Bibliografias temáticas / Theosophy in art

Literatura científica selecionada sobre o tema "Theosophy in art"

Autor: Grafiati

Publicado: 26 de julho de 2024

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Artigos de revistas sobre o assunto "Theosophy in art"

Abed, Murtadha Atewa. "THE INFLUENCE OF THEOSOPHY ON MODERN PAINTING". American Journal Of Social Sciences And Humanity Research 4, n.º 4 (1 de abril de 2024): 42–48. http://dx.doi.org/10.37547/ajsshr/volume04issue04-07.

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An interesting subject that delves into the junction of spirituality, philosophy, and creative expression is the effect of Theosophy on contemporary painting. In the late 19th century, Helena Petrovna Blavatsky established the spiritual movement known as Theosophy. Theosophy is a belief system that seeks to discover the truth about the oneness of all faiths and delve further into the secrets of life, positing the existence of concealed realities beyond the material world. During the late 19th and early 20th centuries, Theosophy wielded a transformative influence on the field of contemporary art. Its principles were not just influential, but potent enough to reshape the work of even the most prominent painters. Russian artist Wassily Kandinsky is a testament to this; his journey was not just instrumental, but transformative in the ascent of abstract expressionism.Theosophical teachings resonated deeply with Kandinsky, echoing not just his profound spirituality, but his personal quest to uncover art's hidden significance. Theosophy posited the existence of concealed realities beyond the material world, placing not just a premium, but a profound importance on the spiritual facets of life. For Kandinsky, art was not just a portal, but a profound conduit for these higher realms, a conduit for the cosmic spirit to manifest. This profoundly impacted Kandinsky as he veered away from realistic imagery and delved into the realm of abstract painting. He aimed to articulate spiritual experiences and emotions through the medium of color and shape. For instance, in his painting 'Composition VII, 'Kandinsky used vibrant colors and dynamic shapes to convey a sense of spiritual energy and movement. Driven by the belief that art could convey profound, transcendent truths, his work progressively shed its symbolic nature. Famous for his geometric abstract paintings, Piet Mondrian was another artist impacted by Theosophy. Theosophy's principles of spiritual progress and cosmic oneness resonated with Mondrian's search for inner peace and a sense of cosmic order, which were crucial to his creative process. For instance, in his painting 'Composition with Red, Yellow, and Blue, 'Mondrian used primary colors and straight lines to represent the harmony and balance he believed existed in the universe, a concept aligned with philosophical ideas. Beyond specific artists, the influence of Theosophy on contemporary art might be seen in more systemic currents like Abstract Expressionism and Symbolism. Some artists, like the symbolists, drew inspiration from the theosophical tradition's emphasis on introspection and mystical themes. Theosophy had not just a significant but a lasting impact on contemporary painting. It inspired painters to seek not just new ways but innovative ways of expressing themselves that went beyond traditional depictions. Modern painting's enduring legacy is not just profoundly rooted but intricately intertwined with theosophical ideas of spirituality, oneness, and inner change, which fostered not just the emergence but the flourishing of abstract and emotionally charged art forms, such as Wassily Kandinsky's abstract expressionism and Piet Mondrian's geometric abstraction, which aimed not just to convey, but to evoke spiritual and emotional experiences through non-representational forms.

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Davenport, Nancy. "Paul Sérusier: Art and Theosophy". Religion and the Arts 11, n.º 2 (2007): 172–213. http://dx.doi.org/10.1163/156852907x199161.

