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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.
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Larsson, Eva. "Satanism och identitet : En hermeneutisk analys av satanistiska texter." Thesis, Högskolan Dalarna, Religionsvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:du-22551.
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Syftet med denna studie är att göra en analys av två olika satanistiska rörelsers texter och deras syn på identitet och identitetsskapande. De rörelser som valdes till denna studie är The Church of Satan och The Greater Church of Lucifer. För att genomföra analysen valdes två böcker ut som representerar respektive rörelsers grundläggande filosofi, dessa var The Satanic Bible (1969, 2005) samt Wisdom of Eosphoros (2015). Analysens teori grundade sig på begrepp som är plockade från queerteorin, för att belysa synen på vad som är normalt och onormalt samt synen på sexualitet och genus. Utöver detta analyserades även rörelsernas syner på kärlek och relationer, innan rörelsernas budskap jämfördes för att se om det finns några korrelationer mellan de två. För att genomföra analysen valdes en kategoriseringsmetod som inspirerats av idé- och ideologianalys. Resultatet visade att båda rörelserna var kritiska till givna samhälleliga sanningar, och ställde sig kritiska till tanken om att det skall finnas några universella normer och moralregler. De båda förespråkade även den fria sexualiteten, där läggning och preferenser ses som irrelevanta. Hos satanismen gick det att återfinna normativa uttalanden kring genus, kön och könsroller, medan luciferianismen inte lägger någon vikt vid dessa kategorier. Dock lägger de båda rörelserna sitt huvudsakliga fokus på den enskilde individens autonomitet och självbestämmande, där man uppmanas att bryta mot alla konventioner som inte leder till den egna lyckan.
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Reis, Cristiano Lima de Araujo. "O simbolismo de Cruz e Sousa: negritude, dor e satanismo." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/14907.
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The Cruz e Sousa simbolysm has always studied from the related author biography: the African origin, the social stagnation. His literature production meant a considerable amount of theoretical studies around his poetical ones. The souseana ethics/aesthetic produce multiples and interpretations sensible what it provided the bias of the present study. The sensorial relevance of the simbolic poetical with contradictions larded with the author biographical one, made the present study to search the significated of souseana semantics symbology: Satan, Christ. Satan is black and the white Christ had headed with contradictory figures and excellent icons with linguistic presence in this study. The imagic words icon words are present daily of the symbology cruz-souseana is studied in this work
O Simbolismo de Cruz e Sousa tem seus estudos sempre relacionados pela biografia do autor: a origem africana, a estagnação social. A produção da sua literatura significou uma quantidade considerável de estudos teóricos em torno de sua poética. A ética/estética souseana produz múltiplos sentidos e interpretações o que proporcionou o viés do presente estudo. A relevância sensorialista da poética simbolista com as contradições entremeadas com a realidade biográfica do autor, fez o presente estudo buscar a significação da semântica souseana na simbologia: Satã, Cristo. O Satã negro e o cristo branco comparecem como figuras ícones, contraditórias e relevantes com presença lingüística neste estudo. O ícone imagístico de palavras presentificado no cotidiano da simbologia cruz-souseana, é estudado neste trabalho
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Schmied-Knittel, Ina. "Satanismus und ritueller Missbrauch : eine wissenssoziologische Diskursanalyse." Würzburg Ergon-Verl, 2008. http://d-nb.info/991526090/04.
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Gabriel, Marcela de Oliveira [UNESP]. "Une Saison en Enfer: modernidade e satanismo na obra de Arthur Rimbaud." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/151129.
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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
Ce travail a l’intention d’analyser l’oeuvre Une Saison en Enfer, du poète français Jean-Nicolas Arthur Rimbaud (1854-1891). Dans cette oeuvre le poète descend aux enfers – où il reste pendant une saison - et à la sortie, il fait également ressortir les expériences artistiques et personnelles de cette période. Ce voyage souterrain est en ce sens un plongeon en soi-même, analogue au processus d'intériorisation et d’autoconnaissance de soi, concepts exprimés dans les célèbres « Lettres du Voyant », de mai 1871. Dans ces lettres, où Rimbaud développe sa propre théorie poétique, il crée une méthode unique qui cherche à échapper au monde réel et rompre en même temps avec les normes esthétiques de son temps. En ce sens, le thème satanique d’ Une saison en enfer est parfaitement placé dans le projet rimbaldien de la « Voyance » et il révèle aussi le double mouvement de transgression de l’artiste: d'une part, sa révolte contre la société bourgeoise et, d'autre part, son désir de changer la poésie traditionnelle. Par conséquent, notre proposition est d’établir une relation entre Une Saison en Enfer et la théorie proposée par Rimbaud - en confluence avec la modernité du XIXe siècle – pour, ensuite, analyser le thème mythique et satanique de l’oeuvre en relation avec ces idées.
Este trabalho pretende se debruçar sobre a obra Une Saison en Enfer, do poeta francês Jean-Nicolas Arthur Rimbaud (1854-1891). Na obra, o poeta desce ao submundo – onde passa uma longa estação – e, ao sair, traz a tona as vivências artísticas e pessoais desse período. A ida ao submundo é, nesse sentido, um mergulho em si mesmo, análogo ao processo de interiorização e de autoconhecimento, expressos nas famosas “cartas do Vidente”, de maio de 1871. Nessas cartas, nas quais Rimbaud desenvolve toda sua teoria poética, o jovem cria um método único que visa à fuga do mundo real e ao rompimento com os padrões estéticos de seu tempo. Nesse sentido, a temática satânica de Une Saison en Enfer coloca-se em perfeita consonância com o projeto rimbaudiano da Vidência, pois revela o duplo movimento de transgressão do artista: por um lado, sua revolta contra a sociedade burguesa e, por outro, seu desejo de mudar os rumos da poesia. Por conseguinte, nossa proposta visa alinhavar Une Saison en Enfer com a teoria estética de Rimbaud – em confluência com a Modernidade do século XIX –, para, em seguida, analisar a temática mítico-satânica da obra como realização dos pressupostos modernos do autor.
This work intends to study Une Saison en Enfer, by the French poet Jean-Nicolas Arthur Rimbaud (1854-1891). In the work, the poet descends to the underworld - where a long season passes - and, when leaving, brings out the artistic and personal experiences of this period. The journey to the underworld is, in this sense, a dive in itself, analogous to the process of interiorization and self-knowledge, expressed in the famous "Letters of the Seer" of May 1871. In these letters, in which Rimbaud develops all his poetic theory, The young man creates a unique method that aims at escaping from the real world and breaking away from the aesthetic standards of his time. In this sense, the satanic theme of Une Saison en Enfer stands in perfect harmony with the rimbaudian project of Videncia, since it reveals the double movement of the artist's transgression: on the one hand, his revolt against bourgeois society and, on the other, his Desire to change the course of poetry. Therefore, our proposal aims to link Une Saison en Enfer with Rimbaud's aesthetic theory - in conjunction with Modernity of the 19th century - and then to analyze the mythic-satanic theme of the work as realization of the author's modern presuppositions.
CNPq: 133994/2015-5
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Gabriel, Marcela de Oliveira. "Une Saison en Enfer : modernidade e satanismo na obra de Arthur Rimbaud /." Araraquara, 2017. http://hdl.handle.net/11449/151129.
