta-se a obra de Júlio Perneta, tanto a de caráter literário, quanto seus ensaios críticos e anticlericais. Ainda, neste momento, discute-se os gêneros literários - poema em prosa e prosa poética - utilizados pelo poeta nos dois livros estudados. Em seguida, aborda-se o tema do satanismo, desde o surgimento de tal mito até sua repercussão na obra dos poetas românticos e simbolistas, para, posteriormente, analisar como a influência desses poetas colaborou na concepção e idealização da obra de Júlio Perneta. Por fim, analisam-se os diversos recursos literários empregados pelo poeta na composição dos textos de temática satânica
Mestrado
Historia e Historiografia Literaria
Mestre em Teoria e História Literária
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Moraes, Lucas Lopes de. "\'Hordas do metal negro\': guerra e aliança na cena black metal paulista." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-08052015-104127/.
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A pesquisa que serve de base para essa dissertação parte de uma abordagem antropológica sobre os arranjos coletivos e atores sociais ligados ao black metal no Estado de São Paulo, Brasil. Um estilo musical derivado do gênero heavy metal que constitui um conjunto de elementos que dão suporte a um estilo de vida específico. As atividades de trabalho de campo foram desenvolvidas durante dois anos e meio (entre 2012 e 2014) na capital, em sua zona metropolitana e em algumas cidades do interior do Estado, junto aos lugares ocupados e frequentados por esses sujeitos (coletivos ou individuais). O objetivo desse trabalho foi mapear as diferentes formas de sociabilidade construídas por esses atores sociais ligados ao black metal, e assim, elucidar como esses arranjos coletivos e suas categorias nativas podem expressar uma perspectiva específica sobre a urbanidade e suas fronteiras. Para tanto, a categoria nativa cena foi tomada como objeto central da análise, o que permitiu desvendar um sistema de alianças e troca de favores um círculo da dádiva black metal , que alicerçam a construção de noções coletivas de pertencimento, assim como, uma perspectiva específica sobre as segmentações e classificações dos espaços urbanos. Também foram analisadas a sonoridade das composições do estilo, as teorias nativas sobre a música, as performances executadas durante os eventos, assim como as concepções desses atores sociais a respeito do satanismo, da quimbanda (e seus exus) e a oposição às religiões judaico-cristãs. Portanto, a partir da relação de todos esses elementos, foi possível descrever como se desenrola a guerra particular do black metal paulista em defesa da cena e dos valores do estilo.The research that underpins this dissertation part of an anthropological approach to the collective arrangements and social actors linked to the black metal in the State of São Paulo, Brazil. Black Metal is a musical style derived from the heavy metal genre that is a set of elements that support a specific way of life. The activities of field work were developed during two and a half years (between 2012 and 2014) in the capital, in the metropolitan area and in some cities in the state, in the places frequented by these subjects (collective or individual). The aim of this study was to map the different forms of sociability constructed by these social actors linked to black metal, and thus elucidate how these collective arrangements and their native categories may express a specific perspective on urbanization and its borders. For both, the category native scene was taken as the central object of analysis, allowing unravel a system of alliances and exchanges of favors a circle of giving , that underpin the construction of collective notions of belonging, as well as a specific perspective on segmentation of urban spaces. It were also analyzed the sound of style compositions, native theories about music, performances performed during the events, as well as the conceptions of these social actors concerning Satanism, the Quimbanda (and the exus) and the opposition to Judeo-Christian religions. Therefore, from the relation of all these elements, it was possible to describe the particular war of the black metal of São Paulo in defense of the scene and the values of the style.
Books on the topic "Satanisme"
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Wien, Stefan de Raedt-van. Abraxas: Alles over Satan & het satanisme. Antwerpen: Hadewijch, 1997.
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Die Kerk se Antwoord op satanisme. [Potchefstroom, South Africa]: Instituut vir Reformatoriese Studie, 1990.
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Mission interministérielle de vigilance et de lutte contre les dérives sectaires, ed. Le satanisme: Un risque de dérive sectaire. Paris: Documentation française, 2006.
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Rose, Elliot. A razor for a goat: A discussion of certain problems in the history of witchcraft and diabolism. Toronto: University of Toronto Press, 1989.
Find full textBook chapters on the topic "Satanisme"
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Sunshine, Spencer. "Nazi-Satanism." In Neo-Nazi Terrorism and Countercultural Fascism, 270–87. London: Routledge, 2024. http://dx.doi.org/10.4324/9780429200090-20.
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Schmidt, Joachim. "Satanismus." In Metzler Lexikon Religion, 237–40. Stuttgart: J.B. Metzler, 2000. http://dx.doi.org/10.1007/978-3-476-03704-6_67.
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Schmidt, Joachim. "Satanismus." In Metzler Lexikon Religion, 1401–4. Stuttgart: J.B. Metzler, 2005. http://dx.doi.org/10.1007/978-3-476-00091-0_459.
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Schock, Peter A. "Introduction." In Romantic Satanism, 1–10. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230513303_1.
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Schock, Peter A. "The Cultural Matrix of Romantic Satanism." In Romantic Satanism, 11–40. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230513303_2.
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Schock, Peter A. "Blake, the Son of Fire, and the God of this World." In Romantic Satanism, 41–77. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230513303_3.
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Schock, Peter A. "Base and Aristocratic Artificers of Ruin: Plebeian Blasphemy and the Satanic School." In Romantic Satanism, 78–112. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230513303_4.
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Schock, Peter A. "Savior and Avenger: Shelleyan Satanism and the Face of Change." In Romantic Satanism, 113–42. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230513303_5.
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Schock, Peter A. "Ironic Modes of Satanism in Byron and Shelley." In Romantic Satanism, 143–69. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230513303_6.
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Schock, Peter A. "Epilogue: The Ghost of Abel." In Romantic Satanism, 170–75. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230513303_7.
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