Relevant bibliographies by topics / Theurgy

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Theurgy'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2024

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Journal articles on the topic "Theurgy"

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Panayotov, Stanimir. "Non-Theurgy: Iamblichus and Laruelle." Labyrinth 20, no. 1 (September 20, 2018): 64. http://dx.doi.org/10.25180/lj.v20i1.118.

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Mysticism, theurgy, non-philosophy: this text will experiment with the three in an attempt to perform a non-philosophical hijacking of so-called theurgy (theurgia). I will experiment with a comparison between Iamblichus' theurgy, Laruelle's non-philosophy, and the notion of the Vision-in-One. I claim their point of convergence is their allegiances to the theory of the One, derived from Plato's Unwritten Doctrines. The ancient notion of the One is subject to a similar procedural gesture in both Iamblichus and Laruelle, namely, the procession of the One from the noematic to the aesthetic realm. What connects them is their rejection of the theory that the soul's descension from the One to the visible realm represents a degeneration of the Nous. In a concept akin to the very idea of theurgy, Laruelle proposes his Vision-in-One, which is to think from the One rather than the One. The Vision-in-One is an attempt to materialize the disembodied fate of the noema against realistic skepticism.
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Buzhor, Yevgeniya S., Vadim I. Buzhor, and Larisa V. Milyaeva. "“Theurgic creativity” in philosophical conceptions of F. Nietzsche, Vl. Solovyov, and N. Berdyaev." SHS Web of Conferences 103 (2021): 01011. http://dx.doi.org/10.1051/shsconf/202110301011.

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The article presents a comparative analysis of theurgic activity in the works of three thinkers from the point of the generic understanding of theurgy as a “complete transformation of reality”. Despite the literal meaning of the term “theurgy”, according to all three thinkers, the indicated transforming influence is carried out by man and not by God. Although F. Nietzsche himself does not utilize the concept of theurgy, his theory of the Übermensch does fit into the framework of radical theurgic creativity since it presupposes a complete transformation of man carried out by himself, a change in his ontological nature. What is noted as a substantial similarity of the understanding of the transforming human activity by V. Solovyov and F. Nietzsche is that both thinkers view man as a product and the highest link of nature from which it follows that the highest calling of man is the transformation of not only himself but also nature. The difference lies in the fact that in Nietzsche’s view, the theurgic transformation is carried out by a person alone, through heroic effort. According to Solovyov, the main path of transformation of man and the world – the path of love – begins with a combination of two individuals and leads to conciliarity. In contrast, N. Berdyaev’s conception of theurgic creativity is distinguished by its radical transcendence, opposition to nature.
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Klitenic, Sarah. "THEURGY." Classical Review 50, no. 2 (October 2000): 480–82. http://dx.doi.org/10.1093/cr/50.2.480.

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Kolomiets, Galina G., and Pavel V. Lyashenko. "From Russian Theurgical Aesthetics to the Utopian Theurgy of Beauty and Art in the Russian Diaspora Philosophy." RUDN Journal of Philosophy 26, no. 1 (March 29, 2022): 120–36. http://dx.doi.org/10.22363/2313-2302-2022-26-1-120-136.