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Orientador: Andressa Cristina OliveiraBanca: Adalberto Luís Vicente
Banca: Beatriz Moreira Anselmo
Resumo: Este trabalho pretende se debruçar sobre a obra Une Saison en Enfer, do poeta francês Jean-Nicolas Arthur Rimbaud (1854-1891). Na obra, o poeta desce ao submundo - onde passa uma longa estação - e, ao sair, traz a tona as vivências artísticas e pessoais desse período. A ida ao submundo é, nesse sentido, um mergulho em si mesmo, análogo ao processo de interiorização e de autoconhecimento, expressos nas famosas "cartas do Vidente", de maio de 1871. Nessas cartas, nas quais Rimbaud desenvolve toda sua teoria poética, o jovem cria um método único que visa à fuga do mundo real e ao rompimento com os padrões estéticos de seu tempo. Nesse sentido, a temática satânica de Une Saison en Enfer coloca-se em perfeita consonância com o projeto rimbaudiano da Vidência, pois revela o duplo movimento de transgressão do artista: por um lado, sua revolta contra a sociedade burguesa e, por outro, seu desejo de mudar os rumos da poesia. Por conseguinte, nossa proposta visa alinhavar Une Saison en Enfer com a teoria estética de Rimbaud - em confluência com a Modernidade do século XIX -, para, em seguida, analisar a temática mítico-satânica da obra como realização dos pressupostos modernos do autor.
Abstract: This work intends to study Une Saison en Enfer, by the French poet Jean-Nicolas Arthur Rimbaud (1854-1891). In the work, the poet descends to the underworld - where a long season passes - and, when leaving, brings out the artistic and personal experiences of this period. The journey to the underworld is, in this sense, a dive in itself, analogous to the process of interiorization and self-knowledge, expressed in the famous "Letters of the Seer" of May 1871. In these letters, in which Rimbaud develops all his poetic theory, The young man creates a unique method that aims at escaping from the real world and breaking away from the aesthetic standards of his time. In this sense, the satanic theme of Une Saison en Enfer stands in perfect harmony with the rimbaudian project of Videncia, since it reveals the double movement of the artist's transgression: on the one hand, his revolt against bourgeois society and, on the other, his Desire to change the course of poetry. Therefore, our proposal aims to link Une Saison en Enfer with Rimbaud's aesthetic theory - in conjunction with Modernity of the 19th century - and then to analyze the mythic-satanic theme of the work as realization of the author's modern presuppositions.
Résumé: Ce travail a l'intention d'analyser l'oeuvre Une Saison en Enfer, du poète français Jean-Nicolas Arthur Rimbaud (1854-1891). Dans cette oeuvre le poète descend aux enfers - où il reste pendant une saison - et à la sortie, il fait également ressortir les expériences artistiques et personnelles de cette période. Ce voyage souterrain est en ce sens un plongeon en soi-même, analogue au processus d'intériorisation et d'autoconnaissance de soi, concepts exprimés dans les célèbres « Lettres du Voyant », de mai 1871. Dans ces lettres, où Rimbaud développe sa propre théorie poétique, il crée une méthode unique qui cherche à échapper au monde réel et rompre en même temps avec les normes esthétiques de son temps. En ce sens, le thème satanique d' Une saison en enfer est parfaitement placé dans le projet rimbaldien de la « Voyance » et il révèle aussi le double mouvement de transgression de l'artiste: d'une part, sa révolte contre la société bourgeoise et, d'autre part, son désir de changer la poésie traditionnelle. Par conséquent, notre proposition est d'établir une relation entre Une Saison en Enfer et la théorie proposée par Rimbaud - en confluence avec la modernité du XIXe siècle - pour, ensuite, analyser le thème mythique et satanique de l'oeuvre en relation avec ces idées.
Mestre
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Petersen, Jesper Aagaard. "Between Darwin and the Devil : Modern Satanism as Discourse, Milieu, and Self." Doctoral thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for arkeologi og religionsvitenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-14559.
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Möller, Melanie. "Satanismus als Religion der Überschreitung : Transgression und stereotype Darstellung in Erfahrungs- und Aussteigerberichten /." Marburg : Diagonal-Verl, 2007. http://www.diagonal-verlag.de/99-buch.html.
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Staples, Herbert Edward. "Satanism and associated phenomena : a study in the philosophy of education / Herbert Edward Staples." Thesis, Potchefstroom University for Christian Higher Education, 1993. http://hdl.handle.net/10394/7819.
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The research was undertaken against the backdrop of a world-wide occult explosion and a commensurate increase in Satanism. This trend has recently begun manifesting itself in the Republic of South Africa. An increase of Satanism among school-going adolescents has been noted. There is little empirical evidence extant on the causes of Satanism. The research problem was defined in five questions: how can Satanism and its associated phenomena be defined; to what degree is Satanism and occultism present in schools; what are the causal factors of Satanistic or occultic involvement; what fundamental pedagogical insights emanate from both the literature and the empirical study; what criteria can he used profitably in the assessment of Satanistic adolescents? The problem definition listed above logically led to the crystallization of a five-fold aim. The literature study was executed by means of various methods which cohere within the framework of the Christian philosophy of Education. The fundamental-reflective, structure-empirical, transcendental-critical, and the historical phenomenon-analysis methods were used. The rationale of these methods is outlined in the introduction. In the light of the impossibility of total objectivity in research, the philosophical and scientific presuppositions of the researcher were brought to the surface and account was given for such presuppositions. The second leg of the research was that of empirical investigation, which has been executed by means of the verification of hypotheses by use of the inductive method. The research population has been all adolescent pupils of the Transvaal Education Department secondary schools. Scientifically accountable sampling methods were used and the sample-size parameters were set so as to allow for confidence in the results. Two research instruments were used: the first being a composite questionnaire with four specialized sub-sections; the second being a standardized psychometric instrument. Refinement of the first instrument took place in accordance with standard methodological practice. The results were processed and analyzed with the aid of computers. Appropriate inferential and descriptive statistical procedures were used. The literature study led to the perspective that there are two distinct types of Satanic worship,viz. traditional Satanism and modern Satanism. They have distinct identities, considerable philosophical differences, yet many similarities. They are nearly always equated with each other in the perceptions of Iaymen and student alike. Traditional Satanism has its roots in ancient witchcraft, whereas modern Satanism is a recent manifestation of a fertility cult. Belief in and covenant with Satan characterises the former, while the latter focuses on ritualized occultic-orgiastic practice and espouses belief in a non-anthropomorphic Satan. Both practise maleficent occultism. Occuitlsm is a sine qua non of Satanism, but Satanism must not be seen to be a manifestation of occultism. Literature study also showed the New Age Movement to be related to Satanism through occultism, and demon possession to be related to Satanism as a sometimes-encountered result of Satanistic involvement. Occultic mysticism was shown similarly to have ties with Satanism, but the study revealed that not all mysticism is occultic. The common thread through all related phenomena is occultism. Parapsychology was found to be unrelated to Satanism but to be a "high-risk" area which could readily expose the student to the world of the occult. Literature study showed the causes of Satanism to be the educo-psycho-social deficits and needs that direct the person's behaviour towards need-reduction or need-satisfaction. The needs identified were those of self-realization, love, power and esteem. The need for positive faith was also adduced. As a result of these educo-religio-psycho-social needs, the facilitating role of a wide variety of conditioning media was expounded. The most important Satanic belief facilitators with adolescents were identified as sex, drugs, fantasy games, peer-group pressure, nihilistic-themes music and occult involvement. The empirical research was conducted with reference to occult involvement, the sample research population being demarcated to be "high, low" or "non occult-user". Occultic adolescents were demonstrated to be more hedonistic, more anarchistic, more nihilistic, and more alienated from their parents, school, church and peers. Grade-effects were demonstrated throughout, showing that deepening occult faith, as evidenced by a higher degree of occult usage, correlated with a greater degree of hedonism, nihilism, anarchism, and alienation. Predictably, a strong link was shown to exist between the frequency of occultic involvement and broken homes. The most notable findings, however, were those which showed the deficit of positive religion to be a primary cause of Satanism and occultism. The latter finding breaks new ground in empirical research on the subject, and shows that the basic educo-psycho-social needs/deficits should not be seen as the sole corpus of primary causal agencies, but that the need of true religion is perhaps the most fundamental primary need in this instance. It is the religio-educo-psycho-social deficits/needs that promote involvement in diabolical religion.
