Dans un siècle postrévolutionnaire particulièrement marqué par les tumultes politiques, le progrès scientifique, les idéologies sociales et le développement de la rivalité entre la raison et la foi, l’abbé Paul François Gaspard Lacuria (1806-1890) élabore son œuvre principale : Les Harmonies de l’être, dont l’objectif annoncé est précisément de réduire l’opposition apparemment irréductible entre science et foi. C’est sous l’égide de la doctrine trinitaire, et grâce à des considérations géométrico-mathématiques, que l’abbé recherche cette conciliation philosophique harmonieuse qui doit fonder, selon lui, les bases synthétiques d’un savoir universel ramené en définitive à la « Grande Unité ». L’absence de travaux universitaires abordant le cas de ce métaphysicien mystique, marqué par l’occultisme à des titres divers, nous a incité à entreprendre le présent travail qui comporte, outre une biographie complète de l’auteur, une présentation et une analyse détaillées de son œuvre, enfin un examen de la postérité de celle-ci et de son influence posthume. / In the aftermath of the Great Revolution, France witnesses, during the Nineteenth Century, and apart from continuous political turmoils, the development of scientific progress, social ideologies, and new phases in the progressive evolution of the age-old strife between faith and reason. It is during this eventful period that Father Paul François Gaspard Lacuria (1806-1890) elaborates his main work : Les Harmonies de l’être, with the declared intention of bridging the gap between science and faith. Basing himself on the trinitarian doctrine of Roman Catholicism as well as on deep-reaching geometrical and mathematical analogies, Father Lacuria seeks an harmonious philosophical synthesis capable of establishing a universal knowledge, ultimately reducible to the “Great Unity”. The conspicuous lack of an academic monograph devoted to such an important mystical figure, whose work borders sometimes on occultism, has given birth to the present research, which attempts to retrace the French metaphysician’s biography and to give a detailed analysis of his works and of their posthumous fate.

No description available.

<p>The nineteenth century witnessed a great deal interest in Esotericism, which resulted in the creation of a significant number of Occult organizations. Many of them were influenced by the Theosophical Society, arguably the most important of the groups that came into existence before the Great War, a further example being the Rosicrucian Fellowship. The writings of these two organizations’ primary founders contain teachings about race that were influenced by beliefs concerning the inferiority of certain peoples that were prevalent at the time. While this is often acknowledged in academic studies, the matter is largely marginalized.</p><p>The aim of this paper is to investigate how these teachings reinforce preexisting ideas about race. The findings indicate that this is partially achieved through the use of language and partially by presenting the notions within the context of a cosmology which casts inequalities found in society as part of an evolutionary process in which any atrocities committed by a dominant group are seen as merely hastening a divinely instituted chain of events that is already in motion. This matter is relevant to the present time because these beliefs are part of living traditions and because it is arguable that the racist discourse which shaped them in the first place is still just as influential today.</p>

<p>In the 19th century, photography was often employed in attempts to objectively capture evidence of paranormal phenomena. With the advent of television, this tradition came to be coupled with the apparent mystery of distant communication through electromagnetic waves. The television set has often been depicted as intrinsically occult or even haunted.</p><p>It is therefore natural that television has proven to be an ideal medium to present beliefs, tales, and investigations about paranormal phenomena. Most such presentations have been openly ficticious, but in television the distinction between fact and fiction is often blurred, and the emergence of shows where the crew claims to pursue a serious investigation was inevitable. One of the most successful such shows is the British Most Haunted, airing since 2001. In this thesis, the presentation of occult phenomena in three episodes of Most Haunted is analyzed and discussed in light of this framework of traditions.</p><p>One main result is that the distinction between fact and fiction is indeed often blurred in Most Haunted. Reconstructions and purported evidence are similar to each other as well as to the historical ghost pictures, and sometimes the crew's reactions or lack of reactions is the only means to tell them apart. Elements aiming at creating a "ghost feeling" are abundant throughout both investigative and other parts of the show, and include monochrome (and sometimes inverted) imagery, blue or green light tones, modified motion speed, and perspectives that let the spectator "be the ghost". Black and white imagery is also a part of the usage of analogue or pseudo-analogue technology to convey connotations of authenticity. Filming the crew's reactions is the most common means of broadcasting a sense of hauntedness, as is often the case in traditional horror motion pictures.</p>

