Eine der wichtigsten Aufgaben der Kunst ist es, unser kulturelles Gedächtnis zu aktivieren, zu errinnern was ist vergessen oder absichtlich in die Vergessenheit gezwungen wurde, selbst wenn das alte Wunde bluten lasst und traumatisch erscheint. Jedes Mal ist das Element der Kritik die ausschlaggebende Komponente der künstlerischen Arbeit, sie charakterisiert nicht nur den Künstler, und die Zeit in der er/sie lebt, sondern auch den Zuschauer, genauer: wie weit ist der Künstler bereit zu gehen und wie weit sind die Zuschauer bereit ihm zu folgen, im Rückblick manchmal mehr ersteres als letzteres. In meiner Arbeit analysiere ich die Aspekte von Mythologie, Geschichte und deren sozio-politische Relevanz in den Arbeiten von Anselm Kiefer, der Künstler der mit seinen Werken unsere Wahrnehmung der Geschichte, vor allem der deutschen Geschichte, beeinflust und in Frage gestellt hat. / It is one of the major tasks of art to revive our cultural memory and to sharpen our senses, to remind whatever has been forgotten or is being purposefully given to oblivion and to predict whatever the future might have in store even if it causes old wounds bleed anew. Each time the element of critique, being one of the crucial components of artistic work, characterises not only the artist, the time he/she lives in, but also the spectator: precisely, how far the artist is prepared to go and how much the spectator is prepared to accept, in retrospect more the latter than the former. My work analyses the problems of mythology, history and their socio-political relevance on the examples of works by Anselm Kiefer, the artist whose work is irrevocably related to history, German history in the first place, the artistic means of remembrance as well as the role of mythology in our collective memory.

La problématique essentielle qui sous-tend l’existence du poète Karl Wolfskehl (1869-1948) est celle d’un sentiment de double appartenance car il est Juif et Allemand. Sa vocation poétique connaît deux moments décisifs : la rencontre en 1897 avec Stefan George, le chef de file du symbolisme allemand dont il devient l’ami fidèle et le fervent disciple, lui permet de travailler ses poèmes comme un matériau précieux, la langue des poèmes n’étant asservie à d’autre fin qu’elle-même. Puis le triomphe du nazisme en Allemagne en 1933 contraint Wolfskehl à partir d’abord en Italie puis en Nouvelle-Zélande, où il demeure jusqu’à sa mort en 1948. Cet exil suscite chez Wolfskehl une crise existentielle sans précédent et un renouveau dans l’écriture : à la quête de perfection formelle succède une poésie religieuse ancrée dans le judaïsme et que Wolfskehl place sous le signe de Job.L’ensemble de l’œuvre de Karl Wolfskehl se distingue de par sa tonalité mystique. L’objet de notre recherche est de prendre en compte les rapports entre poésie et religion pour tenter de caractériser l’art poétique de l’auteur. Nous nous concentrons sur les évolutions de la notion de prophétie dans l’œuvre de Wolfskehl pour aborder tout autant l’héritage hölderlinien du poeta vates que celui des prophètes bibliques (nebiim). En articulant notre réflexion autour du principe dialogique (Buber) et en interprétant la manière dont l’œuvre littéraire transforme les symboles de la kabbale (Scholem), nous montrons que les poèmes sont le théâtre d’un affrontement dialectique entre l’humain et le divin où se révèle une herméneutique de la souffrance. On peut alors déterminer les enjeux philosophiques et historiques de l’autofiction du poète en Job, la poésie de Wolfskehl se proposant à la fois de penser « l’excès du Mal » (Nemo) et d’interpréter le destin du peuple juif (Susman). / The existence of the poet Karl Wolfskehl is characterised by the feeling of a double identity, for he is both Jewish and German. The two decisive moments of his poetic vocation are his meeting in 1897 with Stefan George, one of the leaders of German symbolism; he became his faithful friend and devoted disciple. This encounter allowed him to consider his poems as precious material, with no other goal than language per se. The second point is that, due to the outcome of Nazism in Germany in 1933, he had to exile himself to Italy then to New-Zealand, where he stayed until his death in 1948. This exile is at the root of an unprecedented existential crisis and of a renewal in his writing: from a quest of formal perfection he reaches a religious poetry anchored in Judaism assimilated to the persona of Job. The whole work is infused with a mystical tone. Our research aims to try to account for the relationship between poetry and religion in order to characterize the poetic art of the author. We focus on the evolutions of the notion of prophecy in the work of Wolfskehl, so as to deal with both the holderlinian heritage of poeta vates and that of the biblical prophets (Nebiim). By concentrating on the dialogical principle (Buber) and by interpreting the way the literary work transforms the symbols of the Kabbala (Scholem), we will show that the poems are the scene of a dialectic confrontation between the human and the divine, which reveals a hermeneutic of suffering. From a philosophical and historical point of view, we question the identification of the poet with Job in so far as Wolfskehl’s poetry reflects the excess of evil (Nemo) while allowing to interpret the destiny of the Jewish people (Susman).

