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En muchas investigaciones sobre Remedios Varo (1908-1963) se ha destacado la inclinación de la pintora por lo mágico y lo oculto. Sin embargo, apenas se ha investigado la relación entre estos intereses y aquellos—¿similares?—que se desarrollaron en el seno del grupo surrealista, del que Varo formó parte. Los surrealistas, en su búsqueda de lo maravilloso, se aventuraron en el mundo de los sueños y también en el de la videncia y la mediumnidad. Además, Breton identificó como ‘arte mágico surrealista’ las experimentaciones plásticas relacionadas con el automatismo, como el collage y la decalcomanía. Trabajaron también con prácticas creativas vinculadas al juego y al azar, como los ‘cadáveres exquisitos’ y los ‘dibujos comunicados’. En este artículo analizaré la presencia de estos intereses y prácticas surrealistas en la obra de Remedios Varo. Aunque me referiré a algunas obras mexicanas, me centraré especialmente en la obra producida en Europa en los años compartidos con el surrealismo, mucho menos conocida e investigada. [ABSTRACT FROM AUTHOR]

En muchas investigaciones sobre Remedios Varo (1908-1963) se ha destacado la inclinación de la pintora por lo mágico y lo oculto. Sin embargo, apenas se ha investigado la relación entre estos intereses y aquellos—¿similares?—que se desarrollaron en el seno del grupo surrealista, del que Varo formó parte. Los surrealistas, en su búsqueda de lo maravilloso, se aventuraron en el mundo de los sueños y también en el de la videncia y la mediumnidad. Además, Breton identificó como ‘arte mágico surrealista’ las experimentaciones plásticas relacionadas con el automatismo, como el collage y la decalcomanía. Trabajaron también con prácticas creativas vinculadas al juego y al azar, como los ‘cadáveres exquisitos’ y los ‘dibujos comunicados’. En este artículo analizaré la presencia de estos intereses y prácticas surrealistas en la obra de Remedios Varo. Aunque me referiré a algunas obras mexicanas, me centraré especialmente en la obra producida en Europa en los años compartidos con el surrealismo, mucho menos conocida e investigada. [ABSTRACT FROM AUTHOR]

Copyright of Pessoa Plural is the property of Pessoa Plural and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Este artículo se divide en dos partes. Primero, analiza el desarrollo lingüístico e histórico de los conceptos esotérico y esoterismo, proceso que evolucionó a una incipiente “conciencia histórica” entre los propios esoteristas, influenciada por el influjo historicista romántico, que conformó un nuevo tipo de esoterismo en tiempos de ciencia, democracia y modernidad. Y segundo, explica el proceso de transformación disciplinaria de los estudios de lo esotérico, el esoterismo y la esoterología hasta la imposición de la categoría académica de los “estudios de esoterismo occidental”.

There are several documents in Fernando Pessoa's legacy which may give us an insight as to the place the mystic and esoteric matters occupy in Pessoa's poetry. Pessoa acknowledged the occultist influence in the literature of his time, and in his own, and made an effort to explain his particular path, which followed, as he insisted, the mystic and not the symbolist tradition – poetry of thought and not poetry of imagination.

It is a known fact that throughout his life Pessoa was interested in and conversant with an array of esoteric currents and doctrines. Underpinning that interest was a marked tendency to a form of symbolic thinking encapsulated in the lines "[...] my thinking is condemned / To symbol and analogy" from a 1907 poem by the incipient heteronym Alexander Search, which recur in a fragment from 1932 of the dramatic poem Fausto. Pessoa's continued symbolic thinking, informed by copious readings mainly in Western Esotericism, allowed him to develop a creative hermeneutical approach to esoteric epistemologies. This essay will be concerned specifically with Pessoa's conception of the mystical significance of geometrical forms, arguing that they not only enriched the figurative expressiveness of his poetry but also played a crucial role in his formulation of a poetics of Sensationism. Pessoa's use of geometric imagery will be considered in the context of the fascination with sacred geometry and exploration of its aesthetic potential displayed by other modernists, like Yeats and Pound, and by avant-garde movements from the early XXth century which were also driven by analogous concerns, such as Futurism, Vorticism, Cubism, Expressionism and Suprematism.

Intuition is central in the work, practice, and philosophical legacy of C. G. Jung. In this paper, I will first discuss the importance of intuition for Jung in the paradigm usually designated the 'paranormal'. Jung was attracted to intuition as an extra-ordinary gift or function in the traditional sense, and this is considered here in relation to his 1896-1899 Zofingia Lectures and 1902 On the Psychology and Pathology of So-called Occult Phenomena: A Psychiatric Study. A significant development then occurred in 1913, when esotericist intuitions were turned toward psychological use with Jung's Red Book. There, his personal and private use of intuition - and we know how extraordinarily intuitive he was - led Jung to fully incorporate intuition at the core of his psychology. Not only in his practice, in the crucial intuitive form of empathy, but as we will see, also at the very heart of his theory. In 1921, Jung wrote Psychological Types, where intuition became one - the first - of the four fundamental functions and types of the psyche next to thinking, feeling, and sensation. In 1921, Jung proved to the world in rational argument that intuition was no longer a psychologist's hobby for table turning, but the most significant function of the psyche. [ABSTRACT FROM AUTHOR]