The empirical research also showed that fractionally more than one in ten adolescent pupils in the target population is occultic, of whom nearly three percent is heavily involved in occultism. By deduction it has been possible to show that somewhat more than half of the high occult-user group in the target population is Satanistic. The research has also showed that the great majority of Satanists would be traditional Satanists. The fundamental pedagogical insights that have emerged are: that the educational necessity of a strong parent-child relationship is threatened by the development of Satanism and occultism; that Satanism is a threat to the execution of the educational task of the school and also brings about effects in the individual that counteract sound educational goals; that the social development of the adolescent is negatively affected by these religions; that Satanism and occultism bring about strong anti-societal traits that must render them not only less able to fit into normal society but less willing to fit into such society; that Satanism and occultism have very seriously debilitating effects on the sound religious and moral development of the adolescent. The research has made it possible to educe an educo-psycho-social profile of a typical heavily involved occult-user, and/or Satanist. Principles for the guidance of educators involved with Satanists or deviant occultists have been produced. Finally, the research has resulted in the partial refinement and standardization of diagnostic instruments by which occultic adolescents can be identified, and a modus operandi for the pro-active and retroactive identification of such children for possible intervention.Proefskrif (PhD)--PU vir CHO, 1993
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McDaniel, Chris P. "In search of Satanists examining the accounts of deviant religious practitioners." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4990.
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Despite the glut of literature focusing on numerous aspects of mainline American religious life, there is a surprising dearth of information regarding deviant religious practitioners. Importantly, there remains a lack of focus on the specificities of religious and spiritual deviance, and the accounts of those who engage in such practices. This exploratory study closely examines the members of one such religion; specifically, the Church of Satan. Despite the stigma associated with Satanism, individuals continue to willfully engage in such practices. Research uses face-to-face, semi-structured interviews to better discern the rationale behind Satanic worship as understood by modern-day believers. Particular attention is given to the accounts of Satanists to examine motivations for engaging in such practices, as well as identity management techniques for dealing with potential stigma. Results of the analysis show that Satanists utilize a variety of accounts when speaking about their spiritual choices and the potential stigma that surrounds such choices. These results are discussed and directions for additional research are presented.ID: 030423451; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 59-61).
M.A.
Masters
Sociology
Sciences
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Du, Toit Jacobus Petrus. "Bad faith: the psychological life of a satanist who committed murder." Thesis, Rhodes University, 2002. http://hdl.handle.net/10962/d1007483.
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Traditional methods of psychological and forensic research fail to adequately provide an account of the psychological meaning that perpetrators of crime derive when appropriating their actions to Satanic involvement. In February 2001, a young man appeared in a South African High Court and testified that he had committed murder as a result of his involvement in Satanism. The aim of this study is to gain a phenomenological understanding of how this man appropriates the act of murder to involvement in Satanism. A review of literature elucidates Satanism as a context for meaning, provide a framework for defining murder as a criminal act, and situate this study in the broader field of phenomenological-existential, psychological research. An emergent design case-study approach was applied to data gathered from a single subject, by means of a three-interview series. An empirical phenomenological methodology was used during the interpretive phase to arrive at both a descriptive account of the subject's phenomenological experience and how the eidetic structure of the experience of Satanism as a context tor meaning emerged. A discussion of the subject's appropriation of murder with Satanism illustrates how the subject imposed a dichotomy of good and bad on his life-world in an attempt to derive meaning from his experience of inadequacy. Involvement with Satanism is meaningful, in that it affords its followers an increased sense of power, a safe environment to explore individuality, shared responsibility associated with exercising free choice, social situatedness and an affirmation of being through an increased awareness of finitude. The research subject experienced committing murder as an act of loyalty to the perceived gains he had been afforded as result of his involvement with Satanism.
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Lindsmyr, Rikard, and Stina Edvinsson. "Satanist - Javisst! : En studie av elevtexter och elevers ståndpunkter om religiösa rörelser." Thesis, Högskolan i Halmstad, Sektionen för lärarutbildning (LUT), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-14038.
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Sammanfattning Dagens elever är mer intresserade av livsfrågor än religion. Religionskunskap har gått från att vara ett ämne där elever enbart studerade kristendom, till att vara ett ämne där olika religioner och livsåskådningar studeras bland annat till syfte att hjälpa eleven att forma en personlig livssyn. Studien är gjord utifrån arbeten om religiösa rörelser av elever i årskurs 8 i ämnet religionskunskap, och syftar till att ta reda på hur elever bygger upp sina ståndpunkter kring religiösa rörelser i skoltexter, vilka uttryck de använder och med vilken mening. Resultatet studeras genom Zygmunt Baumans glasögon om det individualiserade samhället. Vid studien av de arbeten eleverna gjort är att det som inte bidrar till egen vinning inte är intressant. Det som man heller inte har kontroll på tilltalar inte heller eleverna och det uttrycks som läskigt, konstigt och hemligt. Svaren eleverna angivit kan användas som en ingång för läraren när denna skall forma sin undervisning vid studier av religiösa rörelser.
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Hermansson, Tobias. "Djävulska diskurser : Hur The Satanic Temple återupplivar satanistiska mot-diskurser och utmanar det västerländska religionsbegreppet." Thesis, Uppsala universitet, Religionshistoria, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-431375.
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When The Satanic Temple was formed in 2013 they immediately sparked a debate in American media through their political activism. With a Satanic discourse they both confused and angered many people, especially persons from the Christian Right-Wing and other Conservatives. With themselves in focus, they also initiated a debate of what a religion is or should be, after starting to demand religious rights through their activism. The idea of using a Satanic discourse in order to emphasize Left-Wing politics is not a new idea though. Already the Romantic Satanists used a similiar strategy some 200 years ago, and The Satanic Temple is quite vocal about the fact that they see them as forerunners. But traces could also be found in the Anarchistic Satanists of the middle 1800’s and the Feminist Satanists around 1900. This essay shows the inheritence of the political Satanism of the 18- and 1900’s through a discourse analysis of these movements compared with The Satanic Temple. The essay also discusses what defines a religion, viewed through The Satanic Temple’s fight for the status of one and compared to academic research on the subject, mainly the idea of viewing religion as a discourse.
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Torres, Marie-Helene Catherine. "Descida poetica no mundo infernal de Cruz e Sousa e Baudelaire." reponame:Repositório Institucional da UFSC, 1995. http://repositorio.ufsc.br/xmlui/handle/123456789/76196.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e ExpressãoMade available in DSpace on 2012-10-16T08:10:18Z (GMT). No. of bitstreams: 0Bitstream added on 2016-01-08T19:23:27Z : No. of bitstreams: 1 101661.pdf: 2256911 bytes, checksum: 067ec9abf5663c9b4f44f334b5cdc943 (MD5)
Este estudo, um trabalho temático sobre a questão do satanismo, pretende mostrar as relações intertextuais da obra de dois escritores, o brasileiro João da Cruz e Sousa e o francês Charles Baudelaire. Trata-se, ao longo do estudo, de tentar provar minha hipótese de trabalho: que ambos os poetas se basearam em 'princípios satânicos' no momento do ato da criação. Isto me levou a estabelecer a existência de uma teoria satânica no âmbito de suas poesias, marcando assim o início da poesia moderna.
