Thesis (Ph. D.)--Washington University, St. Louis, Mo., 1975. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 366-398).

Thesis (Ph.D.) -- University of Western Sydney, Hawkesbury, 1998. / Thesis submitted for the degree of doctor of philosophy. Includes bibliographical references (leaves 215-220).

It is proposed that there exist unmistakable resonances of the Hermetic world-view in much of the science of the modern period. Hermes Recidivus examines key figurations operating within both the imaginaries of Hermeticism and modern(ist) science with a view to developing a postmodern critical position in regard to the discourse of the modernist scientific project. It is proposed that a re-examination of the notions surrounding these key figurations may provide new hermeneutical tools, and that the imaginary of Hermeticism represents a potentially rich resource from which to develop alternative modes of critical enquiry. It is furthermore proposed that the mechanism by which these Hermetic resonances are perpetuated within the discourse of modernist science takes the form of a logic of the imaginary associated with key figurations within Hermeticism. Certain figural elements associated with the Hermetic imaginary seem to possess a constancy that travels across temporal and disciplinary barriers, encouraging the assumption that these figures are central organising principles within both Hermeticism and modern science. Specifically these figurations are those of the anima mundi and the Gnostic 'alien light' or spintheros. It is proposed that these figurations take the form of 'ideal objects' within both the discourses of Hermeticism and modernist science. The individual chapters respectively examine the relevance of the Hermetic imaginary to Artificial Intelligence research and cybernetic theory; occidental and oriental traditions of the 'subtle body' and their relevance to developing a postmodern perspective on the question of mind-body dualism; the 'metaphysical geometry' of key figures within the Hermetic and Kabbalistic traditions and their resonances within mathematical 'catastrophe theory' as developed by Rene Thom; the Hermetic alchemy of Robbert Fludd as revealed in his text Truth's Golden Harrow, and its relevance in regard to the subject-object split of modern(ist) scientific consciousness and, finally, the influence of Kabbalistic and Hermetic figuration on the development of Leibniz's monadological philosophy and on the notion of the 'field' in contemporary physical theory / Doctor of Philosophy (PhD)

Thesis (Ph. D.)--Duke University, 2008. / Includes bibliographical references.

To traverse the blinking, Transitar el parpadeo, is to consider six poetries that seem invisible or at least blurred in current Spanish poetic contexts: José-Miguel Ullán, Carlos Piera, Pedro Provencio, Ildefonso Rodríguez, Olvido García Valdés, Miguel Casado. All of these poets start writing in a period strongly marked by the endings of francoism, and the beginnings of the democracy. The blinking refers to their apparitions and disappearances in general panoramas of Spanish poetry, but it also refers to something that bothers the eyes of most Spanish critics: their criticism is only able to see generations, replacements, and poetic hegemonies. To traverse the blinking is, thus, a question about the reason that their vision is so obstructed, and, at the same time, an attempt to really see these poets, which implies finding a new way of reading them. Since these poetics resist any form of closure, and, at the same time, they offer themselves as an invitation to mobility; we need to find theoretical approaches to reading that do not betray those resistances and preserve the trace of that traversing. This is why I have chosen to organize my dissertation in six chapters, each of them dealing with a poet, and I have concluded without properly or formally closing, but formulating some premises on how to keep crossing through those poetic visions. My conclusion is that categories such as strangeness, the foreign, exodus, and the border, would necessarily need to be acknowledged in order to start to make visible the foundations of these writings. I maintain that they reveal a tradition, long repressed during francoism and also during the first stages of a democratic transition based in a pact of forgetting, a tradition that these poets claim as theirs and which considers the avant-garde as a lineage that, not only cannot be waived, but should be reconsidered. Traversing them, thus, offers new insights on theoretical issues such as subjectivity, poetry's relation to thought, its formal limits, and the question about reality, while believing that language, by retaining its restlessness, continues to offer itself as a powerful tool of resistance and memory. / Dissertation

Symbols connect our deepest thoughts with our senses. This thesis explores the Alchemical symbols, developed by mythical deity Hermes Trismegistus, whose symbols remnant of geometric shapes represent the classical elements of Earth, Water, Fire and Air. Watercolor, graphite, and gesso are my primary materials as they can be manipulated by the classical element of water. With this, I can create representations of the symbols through the language of drawing. The audience is invited to open their thoughts and all senses to the Alchemical symbols and the distinctive forms that appear from the visual mixture of the materials. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection

