Bettina E. Schmidt explores experiences usually labelled as spirit possession, a highly contested and challenged term, using extensive ethnographic research conducted in Sao Paulo, the largest city in Brazil and home to a range of religions which practice spirit possession. The book is enriched by excerpts from interviews with people about their experiences. It focuses on spirit possession in Afro-Brazilian religions and spiritism, as well as discussing the notion of exorcism in Charismatic Christian communities. Spirits and Trance in Brazil: An Anthropology of Religious Experience is divided into three sections which present the three main areas in the study of spirit possession. The first section looks at the social dimension of spirit possession, in particular gender roles associated with spirit possession in Brazil and racial stratification of the communities. It shows how gender roles and racial composition have adapted alongside changes in society in the last 100 years. The second section focuses on the way people interpret their practice. It shows that the interpretations of this practice depend on the human relationship to the possessing entities. The third section explores a relatively new field of research, the Western discourse of mind/body dualism and the wide field of cognition and embodiment. All sections together confirm the significance of discussing spirit possession within a wider framework that embraces physical elements as well as cultural and social ones. Bringing together sociological, anthropological, phenomenological and religious studies approaches, this book offers a new perspective on the study of spirit possession.

This new edition of Magick from Aiwass Books includes annotations shedding light on this challenging text. First published in Liber ABA (Part II), Aleister Crowley's dark masterpiece Magick is essential reading for students of Thelema and the occult. This guide to the principle tenets of black magic is a concise version of the more dense four-book magnum opus Liber ABA or 'Book 4' and is recommended to initiates.

Since WW II, 'channeling' has largely replaced older styles of mediumship in the movement loosely known as the New Age. Yet the two are intimately related. As both historical chronicle and metaphysical critique, The Spiritist Fallacy, together with its companion volume, Theosophy: History of a Pseudo-Religion, is a valuable study of New Age origins. Guenon takes the 'spirit manifestations' of the Fox sisters in Hydesville, New York (in 1847) as his starting-point, but while accepting the reality of many such 'manifestations', denies that they represent the spirits of the departed. He sees them, rather, as fostering belief in a kind of rarefied materialism, as though the 'spirit of the deceased' were no more than an invisible, quasi-material body, and death no more than a 'shedding' of the physical body while the 'spirit' remains otherwise unchanged-a belief widespread today in popular culture. The author demonstrates how various 'spirit philosophies' are little more than reflections of their own milieux-'English spirits' being conservative and denying reincarnation, 'French spirits' accepting reincarnation and espousing progressivist or revolutionary ideas, etc. antiquity with haunted houses suddenly, in the 19th century-and within five years of their appearance-spawned an international pseudo-religious movement, speculating that certain magicians (possibly from the Hermetic Brotherhood of Luxor) may have intentionally produced the Hydesville phenomena by actively projecting hidden influences upon the passive psyches of their mediums. The mutual influence of Spiritism and Theosophy, and the adverse affects of 'spirit entities' upon many mediums, are also covered in considerable detail. The Spiritist Error is both an expose of 'unconscious Satanism' and a highly useful critique of the false ideas of the afterlife which are so prevalent in our time.

The supernatural has become extraordinarily popular in literature, television, and film. Vampires, zombies, werewolves, witches, and wizard have become staples of entertainment industries, and many of these figures have received extensive critical attention. But one figure has remained in the shadows - the female ghost. Inherently liminal, often literally invisible, the female ghost has nevertheless appeared in all genres. Subversive Spirits: The Female Ghost in British and American Popular Culture brings this figure into the light, exploring her cultural significance in a variety of media from 1926 to 2014. Robin Roberts argues that the female ghost is well worth studying for what she can tell us about feminine subjectivity in cultural contexts. Subversive Spirits examines appearances of the female ghost in heritage sites, theater, Hollywood film, literature, and television in the United States and the United Kingdom. What holds these disparate female ghosts together is their uncanny ability to disrupt, illuminate, and challenge gendered assumptions. As with other supernatural figures, the female ghost changes over time, especially responding to changes in gender roles. Roberts's analysis begins with comedic female ghosts in literature and film and moves into horror by examining the successful play The Woman in Black and the legend of the weeping woman, La Llorona. Roberts then situates the canonical works of Maxine Hong Kingston and Toni Morrison in the tradition of the female ghost to explore how the ghost is used to portray the struggle and pain of women of color. Roberts further analyzes heritage sites that use the female ghost as the friendly and inviting narrator for tourists. The book concludes with a comparison of the British and American versions of the television hit Being Human, where the female ghost expands her influence to become a mother and savior to all humanity.

In the beginning, darkness caused itself to explode, causing the event science calls the big bang and Christianity refers to as creation. Many have associated darkness with nothing, but author Hyginus Mathurin describes darkness as the actual primitive state of the Creator. "Evolution of Darkness" presents a revolutionary perspective on the physical development of Darkness as it creates its physical kingdom in the universe.

Mathurin is concerned with the nature of Darkness, not as the dwelling place of the Creator, but as the actual Creator. He takes a bold step to declare that the universe is the actual Evolution of Darkness.

"Evolution of Darkness" is a declaration that the universe is perfect and could not have existed any other way. Every act and every thought is necessary for its effective operation.