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The paper is devoted to the analysis of theurgic aesthetics in relation to the concept of utopia that initiates a different understanding of the philosophy of the Russian diaspora representatives through the prism of utopian theurgy of beauty and art. Introducing the idea of utopian theurgy of beauty and art the authors emphasize its meaningful, axiological component. The authors interpret the utopian theurgy of beauty and art in the Russian diaspora philosophy of the first third of the 20th century as an aesthetically mystical experience of the imperfection of human earthly existence that causes a gap with socio-historical reality with direct co-existence of the creative individual with God who is considered to be the true Beauty, the cosmic Harmony, and the universal Love. The meaning of the utopian theurgy of beauty and art is in achieving the goal of possible union with the deity, as well as in affirming persons actions as a co-creator of the world process. The utopian theurgy of beauty and art of an optimistic nature, associated with the light of hope directed to the transformation of earthly existence is reflected in N.S. Arsenyev's idea of spiritual joy achievable in the mystical experience of "longing for Beauty in God"; in B.P. Vysheslavtsev's reflections about the artistic and creative embodiment of eros as thirst, the birth of the God-Man in beauty, as well as in I.A. Ilyin's philosophy, in which, despite disappointments in social changes, the faith in art as the Mystery, as "a service and a joy" always following sacred traditions is preserved. The aesthetic and pessimistic foundations of utopian theurgy are realized in the aesthetic views of V.V. Weidle, according to which art has lost its orientation to high objective spirituality; in S.L. Frank's idea of unrealized Beauty as a dream of the ultimate transformation of the world that is opposed by the bitter reality of the split of being; as well as in the philosophy of N.A. Berdyaev, who postulates the tragedy of earthly existence caused by the unattainability of the full realization of the cosmic Beauty that considers as the goal of the world process. N.O. Lossky's metaphysics, intuitionism and value system are of particular importance, as the utopian theurgy of beauty and art consists in the following: there always remains a share of the absolute truth in art that is the world of illusions and artists imagination; the absolute value of beauty universally valid for all substantial personalities is affirmed.
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Ahmetagić, Jasmina. "Culture: Theurgy." Kultura, no. 160 (2018): 193–203. http://dx.doi.org/10.5937/kultura1860193a.

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Steinhart, Eric. "Theurgy and Transhumanism." Revista Archai, no. 29 (March 31, 2020): e02905. http://dx.doi.org/10.14195/1984-249x_29_5.

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Theurgy was a system of magical practices in the late Roman Empire. It was applied Neoplatonism. The theurgists aimed to enable human bodies to assume divine attributes, that is, to become deities. I aim to show that much of the structure of theurgical Neoplatonism appears in transhumanism. Theurgists and transhumanists share a core Platonic-Pythagorean metaphysics. They share goals and methods. The theurgists practiced astrology, the reading of entrails, the consultation of oracles, channeling deities, magic, and the animation of statues. The transhumanist counterparts of those practices are genetics, self-tracking with biosensors, artificial intellects like Google and Siri, brain-computer interfaces, programming, and robotics. Transhumanist techno-theurgy shows how Neoplatonism can be a modern philosophical way of life.
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Shaw, Gregory. "Ancient Magic, Theurgy, and Philosophy." Gnosis 7, no. 1 (March 10, 2022): 92–101. http://dx.doi.org/10.1163/2451859x-00701006.

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Abstract This commentary reflects on Radcliffe Edmonds’ remarkable Ancient Magic, Theurgy, and Philosophy, focusing specifically on his study of the interface between theurgy and magic in late antiquity. Edmonds explores the striking similarities of theurgy and magic. After demonstrating a keen understanding of how theurgy worked for Iamblichus and the later Platonists, he compares its metaphysics and theory to the magical papyri. Although magicians were far less “theoretically inclined” than Platonic theurgists, Edmonds argues that they implement theurgical principles in their practices. He finds remarkable parallels and makes a strong case, but I argue that in one significant respect the magician and theurgist were profoundly different, a difference defined by the fact that Platonists like Iamblichus had passed through the withering catharsis of Platonic mystagogy, something that was not required or evident among magicians.
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Blumenthal, H. J. "Theurgy and the Soul." Ancient Philosophy 17, no. 2 (1997): 520–25. http://dx.doi.org/10.5840/ancientphil199717260.

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Zlochevskaya, Alla. "From Decadence to Theurgy." Stephanos. Peer reviewed multilanguage scientific journal 33, no. 1 (January 31, 2019): 201–14. http://dx.doi.org/10.24249/2309-9917-2019-33-1-210-214.

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Dillon, John. "Iamblichus' Defence of Theurgy: Some Reflections." International Journal of the Platonic Tradition 1, no. 1 (2007): 30–41. http://dx.doi.org/10.1163/187254707x194645.

