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This essay’s purpose is to explore the view on knowledge and transmission of knowledge in the Swedish, spiritualist movement during the turn of the century. The method is a critical discourse analysis of the texts of the spiritualist publication of Efteråt? between the years of 1899 and 1911. The theories applied to the subject are two; first the theories of Wouter J. Hanegraaff and his ideas about ”rejected knowledge” where some concepts during the course of history has been deemed true, and other concepts have been rejected. This process has often been the case in a ”battle of discourses” as is the case with the spiritualist discourse against the discourse of mainstream science. The second theory applied are the dynamics of power as presented by Michel Foucault and interpreted by Clare O’Farrell. This theory is also at the core of critical discourse analysis.  The analysis of the material makes it evident that the spiritualist movement walks a line between religion and science where they claim to transcend them both. The internal discourse both criticize mainstream science; not the methods per say, but the ideal of materialism and the lack of spirituality they perceive in the contemporary body of the church. The view on knowledge is heavily anchored in a concept of spirituality, being heralds of true science, and recognizing the inner, true potential of the human creature. The view on transmission of knowledge is centered around ideas of development of spirituality, the notion that the spirit-world can teach us everything and critique against the contemporary school system.

Det här är en bok om häxkraft Hur du använder eld jord luft vatten för att få det du vill ha Hur du använder stjärnorna tarot händer för se bortom nu Hur du använder blod växter hår för att få kärlek att växa (Det är en bok om häxor månen gudinnor Men framförallt är det en bok om oss)

Chaos-Gnosticism is a branch of the occult tree which through an eclectic approach tries togather all the dark, antagonistic aspects and forces from certain religions and mythologies ofthe world in order to reach back to the primeval Chaos, the stage that existed before theCreation. With a fundamental gnostic worldview the cosmos is seen as a prison, created byDemiurges, and in Chaos a total freedom rules.The philosophy (or Chaosophy to use a term used by the Chaosgnostics) has spread all over theworld during the past ten years or so. It is vital, in connection to this fact, to give the importanceto the music scene, especially the genre called black metal, for the spreading of theChaosgnostic ideas. Some of the leading bands in this genre, for instance Dissection, Watainand Arckanum, have adopted the Chaosgnostic tenets into their music and thus making theseideas more known all around the world than they otherwise would have been. That being said,it is not clear how many actual practioners of Chaos-Gnostcism there are since it is mainly anindividual religion and the handfull of orders that exist display no sorts of missionary ambitionsand are, additionaly, quite closed for outsiders.Although the first ideas of Chaos-Gnosticism emerged in Sweden in the middle of the 1990´s,an in-depth academic survey has not yet been made on the movement itself. This essay aims tochange that by putting Chaos-Gnosticism in its correct historical and occult context and also byshedding some light on the fundamental tenets and beliefsystem aswell as the importance ofnumerology and central symbols. The essay also presents the three different Chaosgnosticbranches that has emerged to date: Temple of the Black Light, with its Qabbalistic approach,Templum Falcis Cruentis, inspired by folktraditions of Central America and the biblical figureof Cain and finally Thursatrú in which the Chaosgnostic worldview is adopted on Old Norsemythology.

The aim of this study is to situate the locus of the Swedish branch of freemasonry, Svenska Frimurare Orden, in the contemporary religious landscape. The research questions are as follows: On what grounds can the Swedish branch of freemasonry be considered religious? If the Swedish branch of freemasonry is considered religious, how does it fit into the contemporary society among the plethora of new religious movements? In regard to the first question, a definition of religion is required, thus Bruce Lincoln’s theory with four domains of religion is used to decide to what extent the Swedish branch of freemasonry can be described as a religion or a religious movement. To be able to answer the second research question the four sociological narratives as presented by Meredith B. McGuire are used to analyze the results of our study.   The results are reached through examination of the common laws of the Swedish branch of freemasonry and the data found on their official website, combined with hermeneutic interpretation. Our conclusion is that the Swedish branch of freemasonry through its explicit connection to Christianity, in addition to its esoteric and occult practices both fits into a historical continuity regarding religion in Sweden, as well as with contemporary societal currents regarding new religious movements.

