This essay aims to explore and answer if the horror movies about exorcism stays true to the historical practices of the ritual. Or if the creators of these films made it all up. But also to see how the ritual has been portrayed in these movies over the years. Therefore I chose to analyse four different movies that is in different historic periods of the horror movie genre. Among these movies is the classic movie that started it all, The Exorcist. The other movies is representing periods that came after, with this essay we can also gather how society sees the rite of exorcism. The essay is going to present the history of the ritual, the various symptoms of possession and the classifications of getting an approved exorcism. We will focus on the roman-catholic tradition of this ritual, mainly because it is the version that the movies take most of their inspiration from.

<p>This study is a broad based investigation of exorcism in the activities ofthe historical Jesus, particularly the connection between spirit possession and exorcism on the one hand and the socio-political context of first-century Galilee on the other. As such, it draws on research from the areas of sociology, anthropology, archaeology and biblical studies to illuminate this aspect of Jesus' career, as well as the broader social implications of spirit possession in those he treated and the exorcisms themselves. Evidence found in the Synoptic Gospels is evaluated using the criteria of authenticity and comparative analysis in order to establish early and historical material. Questions posed and answered concern the historical plausibility of Jesus' role as exorcist, the possibility that his own career began with a period of spirit possession, and the meaning that his exorcisms conveyed to his first-century audience. Thus, the methodology includes textual analysis, sociological analysis of general cultural patterns within which first-century Palestine can be fitted, and anthropological analysis of the plausible functions of both spirit possession and exorcism in agrarian societies.</p> <p>Jesus' role as exorcist, his own experience of spirit possession, and the fact that he was accused of being possessed by the demon Beelzebul are attested across all strands of the tradition, with the exception of the Gospel of John. This aspect of his career also finds support in the criteria of authenticity, particularly embarrassment, is coherent with his role as healer and prophet and also fits the general pattern of healers and exorcists across cultures, particularly in agrarian societies.</p> / Thesis / Doctor of Philosophy (PhD)

Interpretar sempre implicará uma grande jornada. Não é por acaso que esta prática esteja associada à figura mitológica de Hermes. O próprio ato reflexivo em torno da questão ‘o que significa significar’ envolve uma longa viagem. É dividindo a interpretação em dois momentos, ao qual nos referiremos amplamente apenas por ‘ontológico’ e ‘prático’, que esta dissertação adquire sua forma. Num primeiro momento, há uma problematização sobre a questão do significado numa perspectiva hermenêutica. Partindo da discussão engendrada na obra Politics of Interpretation (1983), e passando pela argumentação sobre ‘intencionalidade’ em interpretação textual, especificamente caracterizada na obra de E. D. Hirsch Jr. Validity in Interpretation (1967), busca-se um estudo introdutório sobre a questão do significado do texto literário em relação a um outro problema que é denominado como ‘o narcisismo do leitor’, para enfim culminar na proposta hermenêutica de Ricoeur. Ou seja, antes de especificamente lidar com a interpretação de O Exorcista (1971), busca-se uma abordagem teórica sobre a questão do significado. Num segundo momento, que não implica numa aplicação da teoria exposta, pois partimos do princípio que não há divisão entre teoria e prática, passamos à interpretação da obra The Exorcist (1971) de William Peter Blatty. Aborda-se esta obra por constituir-se um problema hermenêutico. Porém, a virada existencialista desta obra proposta por esta dissertação será precedida por uma releitura tanto do autor como um texto e sua conseqüente relação com a interpretação do romance, quanto por uma abordagem relacional entre não só a recepção crítica desta obra, assim como em relação aos demais romances do autor, na tentativa, primeiro, de demonstrar a insuficiência de caracterizações da obra como ‘horror’ e ‘teodicéia’, para, finalmente, propor a abertura da obra em direção a uma perspectiva existencialista. / Interpreting will always implicate a long journey. It is not by chance that this practice is associated to the mythological figure of Hermes. The very reflexive act about the question of ‘what it means to mean’ involves a longe travel. It is by dividing interpretation in two moments, which will be referred to merely as ‘ontological’ and ‘practical’, that this dissertation achieves its form. In a first moment, there is a problematization about the issue of meaning in a hermeneutical perspective. Beginning from a discussion engendered in the work Politics of Interpretation (1983), and passing through an argumentation about ‘intentionality’ in textual interpretation, more specifically characterized in E. D. Hirsch Jr.’s Validity in Interpretation (1967), we search an introductory study about the meaning of a literary text in relation to another problem which is denominated as ‘the narcissism of the reader’, in order to finally culminate in Ricoeur’s hermeneutical proposal. It means that, before specifically dealing with the interpretation of The Exorcist (1971), we seek a theoretical approach to the question of meaning. In a second moment, which does not implicate in the application of the exposed theory, since we follow the principle that there is no division between theory and practice, we develop an interpretation of William Peter Blatty’s The Exorcist (1971). This work is approached because it configures a hermeneutical problem. However, the existentialist shift in this work proposed by this dissertation will be preceded by a reading of the author as a text and its consequent relation to the interpretation of the novel, as well as a relational approach not only to the specific critical reception of the mentioned title, but also in relation to the author’s other works, in the attempt, first, to demonstrate the insufficiency of the characterization of the novel as ‘horror’ or ‘theodicy’, and, finally, to propose the opening of the work in the direction of an existentialist perspective.

