M.Cur. (Psychiatric Nursing) / Please refer to full text to view abstract

The process of secularization has brought significant changes to the religious landscape in Sweden. The influence of the dominant Lutheran Church has diminished, paving the way for individual belief systems such as Satanism. Secularization has made the mediatization of religion possible, which in turn has anticipated changes in the public representation of religion. Media has played a crucial part in the public representation of Satanism in Sweden, mainly during the 1990s, which created the phenomenon Satanic panic. The Satanic panic spread through media outlets which reported crimes such as church and graveyard vandalisms and connected them to satanists. The panic was in some cases based on actual incidents; however, the cases were often merely rumors. This study examines how Satanism is portrayed in daily press and Religion education textbooks for Upper Secondary school in Sweden. Further, this study analyzes the change in the portrayal in these text types from 1980 to 2020 and investigates whether the secularization process in Sweden has contributed to the potential change. The reason for including textbooks in the study is to compare them to the daily press in order to discover potential differences in their portrayal of the religious movement, which provides a pedagogical aspect as well.

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With this essay my aim is to uncover the content in the discography of the Swedish Black Metal act Watain in respect to lyrically expressed religious themes revolving around the tendencies within occulture and the Black Metal scene. To investigate the matter I have combined quantitative and qualitative analysis methods from the fields of corpus linguistics as well as content analysis, which provided me with an array of key words and their respective concordances (Key Word In Context, KWIC) in the texts. Through the analysis three overlapping main themes became apparent: satanism, gnosticism and finally apocalypticism. I described each of the themes in detail based on my linguistic findings in the corpus so as to yield a deeper understanding of the religious symbols communicated in the material and their interrelationship. The result was that neither one of these could be explained in isolation as they are all part of a larger system of philosophy, namely the esoteric movement chaos-gnosticism tied to the Swedish order Temple of the Black Light, but also products of occulture. The discussion proved that, although satanism may seem to be the thematical centerpoint in Watain’s lyrics, it is not, as this is a far too simple conclusion in relation to the complexity of the results. Instead, the content requires to be understood in terms of the dark Left-Hand Path spirituality as well as the occultural melting pot of paranormal and occult ideas. / <p>För att få tillgång till mitt korpus och mina korpusresultat hänvisar jag till min privata e-post adress hans.jonsall@gmail.com alternativt att man kontaktar mig via sociala medier.</p>

Ao longo dos anos, a obra de Fernando Pessoa tem sido objeto de diferentes miradas da crítica especializada. Poucas foram, porém, as ocasiões em que os comentadores se ocuparam da figura de Satã e dos diferentes matizes que colorem o episódico diabolismo dos escritos do poeta lisboeta. Todavia, embora errático, o percurso do Tentador nos textos de Pessoa indica a insuspeitada, porém indisputável marca do Demônio no pensamento do autor, mormente em sua juventude literária e em textos ensaísticos de cariz hermético. Por essa ascendência, é possível reconhecer Fernando Pessoa como herdeiro imediato da \"satânica geração\" de escritores lusitanos que, sob o efeito dos vapores mefistofélicos que então pairavam sobre o ambiente literário europeu, redefiniram as letras portuguesas no final dos oitocentos. Assim, partindo do exame das origens e das várias configurações do que se entende por satanismo literário, bem como dos sinais e sintomas de sua manifestação na literatura de Portugal em fins do século XIX, esta pesquisa tenciona investigar a presença do Diabo e a expressão do satânico na obra de Fernando Pessoa. O que se pretende, por meio de leituras analíticocomparativas que tracem as andanças do Tinhoso nos escritos pessoanos orto e heteronímicos, é entender as formas pelas quais o satânico toma posse, em verso e prosa, da escrita de Fernando Pessoa e, com isso, revelar em que sentido é possível reconhecer nele a faceta de um autor inspirado pelo Gênio das Trevas. / Throughout the years, Fernando Pessoa\'s work has been under different gazes by the specialized criticism. However, few were the occasions in which scholars occupied themselves with the figure of Satan and the different shades that color the episodic diabolism in the writing of the Lisbon-born poet. Albeit erratic, the Tempter\'s route in Pessoa\'s texts points at the unsuspected yet indisputable mark of the Devil in the author\'s thought, mainly in his early writings and in essays on hermeticism. Consequently, Pessoa can be seen as the immediate heir of the \"satanic generation\" of Portuguese writers that, under the influence of the mephistophelic vapors then hovering over Europe\'s literary environment, redefined Portugal\'s literature at the end of the eighteen hundreds. Thus, starting with an examination of the origins and sundry configurations of what is known as literary Satanism, as well as the signs and symptoms of its manifestation in Portuguese literature by the end of the nineteenth century, this research aims at investigating the Devil\'s presence and the expression of the satanic in the work of Fernando Pessoa. Using an analytical-comparative approach that traces Old Nick\'s wanderings in Pessoa\'s orto and heteronymic texts, the research intends to understand the ways in which the satanic possesses, in verse and prose, Fernando Pessoa\'s writings, thereby revealing to what extent it is possible to recognize in him the face of an author inspired by the Genius of Darkness.