Ch. 1: Introduction: A Destruction without Adequate Precedent. Ch. 2: Rupture and the Holy Ideal: Redemption in the Hebrew Bible. Ch. 3: Giving the Sense: The Rise of Commentary. Ch. 4: Rabbi Eliezer’s Silence. Ch. 5: Gold and Glass: Ethical Rupture in Mystical Union? Ch. 6: Our Impossible Victory.

This study reviews Lilith in Jewish mythology, specifically how she relates to the other main operators in the myths, which are God, Samael, Adam and Eve. Her connections with the animal who often symbolizes her, the serpent, has also been reviewed. Furthermore, the study examines what her relationship with the other operators says about her function in the myths. Using a hermeneutical method, the study examines extracts from rabbinic literature, the Alphabet of Ben Sira and Kabbalistic writings.The results show that Lilith’s symbolism and characteristics have drawn inspiration from Eve in the earlier writings, and that both women are portrayed in close relation with the serpent. In the Kabbalist tradition Lilith is a driving force in a narrative that strives for messianic victory, and together with her partner Samael she rules over evil. One of Lilith’s main functions is that of an antagonist, and an antipole, to the divinity and the primal couple, and essentially to goodness.

Ch. 1: Introduction: A Destruction without Adequate Precedent. Ch. 2: Rupture and the Holy Ideal: Redemption in the Hebrew Bible. Ch. 3: Giving the Sense: The Rise of Commentary. Ch. 4: Rabbi Eliezer’s Silence. Ch. 5: Gold and Glass: Ethical Rupture in Mystical Union? Ch. 6: Our Impossible Victory.

Orientador: Ernesto Giovanni Boccara / Acompanha 1 DVD / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T09:38:46Z (GMT). No. of bitstreams: 1 Vaidergorn_Izaak_D.pdf: 114614246 bytes, checksum: 4820ea7460f73b324d7cc0ef7613c86d (MD5) Previous issue date: 2010 / Resumo: o texto trata da relação entre a escrita e o gesto pictórico através da descrição de um processo concreto de diálogo entre as duas linguagens realizado durante a elaboração desta tese. Embora consubstanciado teoricamente e tomando como base trabalhos anteriores, o objetivo é a construção aleatória de um diário que tenta expressar os momentos de sua produção que podem ser ordenados posteriormente de forma lúdica pelo leitor / Abstract: The text deals with the relationship between writing and pictorial gesture describing a specific process of dialogue between the two languages made during a period of the thesis development. Order theoretically and building on previous works the principal goal is to build a random diary trying to express in a specific moment of its production that it can be ordered later as a game by the player / Doutorado / Doutor em Artes

Zugl.: Freie Universität Berlin, Diss., 2005.

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 Chassidic Chabad movement is one of Judaism’s most successful and influential groups interms of missionary presence around the world and distributed missionary material online.Chabad’s final Rebbe is still regarded by his followers to be the long-awaited final redeemerand Messiah, despite his clinical death in 1994. The aim of this study is to describe how theChabad-followers, through the movement’s publications, maintain the belief in the Rebbe asthe Jewish Messiah, and the theological interpretive tools utilized in order to ‘survive’ as aunited movement. The study indicates that Chabad is still a united and radical messianicmovement, wherein, internal theological mechanisms interpret the Rebbe as corporally alivebut concealed by illusion, and will soon be revealed or imminently resurrected to complete theredemption of the world. The study also discusses the movement’s extreme right-wingedpolitical stance in regards to the ongoing Israel-Palestine conflict, the movement’s Holocausttheology as means to further understand how the group ‘survived’ the cognitive dissonance thedeath of the Rebbe created and the theological similarities between Chabad and earlyChristianity. / Den Chassidiska Chabadrörelsen är en av judendomens mest framgångsrika och inflytesrikanya religiösa rörelser när det gäller missionär närvaro runt om i världen och missionärt materialonline. Chabads sista Rebbe anses av hans anhängare att vara världens sista försonare ochMessias, trots hans uppenbara kliniska död år 1994. Denna studie beskriver hurChabadanhängare, genom rörelsens egna tryckta och online publikationer, upprätthåller tron påRebbe som den judiska messias och de teologiska tolkningsverktyg som rörelsen använder föratt ‘överleva’ som en enad grupp. Studien indikerar att Chabadrörelsen, ändå till våra dagar, ärenad och radikal-messianistisk där man genom interna teologiska mekanismer tolkar Rebbensom levande i materiell kropp, gömd genom illusion men snart uppenbarad eller snartåteruppväckt från de fysiskt döda och i båda fallen för att fullgöra världens försoning där Gudförsonar människan i den materiella världen. Studien diskuterar också rörelsens extremahögerpolitik, i synnerhet när det gäller Israel-Palestina konflikten och förintelseteologi som ettsätt att vidare förstå hur gruppen ‘överlevde’ den kognitiva dissonansen Rebbens död skapadei termer av misslyckad profetia och de teologiska likheterna mellan Chabadrörelsen och tidigkristendom.Nyckelord: NRR,

<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>