Interpretar sempre implicará uma grande jornada. Não é por acaso que esta prática esteja associada à figura mitológica de Hermes. O próprio ato reflexivo em torno da questão ‘o que significa significar’ envolve uma longa viagem. É dividindo a interpretação em dois momentos, ao qual nos referiremos amplamente apenas por ‘ontológico’ e ‘prático’, que esta dissertação adquire sua forma. Num primeiro momento, há uma problematização sobre a questão do significado numa perspectiva hermenêutica. Partindo da discussão engendrada na obra Politics of Interpretation (1983), e passando pela argumentação sobre ‘intencionalidade’ em interpretação textual, especificamente caracterizada na obra de E. D. Hirsch Jr. Validity in Interpretation (1967), busca-se um estudo introdutório sobre a questão do significado do texto literário em relação a um outro problema que é denominado como ‘o narcisismo do leitor’, para enfim culminar na proposta hermenêutica de Ricoeur. Ou seja, antes de especificamente lidar com a interpretação de O Exorcista (1971), busca-se uma abordagem teórica sobre a questão do significado. Num segundo momento, que não implica numa aplicação da teoria exposta, pois partimos do princípio que não há divisão entre teoria e prática, passamos à interpretação da obra The Exorcist (1971) de William Peter Blatty. Aborda-se esta obra por constituir-se um problema hermenêutico. Porém, a virada existencialista desta obra proposta por esta dissertação será precedida por uma releitura tanto do autor como um texto e sua conseqüente relação com a interpretação do romance, quanto por uma abordagem relacional entre não só a recepção crítica desta obra, assim como em relação aos demais romances do autor, na tentativa, primeiro, de demonstrar a insuficiência de caracterizações da obra como ‘horror’ e ‘teodicéia’, para, finalmente, propor a abertura da obra em direção a uma perspectiva existencialista. / Interpreting will always implicate a long journey. It is not by chance that this practice is associated to the mythological figure of Hermes. The very reflexive act about the question of ‘what it means to mean’ involves a longe travel. It is by dividing interpretation in two moments, which will be referred to merely as ‘ontological’ and ‘practical’, that this dissertation achieves its form. In a first moment, there is a problematization about the issue of meaning in a hermeneutical perspective. Beginning from a discussion engendered in the work Politics of Interpretation (1983), and passing through an argumentation about ‘intentionality’ in textual interpretation, more specifically characterized in E. D. Hirsch Jr.’s Validity in Interpretation (1967), we search an introductory study about the meaning of a literary text in relation to another problem which is denominated as ‘the narcissism of the reader’, in order to finally culminate in Ricoeur’s hermeneutical proposal. It means that, before specifically dealing with the interpretation of The Exorcist (1971), we seek a theoretical approach to the question of meaning. In a second moment, which does not implicate in the application of the exposed theory, since we follow the principle that there is no division between theory and practice, we develop an interpretation of William Peter Blatty’s The Exorcist (1971). This work is approached because it configures a hermeneutical problem. However, the existentialist shift in this work proposed by this dissertation will be preceded by a reading of the author as a text and its consequent relation to the interpretation of the novel, as well as a relational approach not only to the specific critical reception of the mentioned title, but also in relation to the author’s other works, in the attempt, first, to demonstrate the insufficiency of the characterization of the novel as ‘horror’ or ‘theodicy’, and, finally, to propose the opening of the work in the direction of an existentialist perspective.