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AbstractAn issue which plainly exercised the thoughts of many intellectuals in the late antique world was that of man's relation to the gods, and specifically the problems of the mode of interaction between the human and divine planes of existence. Once one accepted, as anyone with any philosophical training did, that God, or the gods, were not subject to passions, and that, as not only Stoics but also Platonists, at least after the time of Plotinus, believed, the world-order was (either entirely or very largely) determined as a product of God's providence, it became a serious problem as to how precisely one could influence the gods, or the course of events, by one's prayers or sacrifices. And yet efforts to do this, on both the popular and the official level, continued unabated. What was the proper attitude for a Platonist philosopher to take up? This is very much the subject of the well-known controversy between Plotinus' pupil Porphyry and his own pupil Iamblichus which manifests itself in the exchange of public letters known as The Letter to Anebo and The Reply of the Master Abammon to the Letter of Porphyry to Anebo (popularly known, since Marsilio Ficino conferred this title upon it, as De Mysteriis Aegyptiorum). The present article involves a close and sympathetic study of Iamblichus' position in defence of theurgy, reflecting on the validity of the distinction between religion and magic.
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Dissertations / Theses on the topic "Theurgy"

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Mayers, J. A. Sam Webster. "The history of Theurgy from Iamblichus to the Golden Dawn." Thesis, University of Bristol, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683697.

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Can evidence be found to demonstrate a continuity in the development of Western ritual magic from ancient times to modern? This study attempts to answer that question in the positive by examining the practice of theurgy as expressed in three critical authors and time periods to determine if they are substantially the same or to account for the differences. Iamblichus, in De Mysteriis, c . AD 300, gave a defense of theurgy and a description of its practice. From this work, supplemented by his other surviving writings, is extracted a paradigm for theurgy by modeling the cosmology, psychology, primary practice and secondary activities, and ultimately the attainment of the theurgist. Agrippa's Three Books Occult Philosophy, c. 1530, is queried identically to determine if the same structures are present. They are , when allowances are made 'for his synthesis of Iamblichan theurgy with Catholic Christianity by way of the Kabbalah. Likewise, the extant materials of the Hermetic Order of the Golden Dawn are analyzed by the same means. lamblichus's paradigm , transformed by Agrippa's synthesis, is found in the Order's practices but shifted from material to more symbolic modes. Transmission lines are traced showing the path of knowledge transfer from Iamblichus through Agrippa to the Golden Dawn. Questions are raised about the utility of the category of magic , and a religious framing of theurgic practice is presented. Theurgy is ultimately presented as advanced and privatized spirituality.
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Filson, Lily Virginia <1984&gt. "Engineering gods : renaissance theurgy and the sixteenth-century automata of Francesco I de' Medici." Doctoral thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/12921.

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The writings of the sixteenth-century court philosopher and university lecturer Francesco de' Vieri, also known as Verino Secondo, have to date been recognized by intellectual historians primarily for their contributions to the history of Aristotelianism in the vernacular and by art historians as a primary source for the architectural and artistic features of the Medici Villa Pratolino, a site realized for Francesco I de' Medici which was largely demolished in the early nineteenth century. However, while De' Vieri's 1587 text which describes the features of Pratolino, Delle Maravigliose Opere di Pratolino, d'Amore, has been mined for the material and iconographic details it provides on no-longer extant works of art and architecture, its commentary on Pratolino's automata has not been adequately recognized, neither for its unique commentary early modern technology in a transitional period which blended occult philosophy with emerging mechanical proficiency, nor for this commentary's and the automata themselves' affirmation of the identity of their Medici patron as terrestrial sovereign and divine demiurge, or in the words of one Pratolino scholar, “the mirror of the passions and virtues of a narcissistic prince.” While the conceptual unity of art history with mechanics, or properly technology, did not emerge until the late eighteenth century, the commentary of Francesco de' Vieri provides rare and valuable insights into the reception and function of such technology in the courtly milieu of the late sixteenth century. I argue that the creation of moving statues at the court of Francesco I de' Medici was a process with occult associations with ancient Greek and Egyptian traditions of binding spirit to cult statues; in Francesco I and his court's success at manipulating natural forces to bring autonomous movement- Classical philosophy's criterion for life- to inanimate statues spoke to a total mastery of the elements parallel to his terrestrial sovereignty.
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Addey, Crystal. "Oracles of the Gods : the role of divination and theurgy in the philosophy of Porphyry and Iamblichus." Thesis, University of Bristol, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.509766.