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Rainer, Karin. "Literatur des Bösen Satan, Teufelskult und Schwarze Messen in der Literatur." Marburg Tectum, 2000. http://deposit.d-nb.de/cgi-bin/dokserv?id=2966961&prov=M&dok_var=1&dok_ext=htm.
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Ljung, Peter. "Lucifer och den performativa filmkonsten : En studie kring sataniska visioner i den kaliforniska filmvärlden." Thesis, Södertörns högskola, Lärarutbildningen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-39195.
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This study regards the influence of ’modern’ satanism on performative art in the nineteen sixties- and seventies. The methodological framework consists of performativity theory, religious visual culture and aesthetics of experimental film. The material consists mainly of cinematic work by Kenneth Anger and Alejandro Jodorowsky, as well as musical performances by the likes of Mick Jagger, the Rolling Stones and David Bowie. In addition to this material I also use academic texts, dissertations and books written about the subjects themselves as a foundation for my own further analysis and discussions. By looking closely at a selection of cinnematic work of foremost Kenneth Anger, I try to show how his own esoteric and occult interests are present as a fundamental part of his creative process and the following filmworks/artworks themselves. This is also put into relationship with Anton Szandor Lavey, founder of the Church of Satan, and their common thoughts concerning ritually performed magic. By using performativity theory I trie to emphasise the interlocking structures of these two worlds in the artwork of Kenneth Anger and other artists active in the culturual ’milieu’ of the sixties- and seventies. The results indicate that the religious sphere of satanism, occultism and esotericism (and alternative modes of religion in general) was closeley inflicted with counterculture-infused film and music (as represented by the selection of material).
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Bodenhem, Östgren Ellen. "Sex – sakral sensualism eller satanisk svaghet? : En litteraturstudie om judendomen och buddhismensförhållningssätt till sexualitet." Thesis, Högskolan Dalarna, Religionsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-28054.
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Detta är en litteraturstudie som syftar till att undersöka hur judendomen och buddhismen förhåller sig till sexualitet. Den syftar även till att undersöka vilka skillnader det finns i tolkningen av sexualiteten beroende på om forskningen sker med en mer traditionell vetenskaplig forskning eller genom en feministisk forskning. Den teori som ligger till grund för undersökningen baseras på en feministisk värdegrund som vidhåller att det inom sexualiteten finns en tydlig könsmaktsordning och genushierarki. I undersökningen presenteras ett antal texter kopplade till judendomen, buddhismen och sexualitet. Därefter analyseras de olika texterna baserat på dess forskningsinriktning för att se hur maktstrukturerna inom sexualiteten lyfts fram. Här framkommer att det inom den feministiska forskningen läggs en större fokus på att framhålla den maktkonstruktion och de könsroller som konstrueras i förhållande till religionerna. Dock framkommer även denna maktstruktur inom den mer traditionella forskningen. Slutligen sker en diskussion i förhållande till resultat och analys med fokus på den problematik och de möjligheter som kan uppstå när det skall undervisas om sexualitet i religionsämnet på gymnasieskolan. Här framkommer att det finns en problematik med att undervisa om kontroversiella frågor men att det med hjälp av en deliberativ metod finns goda möjligheter att ändå lyckas med denna undervisning.
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Ribeiro, Antônio Daniel Marinho. "O exorcismo da alteridade : o ideário cristão e a construção histórica e social das religiosidades de matriz africana como expressão do satanismo." Universidade Federal de Alagoas, 2009. http://repositorio.ufal.br/handle/riufal/981.
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The proposed work is based on the idea that the hegemonic representations of
evil (as it regards the religious phenomenon), within the Brazilian society still based on
Christianity. This point of view is the essence of the historical process and social matrix
of Christian religiousness since its origin in order to establish its hegemony to other
religions. Realizing that, the representations of religiousnesses in general have been
associated with evil, as imposed economic, political and ideological process in the
West. This ideology has had a continuity throughout social and racial relations that date
since the beginning of Colonization. Such religiousness established as a common sense
imagination the idea that all African related religions are associated to Satanism,
therefore they all embody evil. This study attempts to show that the borders of otherness
Christian hegemony is established by this assumption: "Macumba is a thing of the
devil." Including as more private aspects of the training of World Vision Society
Alagoano examples, in the event of break in 1912, that speech has its historical
character and reverberates strongly in our reality. What our modernity resulted in a field
of religious disputes, where the hegemony of the Christian religions of African matrix is
still latent. The result of this dispute, in our view, is the establishment of boundaries of
religious alterity, which eventually creating undoubtedly fields of marginality.
However, we can observe that those who still take that religiousness stigma of
marginality begin to organize, the liturgy, as the political intention of which is
demystified and constructed an identity rooted in ideals such as purity Nagô and the
struggle for freedom of religious expression. Finally, the general intention of this work
is to contribute to the formation of discursive fields of religious dialogue in the vast
Brazilian scenario.Conselho Nacional de Desenvolvimento Científico e Tecnológico
O trabalho proposto tem como base a idéia de que, as representações hegemônicas do mal (no que se refere ao fenômeno religioso), na sociedade brasileira ainda baseiamse na perspectiva cristã. Tal ponto de vista faz parte da essência da formação histórica e social das religiosidades de matriz cristã desde sua origem com a finalidade de estabelecer perante outras religiosidades sua hegemonia. Percebendo também que, as representações que essas religiosidades têm a respeito do mal, fazem parte do próprio processo de imposição econômica, política e ideológica do ocidente, mantendo enfim um anátema oriundo de nossas relações sociais e raciais que remontam a Colônia. Essas religiosidades estabeleceram no imaginário popular a idéia de que as religiões de matriz africana são satanistas e, portanto, corporificam o mal. Nossa dissertação tenta então, a partir daí, demonstrar que parte das fronteiras da alteridade cristã é hegemonicamente estabelecida através desse pressuposto: Macumba é coisa do Diabo! . Incluindo como aspectos mais particulares a formação da Visão de Mundo da sociedade alagoana exemplificando, no evento do Quebra de 1912, que tal discurso tem seu caráter histórico e reverbera com força em nossa realidade. O que na nossa modernidade resultou em um campo religioso de disputas, onde a hegemonia cristã sobre as religiões de matriz africana ainda é latente. O resultado dessa disputa, a nosso ver, é o estabelecimento de fronteiras de alteridade religiosa, que acabaram criando, indubitavelmente campos de marginalidade. Entretanto, podemos observar que essas religiosidades que ainda levam esse estigma da marginalidade começam a se organizar, tanto liturgicamente, quanto politicamente na intenção de que seja construída uma identidade desmistificada e enraizada em ideais como a pureza nagô e a luta pela liberdade de expressão religiosa. Por fim, a intenção geral desse trabalho é contribuir para a formação de campos discursivos de diálogo no vastíssimo cenário religioso brasileiro.
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Sandoval, López Jesús. "La destrucción en la obra narrativa de Barbey D' Aurevilly." Doctoral thesis, Universidad de Murcia, 2008. http://hdl.handle.net/10803/10809.