Copyright of Ágora: Estudos Clássicos em Debate is the property of Agora: Estudos Classicos em Debate and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Este artículo analiza el ḥadīṯ que se encuentra tanto en las fuentes šī‛íes como sunníes que retrata al creyente ideal como un hombre escondido que elige practicar su religión apartado de los ojos de los otros. Según el autor, esta tradición tiene su origen en las luchas político-religiosas (fintas) del siglo II/VIII, que propiciaron una actitud piadosa de retiro de la sociedad y no participación en tiempos de lucha civil. En las versiones šī‛íes del ḥadīṯ el elemento de secreto, taqiyya, se anade a la descripción del creyente ideal. Estos motivos habrán de desempenar un papel importante en movimientos místicos como el de malāmatiyya. Aunque el esoterismo šī‛í y el misticismo sunní incorporaron hadices similares a su elaboración del santo escondido, la tradición šī‛í contribuyó particularmente al desarrollo de este tema tanto en términos ético-psicológicos como esotéricos.

Verso la fine del XIX secolo le consuetudini letterarie dovettero necessariamente adattarsi a nuovi orizzonti comunicativi e la parola poetica si convertì in strumento imprescindibile ai fini di trasmettere una pluralità simbolica intimamente ancorata alle regioni profonde dell’animo umano. Lo spostamento da un lato comportò la creazione di uno spazio teorico di assimilazione tra i diversi medium artistici, dall’altro la ricerca di significati soggiacenti che potessero convertire la poesia in una sorta di teologia deviata fatta di viaggi mentali, sovreccitazioni sensoriali e contemplazioni misteriche. Proprio in tale ambito di analisi, le nuove forme di misticismo religioso che condividevano con la sensibilità modernista l’abbandono del dogma e l’attenzione per le forme dell’interiorità penetrarono in Europa e condizionarono le stesse pratiche creative. In risposta a ciò, alcuni poeti di fine secolo, tra cui Verlaine, Rubén Darío e Manuel Machado, aderirono al nuovo gusto decadente e simbolista, coscienti dell’insufficienza speculativa della parola funzionale in un mondo ormai ridotto all’infinita compravendita di oggetti-feticcio: il loro atto di ribellione verso una tradizione codificata impose infine una ristrutturazione di alcuni principi di fruizione, contemplazione e attraversamento degli stessi prodotti artistici, ora considerati caotici contenitori di segni, simulacri fisici di una realtà trascendente instabile e difficilmente afferrabile. Questo studio intende fornire alcune chiavi di lettura di Alma (1902), la prima raccolta di Manuel Machado capace di fondere forme iconiche ed estasi esoterica in una modalità espressiva originale e altamente suggestiva.

El Tratado de Fascinación o de Aojamiento, escrito por Enrique de Villena a comienzos del siglo XV, es un buen punto de ingreso para abordar la historia del esoterismo en la península ibérica de la época. Contra el enfoque clásico sobre Villena y la perspectiva de los historiadores de la ciencia, desde la mirada de la historia cultural proponemos un abordaje sobre un problema histórico que sigue mereciendo todavía ulteriores investigaciones.

Según Empédocles, filósofo, científico, sanador y vidente griego, quien vivió en Sicilia durante el siglo V a. C., la materia está constituida por “agrupaciones de raíces” o elementos, los cuales describió, no solo como manifestaciones físicas, sino también como esencias espirituales, asociadas a deidades griegas. La filosofía de Empédocles fue influida por Pitágoras y las antiguas tradiciones mistéricas griegas. En los trabajos y prácticas de los alquimistas, neoplatónicos y gnósticos que más tarde desarrollaron sus teorías, los elementos no son únicamente fuerzas materiales y espirituales, sino también aspectos del ser humano, cuyas diversas combinaciones producen diferentes tipos de personalidad. Carl Gustav Jung (1875 – 1961), uno de los fundadores de la psicología moderna, estudió la literatura mística y la alquimia, y su concepto de los cuatro componentes fundamentales de la personalidad es una consecuencia de las antiguas teorías de Empédocles acerca de la tierra, el agua, el aire y el fuego.

The theme of the study of symbols, philosophical and initiatory traditions inspired this article. Since there are not many studies in this area, neither scientific articles about this subject, a research about the history of one of the oldest and most widespread esoteric societies around the world seemed to be worthwhile. A historical and phenomenological view was important to assess the current state of the art knowing that the subject is also quite complex because it mixes fiction with reality and history. Therefore, the support from expert authors, such as Eliade and Campbel, provided a scientific basis for the execution of the research. What's more the article is about the historical background in which the emergence of the Rosicrucian Order occurred and some of its mythology as well. [ABSTRACT FROM AUTHOR]