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AbstractThe art of Paul Sérusier and that of his artist friends has been interpreted in this essay as having its roots in the Theosophical themes prevalent in an interdependent circle of authors and spiritualists in 18th and 19th century France. These mystical thinkers were less concerned with the writings and indomitable presence of the acknowledged leading light of Theosophy Helena Petrovna Blavatsky than with a more specifically French national yearning for its imagined Celtic and traditionally Roman Catholic roots, smothered, in their view, by secular and materialistic modern sensibilities. Theosophy, “the essence of all doctrines, the inmost truth of all religions” as defined by the doyenne of French Theosophy Maria, Countess of Caithness and Duchess of Medina-Pomar, led Sérusier to seek elemental truth for his art in a remote inland village in Brittany where he painted for many years, to a Benedictine monastery on the Danube where formerly Nazarene artist/monks had created a system of drawing and painting believed to be based on the original design of the universe, and to the widely read text Les Grands Initiés (1899) by the mystic writer, Edouard Schuré. Sérusier's broad-reaching search for the Theosophical roots of art was one aspect of the fin de siècle malaise that led the arts out of the world into dreams.

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Raynova, Yvanka B. "The Painting "Confessions" of Nikolay Raynov". Labyrinth 20, n.º 2 (15 de março de 2019): 201. http://dx.doi.org/10.25180/lj.v20i2.144.

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The aim of the following paper is to show that it is not possible to penetrate into the depths of Nikolay Raynov's universe and to comprehend its wholeness, without posing and investigating the question about the origin or the foundation of his various creative occupations, i.e his novels, philosophic and theosophic writings, art history and critique, paintings, decorative design etc. This question is far too complex to be answered briefly without being simplified, and therefore two main directions will be articulated: the recption of Orphism developed in Plotinus' and Porphyry's Neoplatonism – which is the basis of modern Theosophy –, and the synthetic understanding of art, which puts Raynov's views in close proximity to Wassily Kandinsky and Nicholas Roerich.

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Faxneld, Per. "‘Mirages and visions in the air’". Approaching Religion 11, n.º 1 (20 de março de 2021): 63–76. http://dx.doi.org/10.30664/ar.98199.

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Around the year 1900, European discourse on art was becoming increasingly ‘esotericized’. The 1890s saw esoteric art salons create a sensation in Paris, and art critics and theorists painted a picture of the true artist and the esotericist as overlapping figures. There was also at the time a conflict regarding mediumistic art, a phenomenon initially made popular through Spiritualist mediums. This debate, as we shall see, had interesting gendered dimensions. In what follows, I will discuss how the Swedish female esotericist and artist Tyra Kleen (1874–1951) attempted to situate herself in connection to the concept of the artist as a magus, and the tensions between the positive view of mediumism in Spiritualism and the more negative or cautious approach to it in Theosophy, as well as in relation to the attendant gender issues.

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ByungKil Choi. "The Effect of Theosophy upon the Process of Dehumanization in Avant-garde Art". Misulsahakbo(Reviews on the Art History) ll, n.º 33 (dezembro de 2009): 243–84. http://dx.doi.org/10.15819/rah.2009..33.243.

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Helme, Sirje. "THEOSOPHY AND THE IMPACT OF ORIENTAL TEACHING ON THE DEVELOPMENT OF ABSTRACT ART". Baltic Journal of Art History 7 (19 de novembro de 2014): 81. http://dx.doi.org/10.12697/bjah.2014.7.05.

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Introvigne, Massimo. "The Sounding Cosmos Revisited". Nova Religio 21, n.º 3 (1 de fevereiro de 2018): 29–46. http://dx.doi.org/10.1525/nr.2018.21.3.29.

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Starting with the 2013 conference Enchanted Modernities in Amsterdam, a number of academic events, exhibitions, and publications (including a 2016 special issue of Nova Religio) documented the growing interest of both art historians and scholars of new religious movements in the influence of the Theosophical Society and other esoteric groups on the birth and development of modern art. At the center of this renewed interest is the controversial work of Finnish art historian Sixten Ringbom (1935–1992), who in the late 1960s “discovered” the Theosophical connections of Russian pioneer of abstract art Wassily Kandinsky (1866–1944), discussed in his book The Sounding Cosmos. In this paper, I discuss Ringbom’s background, his almost coincidental discovery of Theosophy, the ostracism his work received from those who did not want modern art to be associated with irrationalist and disreputable “cults,” and his posthumous influence on the birth of a new subfield within the study of new religious movements, devoted to their relationships with the visual arts.

