Zugl.: Milano, Univ. degli Studi, Diss. 1993/1994 / Bibliogr. S. 307 - 310

Thesis (Ph. D.)--Ohio State University, 2003. / Title from first page of PDF file. Document formatted into pages; contains xi, 355 p.; also includes graphics (some col.). Includes bibliographical references (p. 341-355). Available online via OhioLINK's ETD Center.

No description available.

Thesis (M. Phil.)--University of Sydney, 2007. / Title from title screen (viewed 26 March 2008). Submitted in fulfilment of the requirements for the degree of Master of Philosophy to the Dept. of Art History and Theory, Faculty of Arts. Includes bibliographical references. Also available in print form.

Den här uppsatsen behandlar den brittiske tänkaren Aleister Crowley, hans tolkning avyoga, och hans tankars påverkan på moderna efterföljare av hans religion i Sverige.Uppsatsen behandlar frågorna om hur Crowleys syn på yoga utvecklats och hur denkan ses i svenska efterföljares tankar idag. Uppsatsen använder sig av litteraturstudierav Crowleys verk, samt intervjuer med medlemmar i ordern Ordo Templi OrientisSverige. Uppsatsen utmynnar i att Crowleys tankar om yoga kan ses i sin historiskakontext påverkad av bland annat orientalism och religionism, och att Crowleys tankarfortsätter påverka moderna utövare av yoga inom O.T.O.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-10-30T15:09:29Z No. of bitstreams: 1 humbertomirandadecampos.pdf: 1856621 bytes, checksum: d796364f891dfc048a5a4d8183de950f (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-11-23T11:28:22Z (GMT) No. of bitstreams: 1 humbertomirandadecampos.pdf: 1856621 bytes, checksum: d796364f891dfc048a5a4d8183de950f (MD5) / Made available in DSpace on 2018-11-23T11:28:22Z (GMT). No. of bitstreams: 1 humbertomirandadecampos.pdf: 1856621 bytes, checksum: d796364f891dfc048a5a4d8183de950f (MD5) Previous issue date: 2018-08-21 / CNPq - Conselho Nacional de Desenvolvimento Científico e Tecnológico / O objetivo deste trabalho é analisar Thelema de Aleister Crowley, tendo como ponto de partida o livro Magick Without Tears. Parte-se da hipótese de que, pelo fato de Aleister Crowley ter experiência com filosofias esotéricas ocidentais, e por ter recebido uma educação cristã, sua concepção e estruturação dos dogmas e doutrinas apresentem considerável viés judaico-cristão que podem não ter sido descartados e sim reconstruídos e relidos. Desta maneira, a investigação se focará em realizar uma pesquisa genealógica das leituras e dos símbolos trabalhados por Aleister Crowley. Como referencial teórico, adota-se Wouter J. Hanegraaff e sua metodologia denominada História das Ideias. Através deste paradigma, pretende-se identificar e analisar pontos de diálogo entre elementos do corpus de Thelema e as variadas influências esotéricas com as quais o autor trabalhou, e que são encontrados no livro escolhido. Além disso, tenta-se explicar como a mesma se desdobra num corpo de práticas denominadas Magick, resultando naquilo que Crowley definiu como Iluminismo Científico. Culminando assim, na resposta à pergunta: Thelema é uma Religião? / The aim of this research is to analyze Thelema of Aleister Crowley. Taking as a starting point the book Magick Without Tears. It is hypothesized that, based in Aleister Crowley’s experience with Western Esoteric philosophies, and in function of his christian education, his conception and structuring of dogmas and doctrines present considerable Judeo-Christian bias that may not have been discarded but reconstructed and reread. In this way, the research will focus on performing a genealogical investigation on the readings and symbols worked on by Aleister Crowley. As a theoretical reference, Wouter J. Hanegraaff and his methodology called History of ideas are adopted. Through this paradigm, we intend to identify and analyze points of dialogue between elements of the corpus of Thelema and the various esoteric influences with which the author worked, and which are found in the chosen book. In addition, it attempts to explain how it unfolds in a body of practices called Magick, resulting in what Crowley defined as Scientific Enlightenment. Culminating thus, in the answer to the question: Is Thelema a Religion?.