The poem "Sending Atalanta" by Rubén Darío, also known as "Album" and probably dated in 1899, presents as central axis the mythical figure of Atalanta. However, the Nicaraguan poet reworked the classic character as it is typical of modernist aesthetics. In order to carry out our analysis, the concept of hypertextuality elaborated by Gérard Genette [1989] is useful. Following the critic, we can see that the poem operates a process of transformation with respect to the classical tradition. This process refers to a double bond: the first one with two stories written by Regina Alcaide de Zafra ("The kiss" and "The spinster") published posthumously by her family in the book titled All love and the second, with the famous work "Odalisque with Slave" (1842) by Jean Auguste Dominique Ingres. However, being able to establish links between Darius and the mentioned authors does not exhaust our work because the poem is fecund in symbols that must be unraveled to arrive at an understanding of it. That path towards a possible interpretation of the poem will lead us to inquire about the different symbols that appear there and the importance of esotericism in the Rubendarian work. [ABSTRACT FROM AUTHOR]

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Copyright of Ethnologie Française is the property of Presses Universitaires de France and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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O presente trabalho tem como objetivo delinear os princípios fundamentais da medicina antroposófica contextualizando-os no âmbito do pensamento e da filosofia de Rudolf Steiner. Será dada especial atenção à relação entre antroposofia, tradição esotérica e ocultista. Procurar-se-á evidenciar em que medida e por que a medicina antroposófica é difundida e praticada na Itália, até mesmo em relaçao a outras terapias.

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Resumo Este ensaio visa analisar as complexas relações entre duas visões de mundo que se desenvolveram no mundo ocidental a partir da segunda metade do século vinte: o esoterismo e a Antropologia entendida como disciplina acadêmica. Procuro mostrar que ambas correntes de pensamento são ao mesmo tempo herdeiras do projeto da modernidade e críticas do seu sistema de valores. De fato, tanto a Antropologia como as tradições esotéricas se opõem ao modelo weberiano de racionalidade, reeditado nos nossos dias por Habermas, que visa separar, como se fossem autônomas, as esferas da ciência, da arte e da moral. Três conceitos importantes do esoterismo são discutidos à luz da abordagem antropológica: tradição, iniciação e ciência sagrada, o que conduz a uma proposta de reintegração dos saberes humanos sobre a experiência religiosa em suas mais diversas manifestações etnográficas.

Nota sobre publicações recentes que revelam aspectos pouco conhecidos da biblioteca de Newton - os numerosos textos religiosos, místicos e herméticos. Os biógrafos de Newton resistiram muito até admitir que os escritos esotéricos fossem genuíno interesse do sábio e que tivessem importância para entender sua trajetória intelectual. As publicações aqui indicadas afirmam o contrário, seguindo trilha aberta por ensaio pioneiro de J. M. Keynes (1946).A note on recent books about an unexplored side of Newton’s library: religious, mystical and hermetic texts. Newton's biographers had resisted so much to believe that esoteric writings were in Newton’s field of interest. Even if they recognized that, they didn't believe those strange works were important elements to understand his intellectual trajectory. The studies we mention here are saying just the opposite thing, exploring the way opened by the pioneer essay of J. M. Keynes (1946).

This article deals with the works and poetics of the Italian poet Arturo Onofri (Rome, Sept.15, 1885 - Rome, Dec. 25, 1928) and, in particular, with the role that Anthroposophy and Esotericism in general play on his poetic works. Onofri was one of the most important Italian metaphysical poets of the 20th century. He took part in the poetic and cultural movement that demanded a renovation of Italian poetry, and wrote articles and poetry for the important Italian literary magazine La Voce. In 1924 Onofri wrote the introduction to the Italian translation of La scienza occulta nelle sue linee generali, written by Rudolf Steiner, and was one of the most active popularizers of the Austrian philosopher in Italy. [ABSTRACT FROM AUTHOR]

O presente artigo estuda a forma como Diadorim – personagem de Grande Sertão: Veredas, de João Guimarães Rosa –, representa e vivifica o arquétipo da totalidade representado pelo Andrógino: entidade emblemática, contraditória e também harmônica, dupla e única, ao mesmo tempo coincidente e oposta. Para tal usaremos os conceitos e os desenvolvimentos deste mito, passando primeiro por uma elucidação dada tanto pela crítica literária de cunho psicológico, como pela história das religiões. Cônscios da extensão e da profundidade que tal tema implica, o estudo do personagem se fará relacionando-o aos ‘temas de iniciação ritual’ e à luz dos elementos metafísicos, esotéricos e simbólicos contidos no texto. Serão considerados principalmente os episódios específicos da morte e do velório do herói, após sangrenta batalha.

Ascetic and mystical elements implicitly present within Islam since its beginning became explicit during the first two centuries of its history (VII and VIII AD). It as the time in which the first Muslim devotees founded communities in of what is now Iraq, Syria and Iran. In the twelfth century these communities began to spread and formed new social institutions (Orders). Until the beginning of 20th century, Islamic mysticism (Tasawwuf in Arabic) - or Sufism as it is known in the West - had great influence on the spiritual, intellectual and social life of Muslims. The article summarizes the origin, nature and goals of this religious current. [ABSTRACT FROM AUTHOR]

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