Si, dès le XVIIIe siècle le vocabulaire de la chimie s’est unifié et s’est vu apposé une certaine nomenclature destinée à faciliter sa compréhension, il n’en a jamais été de même pour le vocabulaire alchimique. Un vocabulaire est généralement un ensemble cohérent dont les significations sont établies uniformément et non pas individuellement. La particularité du vocabulaire alchimique est de ne pas refléter cet idéal d’uniformisation et de faire primer les interprétations individuelles.Jamais les adeptes de l'art d'hermès n'ont voulu apporter une codification dans l'usage de leurs termes (que ce soit pour les ustensiles ou pour les composants). Ce refus de s'aligner sur une langue technique commune a ostracisé les alchimistes du monde des sciences souvent dites « raisonnées ». Ce fait peut donc amener à appréhender l'alchimie d'une mauvaise manière. En effet, les alchimistes ne sont pas tous des travailleurs isolés, coupés du monde, reclus dans leurs propres acceptions théoriques, leur science participe aussi de cette idée de ''cosmopolis'' très prisée au XVIIIe siècle.Le problème de la compréhension de ce vocabulaire exceptionnel se pose donc de manière récurrente lorsque l’on tented’appréhender l’histoire de l’alchimie et de la replacer dans les contextes socio-culturels auxquels elle ne pouvait éviter d’appartenir.Cette thèse a donc pour but de mieux définircertains termes du vocabulaire alchimique del’époque moderne, de leur donner un sens ausein de leurs environnements littéraires etculturels. / During the XVIIIe century, chemistry has started its journey on the path of the unification, codification and normalization ofits vocabulary. The same process doesn’t apply to alchemy. The vocabulary of the hermetical arts has never managed toestablish a normalized lexical field. Considering that any vocabulary being essentially an attempt to unify ideas around asame concept, the alchemical one shows a particularity by being divided, fragmented and highly individualistic. This fact is most likely not a coincidence, it comes more from a secrecy measure wanted by the alchemists to prevent any greedy use of the powerful alchemical secrets. However, this way of secrecy and complexity has slowly but surely took alchemy away from the established sciences. This state of fact can easily bring one to mistake alchemy for a science of men disconnected from their social and cultural backgrounds, working only for themselves, which is not the case. The matter of the alchemical vocabulary understanding is therefore a reoccurring and prominent issue for whom wants to understand the implications of alchemy in the modern thinking and society. This thesis aims at giving a better understanding of several alchemical terms, concerning Modern era, both on a literary and cultural levels.

Thesis (Ph. D.)--University of Chicago, Committee on the History of Culture, December 2000. / Includes bibliographical references. Also available on the Internet.

La poésie française doit-elle ses avancées contemporaines à une certaine « alchimie verbale » ? En convoquant Hermès dans son œuvre, Salah Stétié offre une visibilité à la problématique de l'intégration de l'alchimie dans le champ de la poésie. Par cette voie, nous projetons d'inaugurer une facette de l'œuvre de Salah Stétié qui n'a fait l'objet d'aucun discours critique jusqu'à présent, puisque les exégètes ont toujours ramené cette poésie à l'influence de la tradition musulmane, délaissant la saveur de la substance au profit de l'apparence et de la doctrine. En même temps, ce sera l'occasion de réhabiliter, voire de redéfinir la science d'Hermès, eu égard à cette alliance poético-alchimique. La première partie entreprend l'état des lieux, en défrichant le terrain hermétique, son statut par rapport aux sciences de l'homme et son apport à la poésie. Après ce cadrage théorique, les deux parties suivantes s'intéresseront à l'usage de l'hermétisme par Salah Stétié. L'élaboration d'un nouveau langage implique profondément l'alchimie de la substance. D'une part, l'entente opérée par le poète, fils d'Hermès, entre l'Orient et l'Occident se traduit par un français croisé d'arabe. D'autre part, les images mentales renvoient à un processus souterrain qui, mettant en jeu les forces de l'inconscient, la chair organique et cosmique, la musique des mots, le souffle du lecteur, remet en perspective des concepts littéraires et des notions méthodologiques (francophonie, hermétisme, approches critiques …). / Does the French poetry owe its contemporary advances to a certain " verbal alchemy "? By summoning Hermes in his work, Salah Stétié offers a visibility to the problem of the integration of the alchemy in the field of the poetry. By this way, we intend to inaugurate a facet of the work of Salah Stétié which didn't make the object of any critical speech until now, because the exegetes always returned this poetry to the influence of the Islamic tradition, abandoning the flavour of the substance for the benefit of the appearance and of the doctrine. At the same time, it will be the occasion to rehabilitate, even to redefine the science of Hermes, in consideration of this poetic/alchemical alliance. The first part begins the inventory of fixtures, by cultivating the hermetic ground, its status with regard to the human sciences and its contribution in the poetry. After this theoretical centring, following both parts will be interested in aid of the hermeticism in Salah Stétié. The elaboration of a new language involves profoundly the alchemy of the substance. On one hand, the agreement operated by the poet, son of Hermes, between the East and the West is translated by crossed French of Arabic. On the other hand, the mental images send back to an underground process which, involving the strengths of the unconscious, the organic and cosmic flesh, the music of the words, the breath of the reader, puts back in prospect some literary concepts and methodological notions (francophonie, hermeticism, critical approaches…).