In the 19th century, photography was often employed in attempts to objectively capture evidence of paranormal phenomena. With the advent of television, this tradition came to be coupled with the apparent mystery of distant communication through electromagnetic waves. The television set has often been depicted as intrinsically occult or even haunted. It is therefore natural that television has proven to be an ideal medium to present beliefs, tales, and investigations about paranormal phenomena. Most such presentations have been openly ficticious, but in television the distinction between fact and fiction is often blurred, and the emergence of shows where the crew claims to pursue a serious investigation was inevitable. One of the most successful such shows is the British Most Haunted, airing since 2001. In this thesis, the presentation of occult phenomena in three episodes of Most Haunted is analyzed and discussed in light of this framework of traditions. One main result is that the distinction between fact and fiction is indeed often blurred in Most Haunted. Reconstructions and purported evidence are similar to each other as well as to the historical ghost pictures, and sometimes the crew's reactions or lack of reactions is the only means to tell them apart. Elements aiming at creating a "ghost feeling" are abundant throughout both investigative and other parts of the show, and include monochrome (and sometimes inverted) imagery, blue or green light tones, modified motion speed, and perspectives that let the spectator "be the ghost". Black and white imagery is also a part of the usage of analogue or pseudo-analogue technology to convey connotations of authenticity. Filming the crew's reactions is the most common means of broadcasting a sense of hauntedness, as is often the case in traditional horror motion pictures.

Selma Lagerlöf var en mångsidig författare med skiftande religiösa föreställningar och litteraturvetaren Sven Stolpe har lyft fram flera av de andliga element som förekommer i författarens romaner, brev och dagböcker. Utifrån hans teori om Lagerlöfs tro har vi undersökt dessa drag i tre av författarens verk och tolkat dessa med inspiration från den hermeneutiska metoden. Romanerna är Gösta Berlings saga, Herr Arnes penningar och Körkarlen. Frågorna vi har utgått ifrån är: Vad visar Lagerlöf för exempel på luthersk kristendom, katolicism, folktro, och andra ockulta läror i Gösta Berlings saga, Herr Arnes penningar och Körkarlen? Hur gör Lagerlöf för att förena dessa? Finns det några tendenser till att de olika trosföreställningarna ställs emot varandra och i så fall hur? I texterna vi studerat har vi funnit ett antal detaljer och motiv som kan förknippas med de olika andliga föreställningarna. Lagerlöf tar upp Gud, Jesus och djävulen men visar även prov på spiritistiska och teosofiska influenser. Dessutom berör hon mer folkliga motiv som naturväsen och spöken. De olika trosföreställningarna vävs samman i böckerna men behöver sällan mötas. Dels beskrivs de i olika kapitel så att de på så vis hålls isär, dels skildras de som skikt i flera verkligheter. Vid de tillfällen då de andliga inslagen integreras med varandra sker det i form av subjektiva upplevelser som bara en eller ett fåtal personer kan förnimma. Motsättningar mellan exempelvis folktro och kristendom uppenbarar sig sällan. Lagerlöf visar snarare att kombinationen av dessa var fullt naturlig för människorna under den tid då texterna tillkom. / From wood-spirit to catholic saints. Spirituality in the literature of Selma Lagerlöf Selma Lagerlöf was an author of versatility with varied religious beliefs. The literary critic Sven Stolpe has shown many of the spiritual elements that occur in her novels, letters and diaries. Based on his theory about the believes of Lagerlöf we have examined these features in three of the authors works and interpreted these with the inspiration of the hermeneutic method. The novels are Gösta Berlings saga, Herr Arnes penningar and Körkarlen. Our questions are: What examples of Lutheran Christianity, Catholicism, folklore, and other occult theories does Lagerlöf show in Gösta Berlings saga, Herr Arnes penningar and Körkarlen? What does Lagerlöf do to reconcile them? Are there any tendencies that different beliefs are opposed to each other and how? In the texts we have studied, we have found a number of details and motifs that can be associated with the various spiritual ideas. Lagerlöf addresses God, Jesus and the devil, but also shows samples of spiritism and theosophy. She also shows more traditional popular motifs like supernatural creatures of nature and ghosts. The various beliefs are woven together in the books but rarely meet. Partly they are described in different chapters so that they are distinguished and partly they are depicted in the layers of multiple realities. At those times when the spiritual elements integrated with each other, it is in the form of subjective experiences that only one or a few people can perceive. Contradictions between, for example, folklore and Christianity occur rarely. Lagerlöf shows rather that the combination of these were perfectly natural for the people during the time the books where written.

The nineteenth century witnessed a great deal interest in Esotericism, which resulted in the creation of a significant number of Occult organizations. Many of them were influenced by the Theosophical Society, arguably the most important of the groups that came into existence before the Great War, a further example being the Rosicrucian Fellowship. The writings of these two organizations’ primary founders contain teachings about race that were influenced by beliefs concerning the inferiority of certain peoples that were prevalent at the time. While this is often acknowledged in academic studies, the matter is largely marginalized. The aim of this paper is to investigate how these teachings reinforce preexisting ideas about race. The findings indicate that this is partially achieved through the use of language and partially by presenting the notions within the context of a cosmology which casts inequalities found in society as part of an evolutionary process in which any atrocities committed by a dominant group are seen as merely hastening a divinely instituted chain of events that is already in motion. This matter is relevant to the present time because these beliefs are part of living traditions and because it is arguable that the racist discourse which shaped them in the first place is still just as influential today.

