Devil

Esta proposta de discussão é fruto do desenvolvimento das pesquisas originadas do Trabalho de Conclusão de Curso, que objetivou analisar a construção do imaginário acerca da figura do Diabo na sociedade católica europeia no século XV. Dentre esta perspectiva, debruçou-se sobre o Malleus Maleficarum (1487), importante obra que serviu para instruir o processo de caça as bruxas, na passagem do século XV para o XVI, para a realização desta análise. Buscou-se orientar a interpretação de nosso objeto de pesquisa, o Diabo, sob a perspectiva complementar: o estudo do objeto enquanto imaginário . Nossa proposta concerniu em perceber como a intrínseca relação entre a cultura popular e a cultura erudita, colaboraram para que o Diabo e seus seguidores ocupassem o cenário principal no imaginário europeu, através desta amálgama de comportamentos e tradições.

This paper tries to answer why the perception of the Devil changed a tempter doing God's will in the early medieval period, into an autonomous evil power waging war against God and Christendom by the early modern period.  To answer this, the paper looks at changes in theological understandings, major historic events, and artistic interpretations of the Devil.

According to the Bible, Eve was the first to heed Satan’s advice to eat of the forbidden fruit. The notion of woman as the Devil’s accomplice is prominent throughout the history of Christianity. During the nineteenth century, rebellious females performed counter-readings of this misogynist tradition. Hereby, Lucifer was reconceptualised as a feminist liberator of womankind, and Eve became a heroine. In these reimaginings, Satan is an ally in the struggle against a patriarchy supported by God the Father and his male priests.

This study delineates how such Satanic feminism is expressed in a number of nineteenth-century esoteric works, literary texts, autobiographies, pamphlets and journals, newspaper articles, paintings, sculptures and even artefacts of consumer culture such as jewellery.

In the material, four motifs in particular are prominent: 1) interpretations of Eve’s role in the fall of man as something positive, 2) the witch as a proto-feminist figure, 3) the demon lover as an emancipator, 4) a feminised Satan contrasted with an oppressive male God. A fifth and less central motif is conceptions of Lilith, according to Jewish lore the unruly first wife of Adam, as the first feminist.

The analysis focuses on interfaces between esotericism and the political realm, as well as the interdependence of literature and the occult. New light is thus shed on neglected aspects of the intellectual history of feminism, Satanism and revisionary mythmaking. The study is informed by theories concerning counter-readings, counter-discourses and counter-myths, and in particular highlights the complex interplay of such phenomena and the hegemonic discourses that demonised feminism. A key theme in this context is the limits and paradoxes of inversion as a subversive strategy.

http://www.molinsorgenfrei.se/

https://www.facebook.com/permalink.php?story_fbid=884921544867963&id=294090267284430

This thesis’ objective is to present characters of Satan, Lucifer and Mephistopheles in the English literature from the Middle Ages and make a definite statement whether they are one and the same being or not. The first chapter covers the biblical, theological, religious, folklore and mythological origins of the devil and explains the meaning of this term. It also defines the term evil. The expert in the field that I frequently make references to in this contribution is Jeffrey Burton Russell. Chapter two analyses the characters of Satan, Lucifer and Mephistopheles in John Milton’s Paradise Lost and Charles Marlowe’s Dr. Faustus. Moreover, other resources that approach those three figures are mentioned, alongside the results of the short questionnaire that I have prepared in order to get a better understanding of where the devil stands in contemporary society.

Vortrag vom 06. Dezember 2017, am Bezirkskrankenhaus Bayreuth

Anhand der künstlerischen Arbeiten einer Traumapatientin unternommene philosophische Wanderung. Von der Oberfläche her werden Themenkomplexe wie "Leibselbst", "das Böse" und "das Fremde" im Kontext des künstlerisch-therapeutischen Prozesses der Patientin betrachtet

"The First Satan" is a book every Bible believer needs to read. Satan has been misunderstood based on pagan and Jewish mythology. "Who are the Nephilim and the sons of God?" "Does Isiah and Ezekiel say Lucifer fell from heaven?" "Where did Angels come from?" "Who are the Cherubim and Seraphim?"

These questions are all answered and more. Discover the truth about the origins of Satan, Devils and Demons. Separating truth from mythology.