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Moreira, Julio Cesar. "Filosofia e Teurgia De Mysteriis de Jâmblico: um estudo dos Livros I, II e III." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/11628.

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Made available in DSpace on 2016-04-27T17:27:04Z (GMT). No. of bitstreams: 1 Julio Cesar Moreira.pdf: 637637 bytes, checksum: f56dd557f3620c7b4ff6438de443dc32 (MD5) Previous issue date: 2013-05-22
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Theurgy, the action of the gods during the ritual acts, a practice incorporated, in late Antiquity, by the philosophical school of Iamblichus as a techné which conducts to, considered at that time, the ultimate experience of Philosophy become like the gods (homóiosis théo) , had influenced and determined the course of the entire Neoplatonism until the end of the ancient Academy. In the work De Mysteriis, which has long been considered irrational , Iamblichus, under the pseudonym of an Egyptian priest, structures the philosophical foundations of the theurgic art, covering topics such as: oracles, possessions, prophetic dreams, divine manifestations in general. The present dissertation aims at a reassessment and rereading of the work based on recent publications of the author s collected philosophical fragments, as well as academic studies derived from them. Through a careful disentangling of the threads of his narrative, an analysis of the first three Books of the work is made, erecting the philosophical foundations of divine manifestations and of the efficacy of the ritual. It exposes thus the argumentation regarding the theurgic art, demonstrating an innovative, complex and syncretic system, nicely elaborated in a high philosophical erudition of his time. It concludes the revised reading of the first three Books and their philosophical foundations of Theurgy, in order to justify the redemption of the depreciated status of the work, pointing also to a new appraisal and repositioning of Iamblichus as a key-element author, in the history of philosophy, to the whole tradition of philosophical foundations of mystical revelations in various later philosophical currents of neoplatonic heritage, until the end of the Renaissance
Teurgia, a ação dos deuses durante os atos ritualísticos, uma prática incorporada, na Antiguidade tardia, pela escola filosófica de Jâmblico como uma techné que conduz à, então considerada, experiência última da Filosofia tornar-se como os deuses (homóiosis théo) , influenciou e determinou o rumo de todo o Neoplatonismo subsequente, até o fim da Academia antiga. Na obra De Mysteriis, que há muito vem sendo considerada irracional , Jâmblico, sob o pseudônimo de um sacerdote egípcio, estrutura os fundamentos filosóficos da arte teúrgica, abordando temas como: oráculos, possessões, sonhos proféticos, manifestações divinas em geral. A presente dissertação visa a uma revisão e releitura da obra embasada nas recentes publicações dos recolhidos fragmentos filosóficos do autor, bem como decorrentes estudos acadêmicos. Por meio de um cuidadoso desembaraçar dos fios de sua narrativa analisam-se os três primeiros Livros da obra, erigindo os fundamentos filosóficos das manifestações divinas e da eficácia do ritual. Expõe-se, assim, a argumentação referente a arte teúrgica, evidenciando um inovador, complexo e sincrético sistema, muito bem elaborado em uma alta erudição filosófica de sua época. Conclui-se a revisada leitura dos três primeiros Livros e seus fundamentos filosóficos da Teurgia, de forma a justificar a redenção do status depreciado da obra, apontando, ainda, uma nova avaliação e reposicionamento de Jâmblico como autor, na história da filosofia, elemento-chave de toda uma tradição de fundamentos filosóficos sobre revelações místicas, em diversas correntes filosóficas posteriores de herança neoplatônica, até o fim da Renascença
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Zito, Nicola. "Recherches sur le poème " Perì Katarchôn " de Maxime." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100049.