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Barbey d'Aurevilly goza de una gran popularidad hoy en día, y se manifiesta en numerosos estudios. Jacques Petit es el crítico que más ha contribuido a este resurgir. Tras una primera lectura de su creación literaria, la destrucción es el tema más revelador. La muerte era uno de los temas más obsesivos para los románticos, sobre todo para Barbey d'Aurevilly que nació el día 2 de noviembre de 1808, el día de los difuntos. Barbey d'Aurevilly proyecta en sus relatos todas las contradicciones que lo conmueven incesantemente. Advierte que las pasiones, los crímenes, la perversidad, el deseo de destrucción (odio, venganza, suicidio...) no son temas superficiales, en tanto y en cuanto se amparan del ser humano y no cesan hasta ver cumplidos sus actos, esto es, la destrucción. Actos que nos inspiran terror. El motivo del suicidio va acompañado del sufrimiento bajo sus formas: mental, moral, miedo, ansia... La mayoría de los personajes femeninos sucumben a pesar de su maldad, de su satanismo. Su destrucción nos deja en la duda, en la incertidumbre debido al desconocimiento de su muerte. El misterio ocupa un lugar preponderante, nos toca adivinar las causas. La imagen de la mujer es la imagen del pecado, de la culpabilidad, de la maldad. Su belleza aparece como una flor venenosa y peligrosa; por lo tanto, su influencia es siempre perniciosa. El amor que vislumbramos en los relatos es un amor homicida, se muestra destructivo; no existe entre los personajes "aurevilliens". Sin lugar a dudas, el universo literario de Barbey d'Aurevilly es trágico.Barbey d'Aurevilly enjoys great popularity today, and manifests itself in many studies. Jacques Petit is the critic who has most contributed to this resurgence. After a first reading of his literary creation, destruction is the most revealing. Death was one of the most obsessive for romantics, especially for Barbey d'Aurevilly who was born on 2 November 1808, the day of the dead. Barbey d'Aurevilly projected into their stories all the contradictions which moved incessantly. He warns that the passions, crimes, evil, the desire for destruction (hatred, revenge, suicide ...) are not surface issues, as long as human beings find shelter and never stop until she reached her actions, this is destruction. Terror acts that inspire us. The reason of suicide is accompanied by suffering under its forms: mental, moral, fear, anxiety ... Most female characters succumb in spite of their lawlessness, their Satanism. Its destruction leaves us in doubt, uncertainty due to ignorance of his death. The mystery looms large, we have to guess the causes. The image of women is the image of sin, guilt, of evil. Her beauty is like a flower poisonous and dangerous; therefore, its influence is always harmful. The love that we see in the stories is a love killer, showing destructive, not between the characters "aurevilliens". Undoubtedly, the literary world of Barbey d'Aurevilly is tragic.
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Jonsäll, Hans. "Kaosets symfonier : En religionshistorisk analys av innehållet i Black Metalbandet Watains textkorpus." Thesis, Uppsala universitet, Teologiska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-302541.
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With this essay my aim is to uncover the content in the discography of the Swedish Black Metal act Watain in respect to lyrically expressed religious themes revolving around the tendencies within occulture and the Black Metal scene. To investigate the matter I have combined quantitative and qualitative analysis methods from the fields of corpus linguistics as well as content analysis, which provided me with an array of key words and their respective concordances (Key Word In Context, KWIC) in the texts. Through the analysis three overlapping main themes became apparent: satanism, gnosticism and finally apocalypticism. I described each of the themes in detail based on my linguistic findings in the corpus so as to yield a deeper understanding of the religious symbols communicated in the material and their interrelationship. The result was that neither one of these could be explained in isolation as they are all part of a larger system of philosophy, namely the esoteric movement chaos-gnosticism tied to the Swedish order Temple of the Black Light, but also products of occulture. The discussion proved that, although satanism may seem to be the thematical centerpoint in Watain’s lyrics, it is not, as this is a far too simple conclusion in relation to the complexity of the results. Instead, the content requires to be understood in terms of the dark Left-Hand Path spirituality as well as the occultural melting pot of paranormal and occult ideas.För att få tillgång till mitt korpus och mina korpusresultat hänvisar jag till min privata e-post adress hans.jonsall@gmail.com alternativt att man kontaktar mig via sociala medier.
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dahlby, ida. "Black metal-rörelsen och den "hemmagjorda" satanismen : En litteratur- och intervjustudie om den tidiga black metal-rörelsen i Norge och Strömstad och dess satanistiska uttryck." Thesis, Högskolan i Jönköping, Högskolan för lärande och kommunikation, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-29331.
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Andersson, Martin. "In the Name of God : en studie om hur religiösa budskap kommer till uttryck i hårdrockstexter." Thesis, Högskolan Kristianstad, Sektionen för lärande och miljö, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-8144.
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Uppsatsen handlar om hur religion kan användas samt komma till uttryck i hårdrockstexter. Undersökningen har skett genom analys av åtta olika låttexter, som belyser olika aspekter av religionen. Analysen tog fasta på texternas religiösa budskap, användandet av eventuella religiösa metaforer samt hur texterna kan ses som en del av en religiös mångfald. Metoden som har använts är en kvalitativ textanalys med en hermeneutisk utgångspunkt. Som teori valdes Rodney Starks ”fortlevnadsteori” som utgår från den ”rational choice”-teoretiska modellen. Resultatet av undersökningen visade på en stor bredd av budskap. I ett av fallen kunde en vädjan om att börja tro på Gud uttydas, i två andra fanns en underton av varning för destruktiva sekter, två av texterna kritiserade kristendomen utifrån två olika aspekter och slutligen fanns två texter med ett direkt sataniskt och individualistiskt budskap. Direkta religiösa metaforer förekom endast i två texter. Vad gäller den religiösa mångfalden kunde man konstatera att texterna i flera fall kan vara ett uttryck för detta. Detta gäller inte minst i en tid då privatreligiositet sakta utkonkurrerar den organiserade, traditionella religionen och med tanke på de närmast religiösa känslor som musiken kan väcka hos lyssnaren. Detta förklaras genom att tron finner nya sätt att nå ut till människor, vilket även är relaterat till hur samhällsmönstret förändras.
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Svensson, Ek Fina. "Ikväll sjunger vi till Satan : En näranalys av hur heavy metalbandet GHOST uttrycker en religiös ideologi." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-101740.
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The aim of this research paper is to analyze what kind of religious ideology the Heavy Metal band GHOST conveys through a ritualized live performance and through a mythologizing of the band. As previous research has concluded, the Heavy Metal genre acts as a tool to construct identities, it is thus interesting to investigate what the music conveys to its listeners. The Heavy Metal genre is also known for their use of religious themes and symbols which makes it a relevant research object in religious studies. The methodological framework of this research is based on a qualitative method that analyzes three different full concert videos of the band GHOST and the band’s official YouTube-channel which they use to narrate their mythical story. Based on the findings of this inquiry it can be concluded that the band conveys an ideology that leans heavily on Christian imagery by turning the Christian doctrine upside down and articulate an anti-Christian satanism.
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Lillhannus, Daniela. "Den onda klassresan : En intersektionell analys av Ira Levins Rosemary's Baby med fokus på klass, genus och esoteriska element." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-323354.
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Björke, Nils. "Rent ruskiga saker : En fallstudie av moralpaniken kring "världens äckligaste hårdrockgrupp"." Thesis, Södertörn University College, School of Gender, Culture and History, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-3357.
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Andersson, Robert. "Of chaos and internal fire : the quest for nothingness by lyrical manifestations of re-interpreted Gnostic thought." Thesis, Högskolan i Gävle, Avdelningen för kultur-, religions- och utbildningsvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-11443.