Interpretar sempre implicará uma grande jornada. Não é por acaso que esta prática esteja associada à figura mitológica de Hermes. O próprio ato reflexivo em torno da questão ‘o que significa significar’ envolve uma longa viagem. É dividindo a interpretação em dois momentos, ao qual nos referiremos amplamente apenas por ‘ontológico’ e ‘prático’, que esta dissertação adquire sua forma. Num primeiro momento, há uma problematização sobre a questão do significado numa perspectiva hermenêutica. Partindo da discussão engendrada na obra Politics of Interpretation (1983), e passando pela argumentação sobre ‘intencionalidade’ em interpretação textual, especificamente caracterizada na obra de E. D. Hirsch Jr. Validity in Interpretation (1967), busca-se um estudo introdutório sobre a questão do significado do texto literário em relação a um outro problema que é denominado como ‘o narcisismo do leitor’, para enfim culminar na proposta hermenêutica de Ricoeur. Ou seja, antes de especificamente lidar com a interpretação de O Exorcista (1971), busca-se uma abordagem teórica sobre a questão do significado. Num segundo momento, que não implica numa aplicação da teoria exposta, pois partimos do princípio que não há divisão entre teoria e prática, passamos à interpretação da obra The Exorcist (1971) de William Peter Blatty. Aborda-se esta obra por constituir-se um problema hermenêutico. Porém, a virada existencialista desta obra proposta por esta dissertação será precedida por uma releitura tanto do autor como um texto e sua conseqüente relação com a interpretação do romance, quanto por uma abordagem relacional entre não só a recepção crítica desta obra, assim como em relação aos demais romances do autor, na tentativa, primeiro, de demonstrar a insuficiência de caracterizações da obra como ‘horror’ e ‘teodicéia’, para, finalmente, propor a abertura da obra em direção a uma perspectiva existencialista. / Interpreting will always implicate a long journey. It is not by chance that this practice is associated to the mythological figure of Hermes. The very reflexive act about the question of ‘what it means to mean’ involves a longe travel. It is by dividing interpretation in two moments, which will be referred to merely as ‘ontological’ and ‘practical’, that this dissertation achieves its form. In a first moment, there is a problematization about the issue of meaning in a hermeneutical perspective. Beginning from a discussion engendered in the work Politics of Interpretation (1983), and passing through an argumentation about ‘intentionality’ in textual interpretation, more specifically characterized in E. D. Hirsch Jr.’s Validity in Interpretation (1967), we search an introductory study about the meaning of a literary text in relation to another problem which is denominated as ‘the narcissism of the reader’, in order to finally culminate in Ricoeur’s hermeneutical proposal. It means that, before specifically dealing with the interpretation of The Exorcist (1971), we seek a theoretical approach to the question of meaning. In a second moment, which does not implicate in the application of the exposed theory, since we follow the principle that there is no division between theory and practice, we develop an interpretation of William Peter Blatty’s The Exorcist (1971). This work is approached because it configures a hermeneutical problem. However, the existentialist shift in this work proposed by this dissertation will be preceded by a reading of the author as a text and its consequent relation to the interpretation of the novel, as well as a relational approach not only to the specific critical reception of the mentioned title, but also in relation to the author’s other works, in the attempt, first, to demonstrate the insufficiency of the characterization of the novel as ‘horror’ or ‘theodicy’, and, finally, to propose the opening of the work in the direction of an existentialist perspective.

El Exorcista, una película del género de terror dirigida por William Friedkin en 1973, no solo es un clásico del género; también es un referente para el cine de horror realizado después. Ello se debe a su tratamiento de asuntos que resultaban inéditos para el género, como la sexualidad infantil, y a las características de la representación del proceso de transformación física de una niña poseída, así como al diseño de su banda sonora y de todos sus componentes: la palabra, los ruidos o efectos sonoros, las atmósferas creadas con ellos, la música y el silencio. Todos ellos se orientan a la creación de un clima de horror visceral, donde el miedo provocado por el género convive con el disgusto, el asco y la repulsión causados por los elementos de la representación fílmica. Este artículo describe e interpreta la singularidad de ese tratamiento sonoro de El Exorcista, apuntando aquello que ha resultado influyente en el curso de la historia del género de terror. / The Exorcist, a film of horror genre directed by William Friedkin in 1973, is not only a classic of the genre; it is also a reference to horror films made later. This is due to its treatment of issues that were unprecedented for the genre, such as infantile sexuality, and the characteristics of the representation of the process of physical transformation of a possessed girl, and the design of the soundtrack and all its components: voice, sound effects, atmospheres created with them, music and silence. They are aimed at creating a climate of visceral horror, where fear caused by gender coexists with disgust, repugnance and repulsion caused by the elements of filmic representation. This article describes and interprets the uniqueness of the sound treatment of The Exorcist, pointing what has been influential in the course of the history of the horror genre. / Trabajo de investigación