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Édition critique, traduction française et commentaire philologico-littéraire de trois sections du poème " Perì Katarcôn " de Maxime : perì nosôn (les maladies), perì tomès (les opérations chirurgicales), et perì drapetôn (les esclaves fugitifs). Dans l'introduction je m'occupe de l'attribution du " Perì Katarcôn " à Maxime d'Éphèse, aussi bien que de la langue, du style, et de la métrique du poème
Critical edition, french translation and commentary of three sections from the poem " Perì Katarchôn " of Maximus : perì nosôn (on the diseases), perì tomès (surgery), and perì drapetôn (runaway slaves). In the introduction I consider the problem of the attribution of the " Perì Katarcôn " to Maximus of Ephesus, and analyse the language, the style and the metric of the poem
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De, Piano Piera. "Il nome, la poesia e la misura del divino : Proclo interprete della critica di Platone ad Omero." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3044.

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L'analyse de l'interprétation proclienne de la critique de Platon envers Homère, qui se situe à l'intérieur de la «récupération» de la tradition archaïque par le néoplatonisme, est conduite sur deux niveaux herméneutiques, l'un linguistique, l'autre esthétique. La lecture du texte proclien, notamment du Commentaire du Cratyle et des Dissertations Ve et VIe du Commentaire de la République, montre parallèlement comment l'activité assimilatrice, par laquelle un homme donne des noms aux choses et un poète construit des images des dieux, rend le langage et la poésie des activités entièrement intégrées dans le système des relations analogiques qui sont à la base de la structure hiérarchique de la métaphysique proclienne. Grâce à leur nature mimétique le nom et le symbole mythique sont des éléments d'union et d'appartenance de l'humain au divin et pourtant ils peuvent être nommés «mesure du divin». La distribution du réel dans les différents niveaux de l'être permet à l'exégète néo-platonicien de décrire la production poétique comme analogue à celle démiurgique et les voiles symboliques, visiblement obscènes, comme analogues à la procession des ordres divins du Premier Dieu. C'est à partir de cette perspective que, en parfaite harmonie avec la configuration triadique et sérielle du Tout, on peut lire le schéma tripartite défini par Proclus à la fin de la sixième Dissertation comme une distinction entre trois niveaux d'activité poétique et non, comme la plus récente littérature critique a interprété, en trois types de poésie
The study of Proclean interpretation of Plato's critique to Homer, which is set in the neo-Platonic revival of archaic tradition, is conducted according to two interpretation's levels defined very well, the first one linguistic and the second one other aesthetic. The reading of the Proclean text, in particular the Commentary on the Cratylus and the V and VI Dissertations of the Commentary on the Republic, shows side by side how the assimilative activity, by which a man names things and a poet constructs images of the gods, makes language and poetry activities fully incorporated with the system of analogic relations on which is based the hierarchical structure of Proclean metaphysics. Through their mimetic nature, the name and the mythical symbol are elements of union and tie of the men to the divine and so they can be said «proportion of the divine». The distribution of the real on different levels of the being allows the neo-Platonic exegete to describe the poetic production as an analogous to the demiurgical one and therefore the symbolic veils, visibly obscene, as an analogous to the procession of the divine orders from the First God. It is from this perspective that, in a perfect agreement with the triadic and serial configuration of the Whole, we can read the tripartite schema defined by Proclus at the end of the Sixth Dissertation as a distinction among three levels of poetic activity and not, such as required by the most recent critical literature, in three types of poetry
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Theurer, Fabian [Verfasser]. "Geldbußen im EU-Wettbewerbsrecht / Fabian Theurer." Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2013. http://d-nb.info/1042583811/34.

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Nasemann, Beate. "Theurgie und Philosophie in Jamblichs "De mysteriis" /." Stuttgart : B. G. Teubner, 1991. http://catalogue.bnf.fr/ark:/12148/cb36682695j.

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Theurer, Thomas [Verfasser]. "Resource theories of states and operations / Thomas Theurer." Ulm : Universität Ulm, 2021. http://d-nb.info/1238147674/34.

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Knežević, Romilo. "Homo theurgos : freedom according to John Zizioulas and Nikolai Berdyaev." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:089576a0-a649-43ba-9055-86474e4f0964.