Ao longo dos anos, a obra de Fernando Pessoa tem sido objeto de diferentes miradas da crítica especializada. Poucas foram, porém, as ocasiões em que os comentadores se ocuparam da figura de Satã e dos diferentes matizes que colorem o episódico diabolismo dos escritos do poeta lisboeta. Todavia, embora errático, o percurso do Tentador nos textos de Pessoa indica a insuspeitada, porém indisputável marca do Demônio no pensamento do autor, mormente em sua juventude literária e em textos ensaísticos de cariz hermético. Por essa ascendência, é possível reconhecer Fernando Pessoa como herdeiro imediato da \"satânica geração\" de escritores lusitanos que, sob o efeito dos vapores mefistofélicos que então pairavam sobre o ambiente literário europeu, redefiniram as letras portuguesas no final dos oitocentos. Assim, partindo do exame das origens e das várias configurações do que se entende por satanismo literário, bem como dos sinais e sintomas de sua manifestação na literatura de Portugal em fins do século XIX, esta pesquisa tenciona investigar a presença do Diabo e a expressão do satânico na obra de Fernando Pessoa. O que se pretende, por meio de leituras analíticocomparativas que tracem as andanças do Tinhoso nos escritos pessoanos orto e heteronímicos, é entender as formas pelas quais o satânico toma posse, em verso e prosa, da escrita de Fernando Pessoa e, com isso, revelar em que sentido é possível reconhecer nele a faceta de um autor inspirado pelo Gênio das Trevas. / Throughout the years, Fernando Pessoa\'s work has been under different gazes by the specialized criticism. However, few were the occasions in which scholars occupied themselves with the figure of Satan and the different shades that color the episodic diabolism in the writing of the Lisbon-born poet. Albeit erratic, the Tempter\'s route in Pessoa\'s texts points at the unsuspected yet indisputable mark of the Devil in the author\'s thought, mainly in his early writings and in essays on hermeticism. Consequently, Pessoa can be seen as the immediate heir of the \"satanic generation\" of Portuguese writers that, under the influence of the mephistophelic vapors then hovering over Europe\'s literary environment, redefined Portugal\'s literature at the end of the eighteen hundreds. Thus, starting with an examination of the origins and sundry configurations of what is known as literary Satanism, as well as the signs and symptoms of its manifestation in Portuguese literature by the end of the nineteenth century, this research aims at investigating the Devil\'s presence and the expression of the satanic in the work of Fernando Pessoa. Using an analytical-comparative approach that traces Old Nick\'s wanderings in Pessoa\'s orto and heteronymic texts, the research intends to understand the ways in which the satanic possesses, in verse and prose, Fernando Pessoa\'s writings, thereby revealing to what extent it is possible to recognize in him the face of an author inspired by the Genius of Darkness.

Det här är en kvalitativ undersökning på hur en del använder black metal som en väg till religiös livsåskådning. Den är baserad på semistrukturerade intervjuer med fem män som är fans eller musiker inom black metal. Syftet är att studera hur dessa människor använder black metal och dess uttryck som en arena för religiös praktik. Dessa intervjuer är sedan analyserade med hjälp av teorierna re-enchantment och occulture. Studien visar på att black metal är en individuationsprocess där unga fans börjar att bygga upp sin personlighet och lär sig att både bearbeta och hantera känslor. Studien visar även på de negativa aspekterna av subgenren, så som kyrkobränder och mord, som uppkommit inom kultiska miljöer. Med dess resultat visar det att deltagarnas sökande efter en religiös livsåskådning som mötte upp med deras känslor och behov, var influerat av black metal.

<p>Hur uppfattar Temple of Set sin relation till den fornegyptiska religionen och vilka aspekter anser de att deras moderna ockultism har gemensamt med eller har utvecklats från denna?</p>

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Hur uppfattar Temple of Set sin relation till den fornegyptiska religionen och vilka aspekter anser de att deras moderna ockultism har gemensamt med eller har utvecklats från denna?