John Crowley’s Little, Big is an innovative piece of fantasy writing. This thesis aims to prove that Crowley’s innovation lays the groundwork for new avenues in which fantastic space can be manipulated and constructed. Deep study in Euclidean geometry, modern physics, and occult astronomy reveal a new fantastic space, and a new concept for the threshold of Faerie. Crowley’s fantastic space is constructed as infundibular; with layers of concentricities that funnels his characters to their final destination of self-actualization and the heaven-like realm of Faerie. Crowley amalgamates the boundaries of Faerie and the primary world in an unusual fashion that is noted as Coalesced Fantasy: a fantasy wherein there is ultimately no dichotomy between Faerie and the primary world, as there is no division between the fantastic and science. This deliberate aim to blend boundaries is to establish an All in One theory. Faerie and the primary world oppose each other as antithetical conical space, and Crowley’s Edgewood house serves as the threshold to allow man to access the divinity and vastness of Faerie. Faerie (Divinity/macrocosm) and man (microcosm) exist in and amongst one another; everything is connected and every path intersects, spinning on a hyperbolic plane in this new, quantifiable space. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection

Master of Philosophy / Grace Crowley was one of the leading innovators of geometric abstraction in Australia. When she returned to Australia in 1930 she had thoroughly mastered the complex mathematics and geometry of the golden section and dynamic symmetry that had become one of the frameworks for modernism. Crowley, Anne Dangar and Dorrit Black all studied under the foremost teacher of modernism in Paris, André Lhote. Crowley not only taught the golden section and dynamic symmetry to Rah Fizelle, Ralph Balson and students of the Crowley-Fizelle Art School, but used it to develop her own abstract art during the 1940s and 1950s, well in advance of the arrival of colour-field painting to Australia in the 1960s. Through her teaching at the most progressive modern art school in Sydney in the 1930s Crowley taught the basic compositional techniques as she had learnt them from Lhote. When the art school closed in 1937 she worked in partnership with fellow artist, Ralph Balson as they developed their art into constructive, abstract paintings. Balson has been credited with being the most influential painter in the development of geometric abstraction in Australia for a younger generation of artists. This is largely due to Crowley’s insistence that Balson was the major innovator who led her into abstraction. She consistently refused to take credit for her own role in their artistic partnership. My research indicates that there were a number of factors that strongly influenced Crowley to support Balson and deny her own role. Her archives contain sensitive records of the breakup of her partnership with Rah Fizelle and the closure of the Crowley-Fizelle Art School. These, and other archival material, indicate that Fizelle’s inability to master and teach the golden section and dynamic symmetry, and Crowley’s greater popularity as a teacher, was the real cause of the closure of the School. Crowley left notes in her Archives that she still felt deeply distressed, even forty years after the events, and did not wish the circumstances of the closure known in her lifetime. With the closure of the Art School and her close friend Dangar living in France, her friendship with Balson offered a way forward. This thesis argues that Crowley chose to conceal her considerable mathematical and geometric ability, rather than risk losing another friend and artistic partner in a similar way to the breakup of the partnership with Fizelle. With the death of her father in this period, she needed to spend much time caring for her mother and that left her little time for painting. She later also said she felt that a man had a better chance of gaining acceptance as an artist, but it is equally true that, without Dangar, she had no-one to give her support or encourage her as an artist. By supporting Balson she was able to provide him with a place to work in her studio and had a friend with whom she could share her own passion for art, as she had done with Dangar. During her long friendship with Balson, she painted with him and gave him opportunities to develop his talents, which he could not have accessed without her. She taught him, by discreet practical demonstration the principles she had learnt from Lhote about composition. He had only attended the sketch club associated with the Crowley- Fizelle Art School. Together they discussed and planned their paintings from the late 1930s and worked together on abstract paintings until the mid-1950s when, in his retirement from house-painting, she provided him with a quiet, secluded place in which to paint and experiment with new techniques. With her own artistic contacts in France, she gained him international recognition as an abstract painter and his own solo exhibition in a leading Paris art gallery. After his death in 1964, she continued to promote his art to curators and researchers, recording his life and art for posterity. The artist with whom she studied modernism in Paris, Anne Dangar, also received her lifelong support and promotion. In the last decade of her life Crowley provided detailed information to curators and art historians on the lives of both her friends, Dangar and Balson, meticulously keeping accurate records of theirs and her own life devoted to art. In her latter years she arranged to deposit these records in public institutions, thus becoming a contributor to Australian art history. As a result of this foresight, the stories of both her friends, Balson and Dangar, have since become a record of Australian art history. (PLEASE NOTE: Some illustrations in this thesis have been removed due to copyright restrictions, but may be consulted in the print version held in the Fisher Library, University of Sydney. APPENDIX 1 gratefully supplied from the Grace Crowley Archives, Art Gallery of New South Wales Research Library)

<p>My essay is a description about the religion Wicca; laws, ethics, history, rites, inauguration and how they relate to the gods and the different seasons.It’s also about the wiccan history and how wicca have created their own history by taking old mythic stories and making them their legacy.</p>

My essay is a description about the religion Wicca; laws, ethics, history, rites, inauguration and how they relate to the gods and the different seasons.It’s also about the wiccan history and how wicca have created their own history by taking old mythic stories and making them their legacy.