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Шахматова, Елена Васильевна. "ANTHROPOLOGICAL IDEAS IN THE PHILOSOPHICAL-ART SYNTHESIS OF MIKHAIL MATYUSHIN". Вестник Тверского государственного университета. Серия: Философия, n.º 3(53) (30 de outubro de 2020): 188–96. http://dx.doi.org/10.26456/vtphilos/2020.3.188.

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В статье обосновывается положение о том, что антропологические модели русского авангарда были тесно связаны с метафизикой Всеединства русской религиозной философии рубежа ХIX-XX вв., теософией, философией жизни и древнеиндийскими учениями. Жизнестроительные тенденции эпохи отражали эсхатологические мотивы культуры и искусства Серебряного века. Органическое направление русского авангарда продолжило линию Всеединства, утверждая равенство между микро- и макрокосмом. Предложенный М. Матюшиным метод «ЗОР-ВЕД» отражал антропологические идеи воспитания совершенного человека средствами искусства. The article substantiates the position that the anthropological models of the Russian avant-garde were closely related to the metaphysics of the unity of Russian religious philosophy at the turn of the 19th-20th centuries, theosophy, the philosophy of life, and ancient Indian teachings. Vital tendencies of the era reflected eschatological motifs of culture and art of the Silver Age. The organic direction of the Russian avant-garde continued the line of Unity, asserting the equality between micro and macrocosm. The «ZOR-VED» method proposed by M. Matyushin reflected the anthropological ideas of educating a perfect person by means of art.

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Stoeber, Michael. "Theosophical Influences on the Painting and Writing of Lawren Harris: Re-Imagining Theosophy through Canadian Art". Toronto Journal of Theology 28, n.º 1 (março de 2012): 81–104. http://dx.doi.org/10.3138/tjt.28.1.81.

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Bacsó, Beáta. "Karinthy Frigyes, újgnosztikus áramlatok: spiritizmus; teozófia; antropozófia". Kaleidoscope history 13, n.º 26 (2023): 123–58. http://dx.doi.org/10.17107/kh.2023.26.7.

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In the early 20th century there were emerging many intellectual currents at the same time as an organic continuation of the Enlightenment, the materialist-based scientific thinking, such as Darwinism, Haeckelism, Marxism, and Einstein’s theory of relativity. At the same time, Goethe’s spiritual science, Kant’s moral philosophy, and pure Hegelian idealism were still influential, but there appeared already Nietzsche’s amoral philosophy, which was a contemporary philosophical response to the secularization of the world. A little bit later, were emerging Freudian psychoanalysis and its psychological branches (Jung, Ferenczy, Adler, etc.). As a counter-effect of materialism, there developed also esoteric trend as Neognostic Spiritualism, Theosophy and Anthroposophy, as well as the Freemasonry movement. These intellectual currents acted and fertilized simultaneously the bourgeois culture, science and art of that era. This ebullient intellectual environment favoured naturally the development of brilliant creators like Frigyes Karinthy. It is not by chance that there are detectable Gnostic elements in Karinty’s several writings, existential and eschatological ideas which are presented by exploring contemporary Neognostic trends in this study.

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Teses / dissertações sobre o assunto "Theosophy in art"

Nycander, Olga. "Deconstructing Thought Forms : Ett bokformgivningsprojekt om ett färg- och formsystem över hur tankar och känslor ser ut". Thesis, Konstfack, Grafisk design & illustration, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7992.