<p>Jag har valt att skriva om förhållandet mellan Jung och den esoteriska tradition som benämns Fjärde vägen. Anledningen till detta val är att jag i båda dessa traditioner, den jungianska och Fjärde vägen, ser ett intressant kritiskt ifrågasättande av vår moderna tids uppfattningar om människan och det mänskliga psyket. Jung framhåller individuationsprocessen som en möjlighet att växa till en fullödig människa.</p><p>Inom den Fjärde vägen betonas vikten av att ta sin situation på allvar och att genom medvetet arbete och självobservans skapa sig en riktig själ.</p><p>Båda dessa skolor träder fram i en tid av stora och omskakande förändringar under början av 1900-talet. Båda skolorna ifrågasätter den själlösa massmänniska som den nya tiden har genererat och försöker utarbeta verktyg för att råda bot på tidens tillkortakommanden.</p><p>Min avsikt är att undersöka deras syn på människan och människans själsliga framåtskridande. Jag tror att detta kan vara ett fruktbart och meningsfullt studium där nya vinklar kan leda framåt.</p><p>Mina frågeställningar är:</p><p>Vilken syn på människan har de två riktningarna och vilka konsekvenser får detta?</p><p>Vilka likheter och skillnader finns det mellan Jungs syn på människans själsliga utveckling och den som Fjärde vägen skolan står för?</p><p> </p>

Jag har valt att skriva om förhållandet mellan Jung och den esoteriska tradition som benämns Fjärde vägen. Anledningen till detta val är att jag i båda dessa traditioner, den jungianska och Fjärde vägen, ser ett intressant kritiskt ifrågasättande av vår moderna tids uppfattningar om människan och det mänskliga psyket. Jung framhåller individuationsprocessen som en möjlighet att växa till en fullödig människa. Inom den Fjärde vägen betonas vikten av att ta sin situation på allvar och att genom medvetet arbete och självobservans skapa sig en riktig själ. Båda dessa skolor träder fram i en tid av stora och omskakande förändringar under början av 1900-talet. Båda skolorna ifrågasätter den själlösa massmänniska som den nya tiden har genererat och försöker utarbeta verktyg för att råda bot på tidens tillkortakommanden. Min avsikt är att undersöka deras syn på människan och människans själsliga framåtskridande. Jag tror att detta kan vara ett fruktbart och meningsfullt studium där nya vinklar kan leda framåt. Mina frågeställningar är: Vilken syn på människan har de två riktningarna och vilka konsekvenser får detta? Vilka likheter och skillnader finns det mellan Jungs syn på människans själsliga utveckling och den som Fjärde vägen skolan står för?