<p>Selma Lagerlöf var en mångsidig författare med skiftande religiösa föreställningar och litteraturvetaren Sven Stolpe har lyft fram flera av de andliga element som förekommer i författarens romaner, brev och dagböcker. Utifrån hans teori om Lagerlöfs tro har vi undersökt dessa drag i tre av författarens verk och tolkat dessa med inspiration från den hermeneutiska metoden. Romanerna är <em>Gösta Berlings saga</em>, <em>Herr Arnes penningar</em> och <em>Körkarlen</em>.</p><p>Frågorna vi har utgått ifrån är:</p><p>Vad visar Lagerlöf för exempel på luthersk kristendom, katolicism, folktro, och andra ockulta läror i <em>Gösta Berlings saga</em>, <em>Herr Arnes penningar</em> och <em>Körkarlen</em>?</p><p>Hur gör Lagerlöf för att förena dessa?</p><ul></ul><p>Finns det några tendenser till att de olika trosföreställningarna ställs emot varandra och i så fall hur?</p><p>I texterna vi studerat har vi funnit ett antal detaljer och motiv som kan förknippas med de olika andliga föreställningarna. Lagerlöf tar upp Gud, Jesus och djävulen men visar även prov på spiritistiska och teosofiska influenser. Dessutom berör hon mer folkliga motiv som naturväsen och spöken. De olika trosföreställningarna vävs samman i böckerna men behöver sällan mötas. Dels beskrivs de i olika kapitel så att de på så vis hålls isär, dels skildras de som skikt i flera verkligheter. Vid de tillfällen då de andliga inslagen integreras med varandra sker det i form av subjektiva upplevelser som bara en eller ett fåtal personer kan förnimma. Motsättningar mellan exempelvis folktro och kristendom uppenbarar sig sällan. Lagerlöf visar snarare att kombinationen av dessa var fullt naturlig för människorna under den tid då texterna tillkom.</p><p> </p> / <h1>From wood-spirit to catholic saints.</h1><p>Spirituality in the literature of Selma Lagerlöf</p><p>Selma Lagerlöf was an author of versatility with varied religious beliefs. The literary critic Sven Stolpe has shown many of the spiritual elements that occur in her novels, letters and diaries. Based on his theory about the believes of Lagerlöf we have examined these features in three of the authors works and interpreted these with the inspiration of the hermeneutic method. The novels are <em>Gösta Berlings saga,</em> <em>Herr Arnes penningar </em>and <em>Körkarlen</em>.</p><p>Our questions are:</p><p>What examples of Lutheran Christianity, Catholicism, folklore, and other occult theories does Lagerlöf show in <em>Gösta Berlings saga, Herr Arnes penningar </em>and <em>Körkarlen</em>?</p><p>What does Lagerlöf do to reconcile them?</p><ul></ul><p>Are there any tendencies that different beliefs are opposed to each other and how?</p><p>In the texts we have studied, we have found a number of details and motifs that can be associated with the various spiritual ideas. Lagerlöf addresses God, Jesus and the devil, but also shows samples of spiritism and theosophy. She also shows more traditional popular motifs like supernatural creatures of nature and ghosts. The various beliefs are woven together in the books but rarely meet. Partly they are described in different chapters so that they are distinguished and partly they are depicted in the layers of multiple realities. At those times when the spiritual elements integrated with each other, it is in the form of subjective experiences that only one or a few people can perceive. Contradictions between, for example, folklore and Christianity occur rarely. Lagerlöf shows rather that the combination of these were perfectly natural for the people during the time the books where written.</p>

No description available.

With this paper, I aim to demonstrate that, in Late Antiquity, the definition of magic was inherent to the definition of its opposite, religion. Assuming that the separation of magic and religion is the symptom of cultural clashes. I argue that Iamblichus' (240-325 AD) De Mysteriis was participating in a politico-religious reorganization of the Roman Empire. / The first part of the study analyses the religions beliefs of Porphyry (232--305 AD). With this analysis, I demonstrate that Iamblichus rectified Porphyry's philosophical approach to religion, which minimizied the distinctions between magic and religion. / In the second part of the study, I demonstrate how Iamblichus' response to Porphyry rearranged religious evidence into a new holistic system called "theurgy." By drawing from Neoplatonic political theory, I also explain how the De Mysteriis inseparably bounded politics with theology.