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Ett bokformgivningsprojekt som visar färg- och formteorierna i boken Thought Forms (1905) som ett tidigt konst- och designteoretiskt verk. Boken Thought Forms (1905) av Annie Besant and C. W. Leadbeater är en teosofisk bok som presenterar ”tankeformer” som visar hur tankar och känslor ser ut för den klärvoajanta. Boken tros ha inspirerat abstrakta konstnärer som till exempel Vasilij Kandinski och Hilma af Klint som båda var medlemmar i det teosofiska samfundet. Genom en serie på tre böcker presenterar jag färg- och formsystemen i Thought Forms som ett tidigt konst- och designteoretisk verk. Projektet är lika delar en undersökning av känslor och andliga idéers påverkan på formgivning som ett ut utforskande av bokformens påverkan på läsningen av ett innehåll. Projektet består av tre handgjorda böcker som presenterar bilderna, förgläran och formerna ur Thought Forms: Deconstructing Thought Forms: The Figures Deconstructing Thought Forms: The Colours Deconstructing Thought Forms: The Shapes
A book design project that shows the theories of color and form in the book Thought Forms from 1905 as an early of art- and design theoretical work. The book Thought Forms by Annie Besant and C. W. Leadbeater is a theosophical book that shows "thought forms". Colourful shapes formed by thoughts and feelings, only visible for the clairvoyant. The book is believed to have inspired abstract artists such as Wassily Kandinsky and Hilma af Klint, who were both members of the Theosophical Society. Through a series of three books, I present the color and shape systems from Thought Forms as an early art and design theoretical work. This project is both an investigation of the influence of emotions and spiritual ideas on design as an exploration of the book designs effect on how we receive a content. The result is a series of three books: Deconstructing Thought Forms: The Figures Deconstructing Thought Forms: The Colors Deconstructing Thought Forms: The Shapes

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Soud, William David. "Toward a divinised poetics : God, self, and poeisis in W.B. Yeats, David Jones, and T.S. Eliot". Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:331a692d-a40c-4d30-a05b-f0d224eb0055.

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This thesis examines the traces of theological and broader religious discourses in selected works of three major twentieth-century poets. Each of the texts examined in this thesis encodes within its poetics a distinct, theologically derived conception of the ontological status of the self in relation to the Absolute. Yeats primarily envisions the relation as one of essential identity, Jones regards it as defined by alterity, and Eliot depicts it as dialectical and paradoxical. Critics have underestimated the impact on Yeats’s late work of his final and most sustained engagement with Indic traditions, which issued from his friendship and collaboration with Shri Purohit Swami. Though Yeats projected Theosophical notions on the Indic texts and traditions he studied with Purohit, he successfully incorporated principles of Classical Yoga and Tantra into his later poetry. Much of Yeats’s late poetics reflects his struggle to situate the individuated self ontologically in light of traditions that devalue that self in favor of an impersonal, cosmic subjectivity. David Jones’s The Anathemata encodes a religious position opposed to that of Yeats. For Jones, a devout Roman Catholic committed to the bodily, God is Wholly Other. The self is fallen and circumscribed, and must connect with the divine chiefly through the mediation of the sacraments. In The Anathemata, the poet functions as a kind of lay priest attempting sacramentally to recuperate sacred signs. Because, according to Jones’s exoteric theology, the self must love God through fellow creatures, The Anathemata is not only circular, forming a verbal templum around the Cross; it is also built of massive, rich elaborations of creaturely detail, including highly embroidered and historicized voices and discourses. Critics have long noted the influence of Christian mystical texts on Eliot’s Four Quartets, but some have also detected a countercurrent within the later three Quartets, one that resists the timeless even as the poem valorizes transcending time. This tension, central to Four Quartets, reflects Eliot’s engagement with the dialectical theology of Karl Barth. Eliot’s deployment of paradox and negation does not merely echo the apophatic theology of the mystical texts that figure in the poem; it also reflects the discursive strategies of Barth’s theology. The self in Four Quartets is dialectical and paradoxical: suspended between time and eternity, it can transcend its own finitude only by embracing it.

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Allan, Michele Margaret. "‘LIQUID SPACE’: a visual investigation of the sea as an empirical, experiential and metaphoric space". Phd thesis, 2013. http://hdl.handle.net/1885/13491.