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For both John Zizioulas (1931), prominent Greek theologian, and Nikolai Berdyaev (1874-1948), renowned Russian religious philosopher, freedom is the question of ontology, i.e., freedom is about absolute otherness. Since to be is to act, and because to act means to create, we are only as long as we are capable of creating a radically unique reality. Being unique, our creation appears to every other person, including God, as a new reality. However, theistic theology claims that God added nothing to Himself by the creation of the world. Since according to this scenario human person cannot add anything to Being, we cannot speak about her ontological freedom. The doctrine of the divine image seems to be incompatible with the theistic concept of the divine omnipotence. Inquiry into the human freedom is therefore inevitably intertwined with the question of how God is God. Zizioulas's concept of the divine omnipotence does not envisage a space of freedom that God provides for human person from which she could create surplus in being. The French philosopher Etienne Gilson is therefore right when he writes that 'homo faber can never become homo creator because, having only a received being he cannot produce what he himself is not.' Berdyaev on the other hand locates the origin of our being in the Bottomless freedom or the Ungrund. The Bottomless freedom is Godhead from which both freedom of the divine Persons and that of the human person originate. Berdyaev explains that person can never create another person (something that is possible only for God). However, because person in spite of being created is not causally determined by the Creator, she can create her radically unique reality and thus realize her ontological freedom. Clearly, homo faber can never become homo creator (creator of other personalities), but this does not preclude person's power to create surplus in being and to be homo theurgos.
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Books on the topic "Theurgy"

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Tanaseanu-Döbler, Ilinca. Theurgy in Late Antiquity. Göttingen: Vandenhoeck & Ruprecht, 2013. http://dx.doi.org/10.13109/9783666540202.

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Die Stellung der Theurgie in der Lehre Jamblichs. Frankfurt am Main: P. Lang, 1995.

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Mariev, Sergei, and Wiebke-Marie Stock, eds. Aesthetics and Theurgy in Byzantium. Berlin, Boston: DE GRUYTER, 2013. http://dx.doi.org/10.1515/9781614512615.

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Philosophy and theurgy in late antiquity. San Rafael, CA: Sophi Perennis, 2008.

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Garstin, E. J. Langford. Theurgy, or the Hermetic practice: A treatise on spiritual alchemy. Berwick, Me: Ibis Press, 2004.

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(Pietro), Mander P., and Nuzzolo Massimiliano, eds. La teurgia nel mondo antico: Mesopotamia, Egitto, oracoli caldaici, misteri egiziani. Genova: Edizioni culturali internazionali Genova, 2011.

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Shaw, Gregory. Theurgy and the soul: The Neoplatonism of Iamblichus. University Park, Pa: Pennsylvania State University Press, 1995.

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Shaw, Gregory. Theurgy and the soul: The neoplatonism of Iamblichus. University Park, Pa: Pennsylvania State University Press, 1995.

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Fanger, Claire. Invoking angels: Theurgic ideas and practices, thirteenth to sixteenth centuries. University Park, Pa: Pennsylvania State University Press, 2012.

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Julien, Véronèse, ed. L'Ars notoria au Moyen Âge: Introduction et édition critique. Firenze: SISMEL edizioni del Galluzzo, 2007.

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Book chapters on the topic "Theurgy"

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M. Heineman, Kristin. "Theurgy and soteriology." In The Decadence of Delphi, 173–203. First edition. | Abingdon, Oxon, New York, NY : Routledge, [2017]: Routledge, 2017. http://dx.doi.org/10.4324/9781315615356-8.

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Greene, Liz. "Active imagination and theurgy." In Jung’s Studies in Astrology, 73–88. New York : Routledge, 2018.: Routledge, 2019. http://dx.doi.org/10.4324/9781315267371-4.

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Tanaseanu-Döbler, Ilinca. "Foreword and Acknowledgements." In Theurgy in Late Antiquity, 7–8. Göttingen: Vandenhoeck & Ruprecht, 2013. http://dx.doi.org/10.13109/9783666540202.7.

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Pavlos, Panagiotis G. "Theurgy in Dionysius the Areopagite 1." In Platonism and Christian Thought in Late Antiquity, 151–80. First [edition]. | New York : Routledge, 2019. | Series: Studies in philosophy and theology in late antiquity: Routledge, 2019. http://dx.doi.org/10.4324/9780429440465-10.