O tema desta Dissertação de Mestrado é a análise dos conceitos de analogia e assurreição (objetos formais) na obra Soledades (objeto material) de Luis de Góngora, bem como suas implicações filosóficas e formais. Pretendi fazer uma análise do poema, tendo em vista perseguir a seguinte hipótese: a desmesura e a desproporção que as Soledades apresentam não são fruto de um mero capricho estilístico. Elas nascem de uma intervenção do furor poético, entendido como furor divino. Góngora teve acesso a essas concepções mediante o influxo de ideias herméticas e neoplatônicas na Península Ibérica. Tais influxos são responsáveis por uma amplificação especialmente aguda da doutrina da analogia. O desdobramento máximo dessa ênfase no princípio da analogia é propriamente a assurreição, tal como definida por Claude-Gilbert Dubois. A partir desses elementos, esta Dissertação de Mestrado pretendeu proceder a uma análise de alguns motivos, cenas e trechos do poema narrativo Soledades, de Luis de Góngora y Argote, mostrando como ele elabora a doutrina da analogia de proporcionalidade e em que momento essa analogia aguda produz a assurreição, ou seja, o corte transversal na hierarquia dos corpos institucionais, movimento este em geral entendido em termos teológicos e políticos como heresia. Por outro lado, há a importante relação entre hermetismo, neoplatonismo e literatura na Renascença, bem como a maneira pela qual a doutrina do furor poético se infiltrou nas artes e na poesia espanholas por via italiana nos séculos XVI e XVII. Concentrei-me no conceito de assurreição e na análise do deslocamento metafísico-teológico das analogias de proporcionalidade presentes nas Soledades, cotejando-as com a distribuição dos lugares naturais de cada elemento do cosmos, fixada sobretudo por Santo Tomás de Aquino, a maior autoridade da teologia católica na Península Ibérica do século XVII / The theme of this Master Thesis is the analysis of the concepts of analogy and assurreição (formal objects) in the work Soledades (material object) of Luis de Góngora, as well as formal and philosophical implications. Wanted to do an analysis of the poem in order to pursue the following hypothesis: the excesses and the disproportion that Soledades have are not the result of a stylistic whim. They are born of an intervention poetic furor, understood as divine wrath. Góngora had access to these conceptions by the influx of Hermetic and Neoplatonic ideas in Iberia. Such inflows are responsible for a particularly acute amplification of the doctrine of analogy. The splitting up of this emphasis on the principle of analogy is properly assurreição as defined by Claude-Gilbert Dubois. From these elements, this Dissertation intended to carry out an analysis of some reasons, scenes and snippets of narrative poem Soledades, Luis de Góngora y Argote, showing how he prepares the doctrine of proportionality and analogy in that moment that analogy acute assurreição produces, ie the cross section in the hierarchy of institutional bodies, this movement generally understood in theological and political terms as heresy. On the other hand, there is the important relationship between Hermeticism, Neoplatonism and literature in the Renaissance, as well as the manner in which the doctrine of poetic fury seeped in arts and poetry by Italian Spanish in the sixteenth and seventeenth centuries. I focused on the concept of assurreição and analysis of the shifting metaphysical and theological analogies of proportionality present in Soledades, comparing them with the distribution of natural places for each element of the cosmos, basically fixed by St. Thomas Aquinas, the greatest authority of Catholic theology in seventeenth-century Iberian Peninsula