Al-Būnī est une figure centrale dans l'étude de la magie en Islam au Moyen Âge. En effet, son principal traité, le Šams al-maʿārif al-kubrā (Le « grand » soleil des connaissances), est le plus grand manuel de magie se basant sur le Coran, les beaux noms de Dieu, les invocations aux anges, etc. Malheureusement, à ce jour, cette oeuvre nous est connue à travers des éditions se basant sur des manuscrits très tardifs, fort éloignés du contenu des manuscrits des oeuvres ayant pu être écrites par al-Būnī : en témoignent les nombreux anachronismes. Aussi, ce travail de recherche propose de faire l'analyse et d'établir une édition critique d'une partie du « corpus bunianum » : le Šams al-maʿārif wa-laṭāʾif al-ʿawārif (Le soleil des connaissances et les grâces exquises) dans sa version courte (la supposée plus ancienne), al-Lumʿa l-nūrāniyya (La lueur luminescente) et d'autres traités qui ont contribué à former le Šams al-maʿārif. L'édition de ces textes correspondant au « noyau historique » de cet immense corpus met en évidence les éléments les plus anciens des oeuvres attribuées à al-Būnī et les influences ayant contribué à la formation d'une magie islamique, se référant non plus essentiellement à des autorités grecques, indiennes, mésopotamiennes, etc., mais aussi au Coran, à la tradition prophétique et aux traditions magiques, mystiques et kabbalistiques juives, chrétiennes et musulmanes. Intimement liée aux sphères du pouvoir, cette littérature magique participe également à leur mise en scène et reflète leur évolution. / Indeed, his main treatise, the Šams al-maʿārif al-kubrā (The "Great" Sun of Knowledge), is the most important magic manual based on the Qurʾān, the beautiful names of God, invocations to the angels, etc. Unfortunately, until now, this work has been known to us through editions based on very late manuscripts, very different from the contents of manuscripts of works written by al-Būnī as the many anachronisms point out. In this research, we propose an analysis and a critical edition of part of the "corpus bunianum": Šams al-maʿārif wa-laṭāʾif al-ʿawārif (The Sun of Knowledge and the ExquisiteGraces) in its short version (the supposedly more ancient one), al-Lumʿa l-nūrāniyya (The Luminescent Glow) and other treaties that have been used to write down the Šams al-maʿārif. Editing these texts corresponding to the "historic core" of this vast corpus highlights the oldest parts of the works attributed to al-Būnī and the influences that contributed to the formation of an Islamic magic, referring not only to Greek authorities, Indian, Mesopotamian, etc.., but also to the Qurʾān, the prophetic tradition and magical, mystical and Kabbalistic Jewish, Christian and Muslim traditions.Closely linked to realms of power, this magical literature also contributes to their splendour andreflects their evolution.

Agonshû est une "nouvelle nouvelle religion" fondée en 1978 par Kiriyama Seiyû. Les enseignements soulignent le fait que toute la misère du monde est causée par les pollutions karmiques de nos ancêtres et que le goma (rite du feu) est la solution de Agonshû pour traiter cette souffrance sociale. Depuis la fin du 20e siècle, Agonshû a étendu ses activités à l'étranger pour promouvoir la paix mondiale en réalisant de nombreuses cérémonies du goma en dehors de l'archipel. Les évènements de la Seconde Guerre mondiale servent à déterminer le choix du lieu pour la cérémonie, comme le rite du goma organisé en 2009 à Guadalcanal ou encore la croisière qui a traversé l'Océan Pacifique en 2012, régions où de nombreux soldats japonais sont décédés. Au-delà du travail mémoriel, cette stratégie est également une manière d'obtenir du prestige et de l'autorité en dehors, mais surtout dans le Japon. Le nationalisme est au cœur de ces rituels. Pendant les entretiens, des membres ont insisté sur le fait que "seul le Japon et Agonshû peuvent accomplir la paix mondiale." Ces déclarations mettent en relief le double discours de Agonshû : d'un côté la promotion de l'universalisme parmi les êtres humains et de l'autre l'affirmation de la supériorité des religions japonaises. Pour Agonshû, le pacifisme est un nationalisme.Agonshû-Goma-Nouvelles religions japonaises-Bouddhisme-Ésotérisme-Sécularisme-Modernité-Souffrance sociale-Travail de mémoire / Agonshû is a Japanese 'New New Religion' founded in 1978 by Kiriyama Seiyû. The teachings point out that all of life’s problems and misfortunes are the result of spiritual and karmic hindrances and the goma (fire rite) is the religious response from Agonshû to cure social suffering. Since the end of the 20th century, Agonshû has extended its activities abroad to pray for World Peace, and performed numerous goma ceremonies outside Japan. The choice of the place of the ceremony is mostly lead by its importance during World War 2, like the Goma held at Guadalcanal in 2009 or in the Pacifics Ocean in 2012 where many Japanese soldiers had lost their lives. Beyond completing a Memory Work, this strategy is also a way to gain authority and prestige outside, but also inside Japan. Nationalism is on the core of these rituals. As followers told me during interviews about World Peace : "only Japan can accomplish this, only Agonshû". These kinds of affirmations stress the edge where Agonshû sits. On the one hand there is the promotion of universalism among human being and on the other hand the absolute superiority of the Japanese religions. In Agonshû’s discourse, pacifism forges nationalism.

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 dangereux. / The 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.