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This essay researches the prevalence of Gnostic influences in contemporary music lyrics, more exclusively within the context of the extreme metal scene. A resurgence of such topics has also been evident in contemporary music; not surprisingly, as music in general is part of the foundations of culture, and in a wider aspect, of society at large. The essay is performed using a hermeneutic method, interpreting music lyrics and discussing them from a background of cultural and religious theory. The purposes of researching the influences of Gnosticism in this environment are to determine the presence of Gnostic thought in extreme metal lyrics, research the eventual re-interpretations of historical sources of Gnosticism, and to discuss the acknowledged Gnostic influences in the displayed art form in a contemporary cultural perspective, related to cultural aspects such as secularization, modernity and globalization. Sources include music lyrics appropriate to the subject matter at hand as well as previously published interviews. The results of the investigation demonstrate that there are multiple interpretations of Gnostic thought apparent in extreme metal lyrics, varying from slight re-interpretations to more extensive ones, as apparent in what is identified as a chaos-gnostic current. The Gnostic material has in the latter scenario been integrated into an originally satanic worldview and as a result has become a major part of the chaos-gnostic belief system. The chaos-gnostic current has appeared in a highly secular surrounding, and the results of the essay propose that a secular surrounding can breed elements of trangression within individuals, leading to the resurgence of oppositional counter-cultural characteristics and an awakening of alternative spirituality with oppositional overtones.
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Turski, Andrew. "Revealing the Hidden Symbols and Agendas within Music Videos." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-251417.
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Cílem této diplomové práce je objasnit a lépe pochopit opakující se témata a symboly v hudebním průmyslu, která jsou chápána jako zlo a která jsou běžně spojována s nechvalně známým tajným společenstvím: Ilumináti. Dopad těchto témat a symbolů na podvědomí jejich diváků je významný. Toto umožňuje lépe pochopit budoucnost amerického hudebního průmyslu, který nemalou měrou ovlivňuje budoucnost společnosti. Práce začíná stručným popisem hnutí Iluminátů a jejich cílů, dále se zabývá historií použitých symbolů. Základem tohoto výzkumu je analýza několika videoklipů a záznamu živého vystoupení. Práce rozebírá jak tato videa ovlivňují veřejné mínění a náladu dvěma negativními způsoby: vštěpováním satanistické přítomnosti skrze rituály a posilováním sexuální perverze. V závěru je uvedeno množství témat a symbolů, které se opakovaně vyskytují v hudebním průmyslu, z důvodu jejich závažnosti by neměly být ignorovány. Nicméně spektrum hudebních videí, které mají tyto negativní vlivy, je vcelku široké a bylo by nad rámec jedné práce je všechny pokrýt. Tato práce si klade za cíl sloužit jako první krok v tak potřebném tématu zkoumání.
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Olson, Benjamin Hedge. "I am the Black Wizards: Multiplicity, Mysticism and Identity in Black Metal Music and Culture." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1206132032.
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Karlson-Weimann, Carl. "The Baphomet : A discourse analysis of the symbol in three contexts." Thesis, Uppsala universitet, Religionshistoria, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-197422.
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This essay examines how the Baphomet symbol is understood in three different contexts. Firstly, the understanding of the Baphomet is analysed in the book Dogme et Rituel de la Haute Magie, written by the French 19th century occultist Éliphas Lévi. Secondly, I analyse the symbol in The Satanic Bible by Anton Szandor LaVey, the person responsible for having introduced Satanism to modernity. Thirdly, the Baphomet as understood in contemporary metal music culture is analysed. Ultimately, I find the Baphomet to be viewed as a symbol associated with Satan, but in very different ways. The reason to why these differences exist I find to be partially explained by the initial mystery surrounding the Baphomet. The understanding of the Baphomet depends also on the role of Satan in each context. Due to Satan representing different things in the three different contexts, so does the Baphomet.All images removed.
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Allard, Caroline. "Från djävulsdyrkan och kyrkobränder till idoldyrkan och ut ur kyrkan : black metal som väg till religiös livsåskådning." Thesis, Högskolan i Gävle, Religionsvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-29246.
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Det här är en kvalitativ undersökning på hur en del använder black metal som en väg till religiös livsåskådning. Den är baserad på semistrukturerade intervjuer med fem män som är fans eller musiker inom black metal. Syftet är att studera hur dessa människor använder black metal och dess uttryck som en arena för religiös praktik. Dessa intervjuer är sedan analyserade med hjälp av teorierna re-enchantment och occulture. Studien visar på att black metal är en individuationsprocess där unga fans börjar att bygga upp sin personlighet och lär sig att både bearbeta och hantera känslor. Studien visar även på de negativa aspekterna av subgenren, så som kyrkobränder och mord, som uppkommit inom kultiska miljöer. Med dess resultat visar det att deltagarnas sökande efter en religiös livsåskådning som mötte upp med deras känslor och behov, var influerat av black metal.
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Koleva, Zhivka. "Satanic Battle for Social Change : A Discourse-Analytical Study of The Satanic Temple's Activism." Thesis, Uppsala universitet, Teologiska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-412421.
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Ahlm, Daniel. "Xeper-i-Set : En studie i Temple of Sets ideologisk relation gentemot fornegyptisk religion." Thesis, Södertörn University College, School of Gender, Culture and History, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-3179.
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Ramkissoonsingh, Ravi Carleton University Dissertation Psychology. "The Effects of abuse type and complainant symptomatology in a simulated sexual abuse trial." Ottawa, 1999.
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Drawii, Judy Tatu. "Cult on the rise? Students' perspectives on cult issues in secondary and national high schools in Papua New Guinea." The University of Waikato, 2008. http://hdl.handle.net/10289/2239.
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In the last five years there has been a dramatic increase in perceived levels of antisocial behaviour amongst students in Secondary and National High schools in Papua New Guinea. Certain events have caught the public's attention, such as the burning down of school buildings and reports of Satanic worship. Despite widespread concern, there seems to be little understanding of why such problems are occurring and no systematic studies to estimate the exact extent of such behaviours or their underlying cause. The main objective of this study was to collect information about the students' perspectives on the nature and extent of these perceived problems. For ethical reasons, and with regard to ease of access to participants within the time frame of the study, data were collected from the first year student teachers at Madang Teachers' College, Papua New Guinea, who had been Secondary/National High school students only a few months previously. As this was an exploratory investigation, and it was not known whether participants would feel more at ease talking one-on-one with the researcher or in groups, two methodologies were used: focus group discussions and individual interviews. The research was conducted over a period of three weeks in June 2007, and involved a total of 21 participants (three focus groups of five, five and six people respectively, and six individual interviewees, one of whom also joined a group). The main findings to emerge from these discussions were as follows. First, the participants explained their own and other students' behaviour in terms of exploring old and new traditions of school life. Second, although several participants reported knowledge of supernatural practices, many of the group activities described in the discussions were normal activities among peer cliques that provided a sense of belonging and positive support for school achievement. There were no major differences in the stories told by male and female participants, and no obvious differences in the type of information provided under different research conditions. There was some disagreement among participants as to whether or not school authorities should take strong action to eliminate the possibility of cult practices. The findings are interpreted with reference to both Western psychological ideas about the nature of adolescence, and to local traditions, practices, and understandings of lifespan development. In particular, the notion of 'searching for identity' stands out in these accounts of student behaviour. This was an exploratory study and not designed to yield results that provide an overall picture of the situation in the Secondary/National High schools of Papua New Guinea. Nevertheless, participants' reports did relate to events experienced in the majority of PNG Secondary and National High schools, and some recommendations are tentatively offered.