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Corrias, Anna. "Dii medioxumi and the Place of Theurgy in the Philosophy of Henry More." In International Archives of the History of Ideas Archives internationales d'histoire des idées, 13–30. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22200-0_2.

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Henry, Barbara. "The Creation of a Golem. Theurgy versus Magic in Some Ancient and Medieval Sources." In JAOC Judaïsme antique et origines du christianisme, 251–66. Turnhout, Belgium: Brepols Publishers, 2024. http://dx.doi.org/10.1484/m.jaoc-eb.5.130736.

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Tanaseanu-Döbler, Ilinca. "Synesios und die Theurgie." In Studies in Byzantine History and Civilization, 201–30. Turnhout: Brepols Publishers, 2012. http://dx.doi.org/10.1484/m.sbhc_eb.1.101167.

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Weismüller, Christoph. "»Zu neuen Thaten, theurer Helde«." In Ich hieß Sabina Spielrein, 111–34. Göttingen: Vandenhoeck & Ruprecht, 2006. http://dx.doi.org/10.13109/9783666462160.111.

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van den Berg, Robbert M. "Proclus’ Prayers for Health: Practising Civic and Theurgic Virtue." In Bibliothèque de l'Ecole des Hautes Etudes, Sciences Religieuses, 193–207. Turnhout, Belgium: Brepols Publishers, 2020. http://dx.doi.org/10.1484/m.behe-eb.5.120033.

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"Theurgy:." In Russian Opera and the Symbolist Movement, Second Edition, 143–91. University of California Press, 2019. http://dx.doi.org/10.2307/j.ctvpb3vb6.10.

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Conference papers on the topic "Theurgy"

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Dufraisse, Marc, Lien Wioland, Jean-Jacques Atain-Kouadio, and Julien Cegarra. "Occupational Exoskeletons as Symbionts: Defining Operator-Exoskeleton Interactions." In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1005058.

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Abstract:
The fourth industrial revolution heralds the emergence of the Operator 4.0, characterized by the augmentation of physical, sensory or cognitive capabilities of workers. This transformation involves a shift from collaborative activities between artificial and human agents toward a more radical coupling of these two entities (Romero et al., 2017). The novel forms of interactions resulting from these couplings no longer precisely align with taxonomies traditionally proposed in ergonomics for relationship between operators and artificial agents. In response, the concept of symbiosis has been introduced to characterize these new human cyber-physical systems (Gerber et al., 2020; Inga et al., 2023). Among the technologies presumed to enhance operators' physical capabilities, occupational exoskeletons are frequently cited. They contribute to the development of the "super strength-operator" aspect of Operator 4.0 (Ruppert et al., 2018). Defined as "wearables, external mechanical structures that enhance the power of a person" (de Looze et al., 2016, p.671), exoskeletons constitute a promising set of technologies in mitigating biomechanical risk factors associated with musculoskeletal disorders (MSDs) (Theurel & Desbrosses, 2019). Currently, attempts to implement exoskeletons in the workplace are accelerating, raising questions about their acceptance by operators (Elprama et al., 2022). Interactions with these devices, as they induce close and permanent contact with the user, are interesting to address from the perspective of symbiotic relationships. However, the qualification of interactions with such devices is not often addressed in the literature. In the multivariate perspective of the symbiosis concept by Inga et al. (2023), the human’s experience of symbiosis consists of four constructs: embodiment, flow state, sense of agency, and acceptance. Then, acceptance represents only one facet of the experience dimension of symbiotic relationships. To comprehensively grasp the challenges associated with the use of exoskeletons and the potential symbiotic relationship between operators and exoskeletons, it is essential to broaden the comprehension of operator-exoskeleton interactions beyond acceptance. An initial step towards achieving this understanding involves clarifying the terminology used to describe interactions between humans and exoskeletons. By positioning exoskeletons as potential symbionts and drawing insights from the ergonomics literature on symbiosis, this article aims to clarify the nature of operator-exoskeleton interactions.
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