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Artworks produced in this studio-based research (option D) involve exploration of the ‘liquid space’ of the sea, not just in its physical and sensual nature and the way the sea looks, but also with what the sea inspires. They explore the spatial dynamics of underwater terrains, convergences of inner and outer ‘space’, and question if and how the numinous and immaterial might be made manifest in the material. References to the traditional story of Jonah and the Whale operate as a contemporary metaphor for the sea as a site of death and renewal. Through the creation of series of paintings, works on paper and engraved glass overlays, the sea is examined as a synthesis of the complex and diverse on many fluidly interacting levels, including the empirical, experiential and metaphoric. As a poetic space with many levels of resonance, it becomes ground for exploring the creative process, the nature of being and processes of transformation and change within each. Research questions include: What might a contemporary expression of the interaction of the physical and metaphysical self be like? How might a synthesis of abstraction and representation be created in the visual language of painting? How might concepts of unity be reconciled with rhythms of death and renewal, transformation and change? Does unity necessarily mean uniform? A significant aspect of this research has been the generation of artworks on or through field trips to locations by the sea - Cape Leveque in North-east Australia, Heron Island Research Station on the Great Barrier Reef and South Bruny Island in Tasmania. In exploring the interface between abstraction and representation, unity and diversity, and the inner and outer worlds, I have discovered the sea rich ground for reenvisioning these seeming opposites as co-creative, relational and finally inseparable. The ‘Wave’ structure of the Exegesis is more than usually organic in form. Conventional chapters are replaced by multiple and varied sections, each called a WAVE and written in changing ‘voice’. Echoing the shifting rhythms of the sea, and in order to correspond more directly to the way practice-driven research creates meaning, the wave structure reflects the wider concerns of the research to synthesise the unexpected and diverse.

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Bowd, Kevin. ""The Masters are close to an isolated lodge" : the Theosophical Society in Tasmania, 1889-1930". Thesis, 1993. https://eprints.utas.edu.au/18977/1/whole_BowdKevin1993_thesis.pdf.

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The interaction of severe social change, new creeds and challenged beliefs during the nineteenth century created a cultural crisis for western society which would enable the Theosophical Society to emerge as an answer to that crisis. The publication of 'The Origin of Species' in 1859 is a suitable starting point. The cultural impact of Darwin's work was wide-reaching, and those who read Darwin were only a fraction of those exposed to Darwinian ideas. Evolutionary notions settled on the bed of popular perceptions and, losing none of their potency, produced a great variety of expressions, even contradictory ones and the full impact of evolutionary theory upon the late nineteenth century mind caused the disquiet that pervaded late Victorian thinking. A changing view of the Bible accompanied the adjustment to modern science and the appearance of 'Essays and Reviews' by seven liberal churchmen in 1860 presented a further shock. The higher criticism of the Tubingen School (denying Mosaic authorship of the Penteteuch and questioning the historical accuracy of the Old Testament, its rejection of the miracles and the old notion of prophecy) transmitted to English readers challenges to the Bible as an inspired and infallible book.

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Livros sobre o assunto "Theosophy in art"

J, Regier Kathleen, ed. The Spiritual image in modern art. Wheaton, Ill., U.S.A: Theosophical Pub. House, 1987.

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Guéguen, Daniel. Les deux Prométhée de Jean Delville. Paris: Lienart, 2021.

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Kokkinen, Nina, e Lotta Nylund. Spiritual treasures: Esotericism in the Finnish art world 1890-1950. Helsinki: Parvs, 2020.

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Guglielmo, Bilancioni. Architectura esoterica: Geometria e teosofia in Johannes Ludovicus Mattheus Lauweriks. Palermo: Sellerio, 1991.

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Steiner, Rudolf. Art as spiritual activity: Rudolf Steiner's contribution to the visual arts. Hudson, NY: Anthroposophic Press, 1997.

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Bladel, Kevin Thomas van. The Arabic Hermes: From pagan sage to prophet of science. Oxford: Oxford University Press, 2009.

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Arundale, Rukmini Devi. Some selected speeches & writings of Rukmini Devi Arundale. Chennai: Kalakshetra Foundation, 2003.

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Mary, Gray. Mary Gray's The gateway of liberation ; and, Spiritual laws: Rules of the evolutionary arc. 3^a ed. Tahlequah, Okla: Sparrow Hawk Press, 1992.