VOODOOBLUES: Il misterioso caso di Robert Johnson. Incroci religiosi e musicali tra Africa, America e Italia”  unisce la religione al blues e la storia alla leggenda, in un particolare percorso attraverso atmosfere esoteriche, miti, tradizioni e ovviamente musica. A far da guida tra le pagine di questo libro c’è Robert Johnson, figura da sempre considerata misteriosa per il suo fantomatico patto col Diavolo in cambio della straordinaria abilità nel suonare la chitarra.
I capitoli riguardanti le canzoni di Robert Johnson si alternano a quelli che approfondiscono l’universo magico sacrale delle diverse religioni afroamericane come il Voodoo e il Candomblè. Trovano spazio anche le polveri magiche dell’Hoodoo, le divinità degli antichi Romani, il Tarantismo del Sud Italia e le società segrete haitiane.
Ma, alla fin fine, quanto c’è di vero nel patto diabolico più famoso del mondo del blues?

Fulletó de mà de l'exposició temporal Un món de mil dimonis, oberta al públic entre el 18 de maig i el 30 de juny de 2017 al museu Krekovic de Palma (Mallorca). Extracte d'una recerca bibliogràfica i visual a càrrec de Francesc Alemany Sureda amb la direcció i amb la col·laboració de la Casa Museu Pare Ginard. Museu de la Paraula.

Ressenya de l'exposició: http://elperiscopi.com/un-mon-de-mil-dimonis/

Schon seit frühesten Zeiten gibt es die Assoziation des Erlebnisses von Musik und Rhythmus mit dem Bösen, dem Dionysischen und dem Sündhaften. Schon im frühen Christentum galten bestimmte Instrumente als "Beiwerk des Teufels", Paganini wurde wegen seines virtuosen Geigenspiels als "Teufelsgeiger" bezeichnet - und Robert Johnson verkaufte laut des Mythos seine Seele zugunsten des Blues an den Teufel.
Im 20. Jahrhundert wurde der Teufel zur zentralen Identifikationsfigur einer neuen Art der Populärmusik: des Hard Rocks und Heavy Metals. Der Zugang dieser inzwischen sehr weit ausgefächerten und differenzierten Genres ist sehr vielfältig, und doch zieht sich der Teufel wie ein roter Faden durch alle Bereiche dieser Subkultur. Teufel ist nicht gleich Teufel: verschiedene Subgenres rekontextualisieren die Teufelsfigur auf verschiedene Arten. Er wird neu kombiniert, bewertet und erfüllt völlig neue Funktionen. Welches diese sind, wie es dazu kam und inwiefern es sich dabei noch um den Teufel aus der Bibel handelt, werde ich in dieser Arbeit skizzenhaft erläutern.
Dafür werde ich zuerst eine kurze Einführung in die Geschichte des Teufels in der Musik allgemein geben. Anschließend werde ich die Fragen klären, wie und wann der Teufel im Heavy Metal und Hard Rock zur zentralen Identifikationsfigur wurde, um dann auf die drei wichtigsten Traditionslinien des Teufels im Heavy Metal und Hard Rock einzugehen: der Teufel als Horrorelement, als Brecher von Konventionen und als nach wie vor religiöse Figur. Außerdem kommt seit jüngster Zeit eine vierte, neue Dimension dazu: der globalisierte Teufel. Anschließend werde ich einen kurzen Ausblick geben.

A memoir, of sorts, detailing my "search" for Satan in order to prove the existence of God. You can guess how this turns out (but at least it's more fun than the ontological argument!). In order to satiate your diabolical taste buds, I will include the table of contents.

TOC:

-Introduction:
The Wager: Why Tommy No Longer Works on the
Docks

-Chapter One: The Protestant Deification

The Devil is My DJ: The Fresh Prince of Baal Air

Decapitated Chickens as a Metaphor

Satan Gives Birth on the Galapagos Islands (and Kirk Cameron Goes Bananas)

-Chapter Two: Defying the Devil

Faith Force: “Exercising” Demons

“When in Doubt, Cast it Out!” PMS, Poverty, and Cindy Jacobs’ Pussycat

The Mason Tarwaters of this World Confront the Politics of Penis Fencing

-Chapter Three: Running with the Devil

Never Bet Against the House

The First Ethicist Discusses the Impossibility of His Fall

Turning Water into Wine and Demons into Swine

Mr. President, Who’s Your Daddy?