Autobiographies and documentaries usually aim to elicit a discussion about social issues by shocking and horrifying readers and viewers, often through graphic imagery. This study's ambition is to examine how literary documentary borrows from the gothic tradition to depict real societal issues. My aim is to show how the gothic style transcends the borders of the genre and that literary documentary about self-harm tends to work through the same thematic and narrative structures as the literary gothic. With a focus on contemporary depictions of self-harm and mental illness in young women and girls in Sweden, this analysis explore how the function of sexuality, gender and self-harm in gothic horror can be applied on these texts. At the same time this study explores how selfharming women tend to use gothic imagery to portray the horrors of their own reality that is saturated with extreme and negative emotions. For comparison, two famous depictions of girls going through puberty from the literary horror genre; Carrie and The Exorcist, are examined to further anchor the connection between femininity, blood and puberty in the gothic theoretical field.

No description available.

<p>The nature of evil is clearly defined in catholic dogma and tradition but, though very rarely addressed, what is actually preached and transmitted in pastoral context often differs significantly from this line of thought. Based on the experience that the topic is often evaded or treated poorly, as well as on information concerning a recent increase in reports of demonic possession in western society, this study explored the schism within the church concerning evil. It was noted that embarrassment - as in the face of 21^st century-enlightened-thought the Church still officially states the existence of the Devil and associated malevolent spirits - seems to have promoted an intellectual cover-up. While not desiring to inhibit freedom of thought or opinion, this work aimed at establishing clarity, coherence and truthfulness concerning teachings of the Church, and implications. It was argued that left in the dark as to the Church’s concept of spiritual reality, and ensuing controversy, the laity is not given fair opportunity to make existential choices, reach own conclusions or put forth important questions and issues for debate. The study was grounded in a systematic presentation of catholic dogma on evil, followed by a phenomenologically inspired method of analysis. Recent theological arguments put forth by <em>the New Theology</em> were related to extracts of an extensive interview with a catholic exorcist in Sweden (included in full). It was shown how the traditional Christian idea of Jesus Christ is inseparably bound up with, and based on, the concept of spiritual forces of light/good and darkness/evil, mutually repelling each other. It was concluded therefore that annihilation of the devil in one way or another, inevitably ends up by making the incarnation pointless, deconstructing not only traditional concepts of evil but the whole Christian idea in itself. The need for open discussion was stressed, including uncomfortable implications of belief in the existence of a spiritual evil.</p>

The nature of evil is clearly defined in catholic dogma and tradition but, though very rarely addressed, what is actually preached and transmitted in pastoral context often differs significantly from this line of thought. Based on the experience that the topic is often evaded or treated poorly, as well as on information concerning a recent increase in reports of demonic possession in western society, this study explored the schism within the church concerning evil. It was noted that embarrassment - as in the face of 21st century-enlightened-thought the Church still officially states the existence of the Devil and associated malevolent spirits - seems to have promoted an intellectual cover-up. While not desiring to inhibit freedom of thought or opinion, this work aimed at establishing clarity, coherence and truthfulness concerning teachings of the Church, and implications. It was argued that left in the dark as to the Church’s concept of spiritual reality, and ensuing controversy, the laity is not given fair opportunity to make existential choices, reach own conclusions or put forth important questions and issues for debate. The study was grounded in a systematic presentation of catholic dogma on evil, followed by a phenomenologically inspired method of analysis. Recent theological arguments put forth by the New Theology were related to extracts of an extensive interview with a catholic exorcist in Sweden (included in full). It was shown how the traditional Christian idea of Jesus Christ is inseparably bound up with, and based on, the concept of spiritual forces of light/good and darkness/evil, mutually repelling each other. It was concluded therefore that annihilation of the devil in one way or another, inevitably ends up by making the incarnation pointless, deconstructing not only traditional concepts of evil but the whole Christian idea in itself. The need for open discussion was stressed, including uncomfortable implications of belief in the existence of a spiritual evil.