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Jinarajadasa, C. Theosophy And Art. Kessinger Publishing, LLC, 2005.

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Society, Theosophical Publishing. Theosophy And Art. Kessinger Publishing, LLC, 2005.

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Capítulos de livros sobre o assunto "Theosophy in art"

"Abstract Art as “By-Product of Astral Manifestation”: The Influence of Theosophy on Modern Art in Europe". In Handbook of the Theosophical Current, 429–51. BRILL, 2013. http://dx.doi.org/10.1163/9789004235977_021.

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Hardiman, Louise. "3. ‘The Loving Labourer through Space and Time’: Aleksandra Pogosskaia, Theosophy, and Russian Arts and Crafts, c. 1900–1917". In Modernism and the Spiritual in Russian Art: New Perspectives, 69–90. Open Book Publishers, 2017. http://dx.doi.org/10.11647/obp.0115.03.

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Johnson, Dominic. "Impossible things". In Unlimited action, 124–54. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9780719091605.003.0005.

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Since the late 1960s, Anne Bean’s performances, public interventions, drawings, videos and writings have been actively pursued as a ‘continuum’, and she strives to diminish the distinctiveness or iconicity of each in favour of a democracy of forms and effects. Bean’s pursuit of a continuum is discussed as a performance of extremity with regards to specific works of performance as well as her broader assault on critical and theoretical understandings of performance and art, in terms of the potential of performance art to blur the boundaries between art and life. The argument is channelled through the theosophy of G. I. Gurdjieff – a touchstone for Bean in the 1970s – and the dubious critical methods of magic and the occult, ending up at the persistence of her refusal to be fixed or found by history.

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"Re-imagining Theosophy through Canadian Art: Indian Theosophical Influences on the Painting and Writing of Lawren Harris". In Re-imagining South Asian Religions, 193–220. BRILL, 2013. http://dx.doi.org/10.1163/9789004242371_011.

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Quereilhac, Soledad. "Modernismo, Spiritualism, and Science in Argentina at the Turn of the Twentieth Century". In Geopolitics, Culture, and the Scientific Imaginary in Latin America, 215–29. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401483.003.0011.

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This chapter analyzes the uses and appropriations of scientific discourse in Argentine magazines from the fin de siècle: a period in which literary modernism coincided with the development of spiritualisms that aspired to the status of science (or “occult sciences”) like Spiritism and Theosophy. The aim is to examine concrete examples that relativize the sharp division between science, art, and spiritualism in the culture of this period. The main sources explored are La Quincena. Revista de letras (1893–1899), Philadelphia (1898–1902), La Verdad (1905–1911), and Constancia (1890–1905). In addition, the chapter focuses on how the astonishing growth of science in Argentina, as well as the social legitimation of scientific discourses, influenced other fields, giving shape to new literary expressions, beliefs, and utopian projections that synthesized the material and the spiritual.

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Strube, Julian. "Revivalism and Theosophy". In Global Tantra, 149–62. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197627112.003.0006.

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This chapter demonstrates that demarcations between reformism and revivalism are anything but clear, and indeed often are more misleading than helpful. The focus rests on the ambiguous role of Theosophy within “Hindu revivalism,” as contemporaries perceived the Society as part of the “revivalist” camp, while it clearly harbored “typically reformist” ideas. The chapter opens a diachronic perspective on this ambiguity by discussing the Mahānirvāṇa Tantra and its reception since the eighteenth century. This provides insights into why Tantra played such a prominent role in the debates about revival and reform: it was central to the debates about sanātana dharma and related struggles about Hindu identity. So-called orthodox efforts were usually decisively marked by reformist agendas, while reformists often shared the same notions of sanātana dharma and a revival of Aryan civilization. These debates, which had developed since the early colonial period, conditioned the activities of the Theosophical Society.

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Weir, David. "Theosophy and Modernism". In Imagining the East, 205–28. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190853884.003.0010.