-Chapter Four: Denying the Devil

Unitarian Universalism: The Boring-ality of Evil

Druidian Capitalism

Some Satanist You Are, You Sound More Like a Christian

-Chapter Five: Finding, Binding, and “Get Behind Me” Satan

Now You Satan, Now You Don’t: Meet Bob “I Exorcised Death” Larson

Thelema and Louise, Or, Holy Smoke Baphomet!

I Sold My Soul to Satan and All I Got was this Lousy T-Shirt


-Epilogue

The Existence of God Revisited: Why Gina Still Works at the Diner

The Protest of Brother Ray (Or, Why I'm Probably Stuck with These Student Loans)

This article considers an ambiguity concerning the stage presentation of Pug, the inept devil-servant of Ben Jonson’s The Devil Is an Ass, and explores the implications that ‘complete’ or ‘partial’ costume changes have for how an audience interprets the character, and how this apparent visual ambiguity may have been resolved by cosmetics and/or through the performance of a specific King’s Men actor. The article concludes with a comparison with ‘devilish servants-types’ in Othello and The Changeling, and argues that these three plays articulate early modern insecurities about the servant through an explicit association between the servile and the demonic.

Seit über 2000 Jahren taucht die Figur des Teufels immer wieder in der Literatur auf, angefangen beim Alten Testament über mittelatlerliche Legenden, Goethes Faust und romantische Märchen bis hin zum Comic im 21. Jahrhundert. Aber auch Film und Fernsehen haben die Figur längst für sich entdeckt. 
Diese Arbeit untersucht, wie in der amerikanischen Fernseherie "Lucifer" des Senders Fox mit der Figur des Teufels umgegangen wird: Entspricht sie alten Vorstellungen aus jüdischer und frühchristlicher Zeit, ähnelt sie eher dem mittelalterlichen Teufel mit funkelnden Augen und gräslicher Fratze, dem Mephisto aus Faust oder dem Verführer von Frauen und Männern aus der Romantik? Ist sie eine Mischung aus all dem oder etwas ganz Neues? Und wie wird diese außerordentlich vorbelastete Figur einem weltweiten Publikum mit ganz unterschiedlichen Glaubenshorizonten nahegebracht?

In the evocative book of Revelation. John shares a vision with his 7 scattered churches in Asia. And we have the privilege of listening in on what he saw ads what he told those who received his letters. Eventually he tells of a time near the "end" when Satan is let loose for thousand year period. Is this a case where God loses his mind and throws good judgement to the wind to let his old boy Satan go fly around and have fun before some interminable final destruction? Or is this still a vision where John uses commonly understood imagery to speak about a day of resurrection where the wicked are resurrected. A day when they think they are god with God and then find out they are not....Then what happens? If the wicked are seen as the satanas, as a Hebrew listener and speaker would have thought, is it possible John is telling of a day when they and the wickedness they represent will cease to exist? Email me for an eBook copy of the entire volume This is It Satan.... Is Finished! 613 pages of putting all the references to Satan back into their historical, cultural, and literary context.
jrbrayshaw@scog.ca

Der für frühjüdische und -christliche Satansvorstellungen wichtigen Stelle vom
Sturz des feindlichen Herrschers (Jes 14,12ff) liegt nach verbreiteter Auffassung ein ugaritischer
Mythos zugrunde, worauf insbesondere die Bezeichnungen „Helel ben Schachar“ und
„Zaphon“ hinweisen. Verwandte Motive und Traditionen finden sich auch an anderer Stelle
(Gen 3; 6,1–4; 11; Ps 82; Sir 50,6; Ez 28; Klgl 2,1). Innerhalb des AT scheinen das anmaßende
Horn in Dan 8 und Antiochus’ IV. Sturz in 2 Makk 9 direkt auf Jes 14 Bezug zu nehmen.
Frühjüdische und frühchristliche Texte (Jesaja-Pescher, VitAd 15, 2 Hen 29; 31) sowie ntl.
Texte (Mt 4,8–10 par.; 11,23 par.; Lk 10,18; 2 Thess 2,3–4; Offb 9,1; 12,7–9) knüpfen daran
an und setzen den feindlichen Herrscher zunehmend mit dem Satan gleich.