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Lynch, Timothy. "Truly evil empires the panic over ritual child abuse in Australia /." Phd thesis, Australia : Macquarie University, 2006. http://hdl.handle.net/1959.14/38034.
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Thesis (PhD) -- Macquarie University, Division of Society, Culture, Media & Philosophy, Department of Anthropology, 2006."December 2005".
Bibliography: leaves 327-357.
Characteristics of ritual abuse discourse -- A plethora of theorists (and of differences between them) -- Defining ritual abuse: differences, disputes and bad faith -- Allegations, investigations and trials -- Abuse accomodation and recovered memories -- Moral panic and witch hunt -- Witch craze -- Outsiders, accusations and obligations -- Accusations of ritual abuse in Australia -- Witches and pedophiles -- Conclusion.
Allegations of "ritual abuse" were first made in North America in the 1970s and early 1980s. It was claimed that an extremely severe form of sexual and physical child abuse was being perpetrated by Satanists or the devotees of comparably unorthodox religions. Perpetrators were often supposed to be invloved in other serious criminal activities. Allegations were subsequently made in Britain, Holland, Australia and New Zealand. The thesis examines the bitter debates that these claims provoked, including the dispute about whether ritual abuse "really happens". -- The thesis also contributes to the debate by providing some anthropological insights into why these strange and incredible claims were made and why they were accepted by certain therapists, officials, journalists and members of the public. It is argued that the panic over ritual abuse was a panic about what anthropologists know as "witchcraft" and the thesis makes this argument through an analysis of the events (mainly discursive events) of the panic. The thesis in particular takes up Jean La Fontaine's argument about the similarities between accusations of ritual abuse and those made against "witches" in early modern Europe and in non-Western societies. The similarities between the kinds of people typically accused of perpetrating ritual abuse and those accused of practising witchcraft are considered, with a special emphasis on those cases where accusations were made by adult "survivors" and where alleged perpetrators were affluent and of relatively high social status. The thesis examines how supposed perpetrators of ritual abuse were denied the social support properly due to them and how accusations--and the persecution that followed--achieved certain political, professional and personal ends for survivors and their supporters. -- The thesis also considers similarities between "crazed" witch hunting and the recent spread of the panic about ritual abuse throughout much of the English-speaking West. The peculiar panic about witch-like figures that occurred in Australia -- especially in NSW--is examined. The thesis shows how, at a time when Australians had become very sceptical about claims of ritual abuse, activists were able to incite and affect the latest of a succession of homophobic panics in Australia.
Mode of access: World Wide Web.
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Meckelborg, Robert James, and University of Lethbridge Faculty of Arts and Science. "The Satanic Blake : the continuing empathy with rebellious and creative energy as presented in "Satan Rousing His Legions"." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2007, 2007. http://hdl.handle.net/10133/622.
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Through an examination of Blake’s idea of Satan and his depiction of Satan and the rebel angels in the Paradise Lost design Satan Rousing his Legions, my thesis will demonstrate four principle findings, in addition to offering a fresh and unconventional interpretation to what is arguably Blake’s most profound depiction of Satan. One result is the demonstration that Blake maintained and developed his idea of Satan as a force of revolutionary energy and paradigm of Creative Imagination throughout his life. Secondly, I will demonstrate that Blake’s employment of, and references to, a punitive, destructive, and materialistic Satan is in fact a personification of the oppressive aspect of the Church and State. My third determination is that Blake’s vision of the Church as the oppressive and repressive tyrant Urizen did not soften as he aged but was steadfastly maintained until his death. And finally, I will establish that Blake did in fact maintain his revolutionary enthusiasm his entire life.iv, 236 leaves : ill. (some col.) ; 29 cm.
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Dunbar, Danielle. "The devil’s children : volk, devils and moral panics in white South Africa, 1976 - 1993." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20179.
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Thesis (MA)--Stellenbosch University, 2012.ENGLISH ABSTRACT: There are moments in history where the threat of Satanism and the Devil have been prompted by, and in turn stimulated, social anxiety. This thesis considers particular moments of ‘satanic panic’ in South Africa as moral panics during which social boundaries were challenged, patrolled and renegotiated through public debate in the media. While the decade of the 1980s was marked by successive states of emergency and the deterioration of apartheid, it began and ended with widespread alarm that Satan was making a bid for the control of white South Africa. Half-truths, rumour and fantasy mobilised by interest groups fuelled public uproar over the satanic menace – a threat deemed the enemy of white South Africa. Under P. W. Botha’s ‘total onslaught’ rhetoric, a large sector of white South Africa feared total ‘moral onslaught’. Cultural guardians warned against the satanic influences of popular culture, the corrupting power of materialism, and the weakening moral resolve of the youth. Others were adamant that Satanists sought to punish all good, white South Africans with financial ruin and divorce in their campaign to destroy white South Africa. From the bizarre to the macabre, the message became one of societal decay and a youth that was simultaneously out of control. While influenced by the international Satanism Scare that swept across the global West during the 1980s and early 1990s, this thesis argues that South Africa’s satanic panics reflected localised anxieties as the country’s social borders changed over time. While critically discussing the concept of the ‘moral panic’ and its analytical value in historical study, this thesis further argues that these moments of moral panic betray the contextually specific anxieties surrounding the loss of power and shifts in class and cultural solidarity. In so doing, this thesis seeks to elucidate the cultural changes in South Africa between 1976 and 1993 by highlighting the social, temporal and geographic boundaries which were contested and renegotiated through the shifting discourse on Satanism.
AFRIKAANSE OPSOMMING: Daar is oomblikke in die geskiedenis toe die bedreiging van Satanisme en die Duiwel deur sosiale angstigheid aangespoor is en dit ook verder gestimuleer het. Hierdie tesis neem bepaalde momente van ‘sataniese paniek’ in Suid-Afrika – waartydens sosiale grense deur publieke debat in die media uitgedaag, gepatrolleer en heronderhandel is – in oënskou as oomblikke van morele paniek. Terwyl die 1980s gekenmerk is deur agtereenvolgende noodtoestande en die agteruitgang van apartheid, het dit begin en geëindig met wydverspreide verontrusting dat Satan poog om beheer oor wit Suid-Afrika te verkry. Halwe waarhede, gerugte en fantasie, gemobiliseer deur belangegroepe, het publieke onsteltenis oor die sataniese gevaar aangehits – = vyandige bedreiging vir wit Suid-Afrika. In samehang met PW Botha se ‘totale aanslag’ retoriek, het = groot deel van wit Suid-Afrika ook = ‘totale morele aanslag’ gevrees. Die kultuurbewakers het gewaarsku teen sataniese invloede op populêre kultuur, die sedebederwende mag van materialisme en die verflouing van morele vasberadenheid onder die jeug. Ander was oortuig daarvan dat Sataniste daarop uit is om alle goeie, wit Suid-Afrikaners deur finansiële ondergang en egskeiding te straf in hulle veldtog om wit Suid-Afrika te vernietig. Van die grillige tot die makaber, die boodskap was een van sosiale agteruitgang en = jeug wat terselfdertyd buite beheer was. Alhoewel Suid-Afrika beïnvloed is deur die heersende internasionale sataniese verskrikking wat gedurende die 1980s en die vroeë 1990s, dwarsdeur die globale Weste gevind is, voer hierdie tesis aan dat die Suid-Afrikaanse sataniese paniek, soos die sosiale grense in Suid-Afrika verskuif het, gelokaliseerde angs gereflekteer het. Buiten die kritiese bespreking van die konsep van die ‘morele paniek’ en die analitiese waarde daarvan, argumenteer hierdie tesis verder dat hierdie momente van morele paniek konteks-spesifieke angs blootlê, paniese angs wat met die verlies van mag en veranderings in klas- en kulturele samehorigheid saamhang. Hierdeur beoog die tesis om kulturele veranderinge in Suid-Afrika tussen 1976 en 1993 toe te lig, deur te fokus op die sosiale, temporale en geografiese grense wat deur die verskuiwende diskoers oor Satanisme betwis en heronderhandel is.