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This chapter shows that even though the esotericism of Theosophy might seem far from modernist literature, modernist icons such as William Butler Yeats, Gertrude Stein, and T. S. Eliot, among others, took inspiration from Madame Blavatsky’s writings. The chapter argues that Blavatsky’s Koot Hoomi, for example, structurally is quite similar to Nietzsche’s Zarathustra. Blavatsky’s investigations of the Vedāntic tradition are also on par with the modernist tendency to reject Christianity or, in Eliot’s case, to employ Eastern theology as a means of revivifying Western religious traditions. Modernist Orientalism has many sources, but as this chapter argues, Theosophy must be counted as one of the more pertinent of such sources, since it was through Theosophy that a number of important modernist figures first became aware of Eastern traditions. Theosophy, as this chapter shows, provided a template for the modernist re-evaluation of religious tradition—Eastern tradition, especially—as rich material for new cultural production.

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Waters, Thomas. "Occultists Study Dark Arts". In Cursed Britain, 139–55. Yale University Press, 2019. http://dx.doi.org/10.12987/yale/9780300221404.003.0006.

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This chapter shows that witchcraft did not beguile only rustic simpletons during the Victorian era. In cities and suburbs, behind expensive curtains and in bay-windowed houses, avant-garde types experimented with new forms of occultism. Spiritualism, theosophy, Christian Science, and extremely complex ritual magic — these types of mysticism are often seen as positive, therapeutic, and emancipating. In many ways they were, but the late Victorian occult revival had dark sides too. Many occultists were intrigued by evil powers and some were absolutely obsessed with them. These characters, with their strange theories and esoteric investigations, helped to refresh the idea of witchcraft, rendering it in terms that befitted the modern age.

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Cheshire, Paul. "Introduction". In William Gilbert and Esoteric Romanticism, 1–14. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786941206.003.0001.

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This chapter starts by describing the impact of Gilbert’s ‘strange poem’ The Hurricane on Gilbert’s friends and contemporaries: Coleridge, Southey, Wordsworth, and their circle in Bristol, and then follows its critical reception. Romanticist critics John Livingston Lowes, Paul Kaufman, John Beer, and Jonathan Wordsworth drew on the views of Gilbert’s contemporaries to assess The Hurricane. Later culturally based scholarship has brought wider perspectives on the 1790s radical underworld, and its population of visionaries, prophets, and millennialists. Marsha Keith Schuchard’s identification of Gilbert’s pseudonymous writings on magic and astrology has made possible a better-informed assessment of Gilbert’s use of esoteric traditions – Hermeticism, astrology, theosophy, Neoplatonism – that are brought to bear in The Hurricane.

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Starr, Martin P. "In the Red Room of Rose Croix". In The Unknown God, 52–73. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197744512.003.0006.

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Abstract This chapter discusses how issues of the “Sex Questions” thwarted harmony among the Vancouver members of the Ordo Templi Orientis. Wilfred Talbot Smith begins to practice sexual magic. Aleister Crowley’s “Gnostic Catholic Mass” begins to circulate among the OTO. Its origins and the Neo-Gnosticism of the Gnostic Catholic Church of the OTO are explored. The previously unchartered relationship between Crowley and George Winslow Plummer (1876–1944), along with Plummer’s Rosicrucian school, order, and church are explored as the source for Crowley’s episcopal standing. Crowley rekindles his arguments against the post-Blavatsky leaders in Theosophy and their support of Krishnamurti as the “World Teacher,” which role Crowley claimed for himself as the prophet of Thelema. The massive disruption occasioned by Jones’s “Great Initiation” in December 1917 sets the stage for Jones’s ultimate liberation from Crowley’s mentorship.

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Trabalhos de conferências sobre o assunto "Theosophy in art"

Uscinowicz, Jerzy. "INTRODUCTION INTO THEOSOPHY OF THE SACRED ART". In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018h/61/s14.042.

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Uscinowicz, Jerzy. "PRACTICAL THEOSOPHY OF THE CONTEMPORARY SACRED ART AND ARCHITECTURE - A TEMPLE AS A SYNTHESIS". In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018h/61/s15.051.

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