Barth responds to the modern lack of language for talking of evil by developing the concept of das Nichtige (CD III/3, §50). 'Das Nichtige'for which 'nothingness' is an insufficient translation-encompasses not only sin, but also the demonic dimension of evil, as well as physical suffering and death, without reducing it to a harmartiocentric perspective. Compared with traditional concepts, this leads to an almost unbearable incrimination on the idea of God. But it is only in this incrimination that the importance Barth places on the self-justification of God in Jesus Christ is made visible. Barth's Christological 'theodicy' provokes critical questions: for instance, whether his view that, ultimately, God alone can judge which suffering in our life is truly evil really takes our experiences seriously. But his 'theodicy' is, in any case, a valid alternative to the free will defense. Barth's concept of das Nichtige is still well worth considering, especially in times of pandemics and natural disasters.

A comprehensive exploration of Dr. Faust, the man who sold his soul to the Devil, and those who dared to tell his tale.

Volume 1 includes:
New insights into the life and times of the historical Dr. Faustus, the notorious occultist and charlatan who reputedly declared the devil was his ´brother-in-law´. A detailed study of the first Faust books and the popular Faustian folk tales.    Original discussions on Christopher Marlowe´s famous drama and his ´atheistic´ rendition of the Faustian myth, including new a unique and controversial  analysis of the A and B texts.  The days of the Faust puppet plays.  Gotthold Ephraim Lessing´s unfinished Faust drama.

This article is an attempt to defend Calvin's rejection of Isa 14:12-15 being a reference to Satan through elucidating the connection between the Athtar pericope of the Baal Myth and Isaiah 14:4b-21. The Old Testament repeatedly indicated that the Baal cult was a serious problem in Israel, which gives good cause to consider whether Isaiah interacted with their texts. The analysis of genre, literary structure, and lexical parallels yields the probable conclusion that Isaiah parodied the Athtar pericope from the Baal Myth. This investigation also elucidates at least one of the methods of subtle indictment that the prophets used when speaking to a nation that was thoroughly familiar with the Baal cult. Additionally, the text of Isa 14:12-15 is shown to be an example of prophecy by comparison of a myth to the future.

Es una recopilación satírica de 998 definiciones corrosivas escrito de 1881 a 1906 por Ambrose Bierce. Al finalizar, en 1911, se recopiló una versión completa. El contenido buscaba diversos argumentos escritos a modo satírico.​ El libro fue conocido desde la Guerra de Secesión. El recurso que caracteriza su escritura, como en general el estilo de Bierce, es la ironía y un sarcasmo que conduce hasta la visión del mundo al revés.

Представления об экзорцизме в католической традиции XIII−XV века (на основе материалов доминиканского и францисканского орденов)
The movement of any science is carried out in accordance with the logic of development and the challenges of modernity. Now, after a lengthy atheistic view, a scientific interest in the history of religion. Exorcism is a private religious belief, subject exist in our days. In this perspective, the exorcism was never just a theological problem. The practice of exorcism "was socially characterized by processes of introspection and analysis in general, the hidden immediacy of uncertainty and chaos." Exorcism is a complex phenomenon, which fits both the traditional and the latest trends of historical science.

In the 1990s, effeminate, flamboyant, and predatory
villains populated the screens of many children’s
animated movies and TV shows. While this trope, often
titled the “sissy villain,” has received some scholarly
attention, a lesser-known subset of this cliché has been
completely ignored. This essay offers an analysis of the
“Flaming Devil” trope, which describes the various
portrayals of the Devil as a queer-coded character.
Starting with an exploration of the two most popular
Flaming Devils, The Powerpuff Girls’ HIM and Hercules’
Hades, this essay will argue that this specific trope can
only make sense in the larger cultural and political
context of 1990s’ United States. On the one hand, the
framing of the Devil as a villain comes from the
nationwide satanic panic and turn-of-the-millennium
foreign policy, which saw the Devil as one of the states’
greatest enemy. The inherent sexual and queer-coded
nature of the trope, on the other hand, comes from the
anti-gay and sex negative rhetoric, which is primarily
understood in Protestant terms. Put together,
characters embodying the Flaming Devil trope, such as
HIM and Hades, are designed to associate queerness
with the Devil, which in turn, demonizes queer people.