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Gustafsson, Caroline. "Wicca : en religionsstudie." Thesis, University of Gävle, Department of Humanities and Social Sciences, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-623.
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Wicca är en ny naturreligion som skapades på 50-talet av en man vid namn Gerald B. Gardner. Gardner hämtade inspiration av många vänner, som till exempel Aleister Crowley som var en viktig del inom satanismen. Allt sedan Gardner skapat wicca har den utvecklats och idag är den väldigt stor i både England och USA, och den håller på att växa sig stor i resten av världen också. Inom wicca finns det två lagar, ”the wiccan rede” och trefaldslagen, dessa är de enda lagarna och följer vi dem kan vi leva ett bra liv. ”The wiccan rede” lyder som så att man får göra vad man vill så länge man inte skadar någon och det inkluderar en själv och trefaldslagen lyder som följer att allt vi sänder ut kommer tillbaka gånger tre.
Wicca innehåller också åtta högtider, sabbater, som vi kan fira på många olika sätt. Den viktigaste högtiden är wiccanernas nyår. Samhain som firas den 31 oktober. Man använder sig också av olika symboler och hjälpmedel. En viktig symbol för wiccanerna är pentagrammet som är en femuddig stjärna som representerar de fem elementen och ande. Några av de viktigaste hjälpmedlen är athamen, en tveeggad kniv som enbart får användas till magin och inte skada någon, kitteln och bägaren som representerar vattnets element och kvasten som man använder för att rena den magiska arbetsplatsen.
Wicca sägs komma från många olika andra religioner. Några av dem är New Age, paganism, spiritualism, schamanism och satanism. Paganismen är den religion som wicca kommer ifrån och där den har mest likheter. Eftersom Gardner var nära vän med en av grundarna till satanismen är också dessa två väldigt lika, men också väldigt olika. Wicca och New Age är lika på grund av att de båda är naturrörelser och spiritualismen och schamanismen är grunden till att wiccanerna tror på magi och andar och andra väsen som kanske inte hör till vår värld inom wicca.
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Jangmyr, Michelle. "Att göra kaos i ett cisnormativt kosmos : en laborerande studie av den transteoretiska och-aktivistiska samvaron med Satan." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-29582.
Full textAbstract:
The purpose of this paper is to present an opening to argue for a transtheoretical and - activist fellowship with Satan and the values connected to hir. A transactivist fellows-hip with Satan builds on two primary points of contact. It is on one hand the opportu-nity to take advantage of the non-conformist, non-normative and polemical signifi-cance Satan has been attributed, especially in the history of literature, but also in the history of religion. And on the other hand this study also dwells upon how Satan as a figure has served as an expression of evilness, hatred, darkness and suffering amongst people. The questions i ask, is if there is a course that allows me to theorize for a stra-tegic collaboration between the transactivist struggle and the ideas that is connected to the satanfigure in John Miltons Paradise Lost. I also ask if there is a transtheoretical-and activist approach where Satan can function as an ally within the transactivist re-sistance. The purpose of this paper also carries on a confrontation with the notion of ”tone-policing", and love and tenderness as the only sanctioned (and praised) incenti-ves for political struggle. In this thesis I make a link between the logic that connects to Satan as an ideological basis and a non-conformist (militant), seperatist, anti-capi-talist and queer attitude in transactivist struggle. With the help of Susan Stryker's the-ory of the monsteridentity I will experiment with extracts from John Milton's Paradise Lost, where the Satan figure and the transactivist position builds on a fellowship as my analysis proceeds. To do this i use a queer-deleuzian tool as a method that focuses on textual framings within the idea of spatial relations, meaning how the actual text can and should correspond with discourses outside its territorial space. This allow me to di-sengage Satan from its original amplitude, and instead of interpreting how Satan handles hirself in Paradise Lost, i will liberate Satan from this narrative and create a relation between hir and my thesis. In this way I create an occasion, through a theore-tical approach to trans-subjectivity as comparable to the perception of the monster as a non-normative figure, to bring the transgendered monster together with the satanic monster. The ”what” that will subsequently crystallize during the analysis have the intention to tell the story about the ways in which the non-confirmative transactivist have in common with Satan. After doing this i will conclude my thesis with a discus-sion that reflects on how this fellowship has evolved in relation to the proposed politi-cal and emotional connections between the non-confomative transactivist and Satan.
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van, Leeuwen Wilhelmus Roelof. "Dreamers of the Dark: Kerry Bolton and the Order of the Left Hand Path, a Case-study of a Satanic/Neo-Nazi Synthesis." The University of Waikato, 2008. http://hdl.handle.net/10289/2446.
Full textAbstract:
In 1990 a small self-published journal/magazine called The Watcher was distributed among New Zealand's occult underground. The Watcher described itself as 'the New Zealand Voice of the Left Hand Path', and was published as the journal of the Order of the Left Hand Path. The Watcher and the Order directed its attentions towards those occultists who identified themselves as Satanists and, as such, the journal articulated a distinctly Satanic philosophy and perspective. However, as the journal evolved and developed, renaming itself as The Heretic and The Nexus in later years, there arose alongside Satanic philosophy an increasing emphases on what could be called esoteric Nazism or esoteric Nationalism. Given that the editor of The Watcher was Kerry Bolton, a man who has been immersed in New Zealand's Nationalist/neo-Nazi movement since the early 1970s, such an increasingly political orientation was perhaps unsurprising. This thesis examines the way in which the Order bought Satanic and neo-Nazi ideologies together and the resulting synthesis. It also looks at the transition from being a Satanic order led by a neo-Nazi to an openly neo-Nazi Order that uses Satanic philosophy to justify and popularise its conception of National Socialism.
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Jonsäll, Hans. "Välsignad förbannelse : En retorisk analys av bibliskt material i Black Metallyrik." Thesis, Uppsala universitet, Gamla testamentets exegetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-266925.
Full textAbstract:
This bachelor thesis offers a rhetorical analysis of the album Maranatha by Swedish Black Metal artist Funeral Mist. Its main focus is on the intertextuality between the song "Blessed Curse" and the biblical book Deuteronomy, especially Deut 28 from which it has sampled a large portion of text. In the analysis I uncover the similarities and differences between the two texts in order to explain how the biblical fragments constitute new meanings when rearranged and taken out of their original context. The analysis concludes with relating the material to its new context i.e. the album Maranatha and the Black Metal scene by explaining other intertexts and references to the Bible and discussing which genre is best suited to describe the album as a whole. The results of the study show that the biblical quotations in the lyrics convey radically different messages and meanings compared to their original content in Deut 28. This in turn acknowledge how dependent linguistic symbols are on their context. I finish off my thesis with a few reflections on the moral and ethical implications of this use of biblical material concerning the anti-christian agenda supported by members of the Black Metal scene and specifically how Daniel Rostén of Funeral Mist view his own work and agenda.