This essay examines the relationship between the Devil and writing in oral tradition, expanding on Thomas Sebeok’s observation that the repeated appearance of these two concepts together in folk narrative indicates that they are “related in meaning” in the thinking of informants. I suggest that this relationship reflects particular circumstances in the milieux of collection (nineteenth and early twentieth-century rural Europe), but also reflects essential qualities shared between the Devil and the written word.

Current scholarship typically treats the wilderness temptation account as a visionary experience, symbolic description, or dramatization, identifying it as haggadic midrash rather than historical narrative.  Absence of Old and New Testament analogs for the temptation prompts a search for parallels in literature of the Second Temple Period and Apostolic Age, and a direct affinity with the psychological dualism within some of these texts is demonstrated. Early Tannaitic descriptions of disputation with a personified ‘evil inclination’ (yetzer ha ra), are shown to be more relevant analogs than later Talmudic accounts of rabbis tempted by Satan. The combination of this socio-historical evidence provides strong support for a reading of the wilderness temptation as an account of Jesus’ internal struggle with his own desires, rather than a battle of will against a supernatural evil being.

Connaissez-vous vraiment le diable, savez-vous ce qu'il fait et quel est son visage ? Du xvie au xxe siècle, nombreux en France et en Europe ont pris la plume pour lui donner corps : théologiens, romanciers, philosophes, simples quidams accusés d'être des sorciers. Des plumes connues, des témoins anonymes. En une anthologie sulfureuse, voici que l'on dresse ici le portrait évolutif du Malin au cours des siècles. On explorera son parcours et ses interactions avec les hommes et la représentation qu'ils s'en font : avec qui, de quelle manière les fait-il agir ? On montrera comment il est partout, devenant le responsable des petits drames intimes, mais aussi des grands évènements historiques que l'on juge funestes. Car le diable a été, est, et demeure le miroir des peurs et des angoisses de chaque époque.
On notera enfin que l'on peut tout aussi bien se moquer du démon pour conjurer sa peur et le lecteur découvrira l'arsenal des formules usitées pour le maintenir à distance.

This paper reexamines the problem of the origins of a popular medieval and modern image of the devil as an anthropomorphic creature with hooves and horns and seeks to reconstruct the analogous ancient image of a satyr-like devil as it could be wit- nessed in diverse sources, including Hellenistic mythology, rabbinic legends, and early Christian texts. It seems that, not belonging completely to any of these worlds, this therianthropic motif emerges from a complicated literary history wherein Greco- Roman Pan, Jewish seirim, and other mythological figures graft themselves and their imagery around the forces of the demonic. The main argument of the paper as a whole centers around the place of 3 Baruch in this complicated history. This composition may contain the only physical description and detailed treatment of demonic seirim-satyrs in early Jewish literature and the earliest notion of satyr-like demons available to us.

("Such explanations are very pretty in general, but are the inventions of a very clever and laborious and not altogether enviable man, for no other reason than because after this he must explain the forms of the Centaurs, and then that of the Chimaera, and there presses in upon him a whole crowd of such creatures, Gorgons and Pegas, and multitudes of strange, inconceivable, portentous natures. If anyone disbelieves in these, and with a rustic sort of wisdom, undertakes to explain each in accordance with probability, he will need a great deal of leisure." [Phaedrus 229d-e])

Writing in 68 CE, 85 CE, and 90 CE respectively, the Authors of the Gospels according to Saints Mark, Matthew, and Luke say that immediately following his baptism and acceptance by Heaven, Jesus experienced a period of testing. Matthew is the earliest account that presents details of the tests and their outcomes. This Study examines the cultural and lexical contexts of that account to identify the messages that were intended by the Authors and understood by their immediate community. To achieve this objective, this Study first presents the situations that the authors of Matthew encountered.

In literature and popular culture, the Devil is a romantic figure. But if the Devil is genuinely an evil figure, then the Devil should not be a figure whom anyone likes. I consider three different accounts of what it means for someone to be evil. The first two - being completely selfish (Machiavelli), and being completely sadistic (Schopenhauer) - fail to provide an account of true evil. The final account, found in Kant's depiction of a "diabolical will", is the proper account of true evil. This is the account of someone who does what he does simply because it is the wrong thing to do. This, Kant argues, is not a possible motivation for a human being. Indeed, it may be impossible for us to even imagine such a being.