Given the wide range of mythical/occult lore, stage legerdemain, and popular fantasy-based fictional stereotypes that have long been associated with the term magic in human culture, it is quite possible that some academically-minded readers may initially be put off by the title of this book. But these are not the kinds of magic that Dean Radin is talking about. Rather, he is subtly alluding to a certain class of seemingly extraordinary human experiences and abilities for which the exact underlying physical (...) and biological mechanisms are not too well understood as of yet – namely, the experiences and abilities that may be classed as psychic (or psi). He focuses on examining three general sub-classes which, in keeping with the theme of this book, are labeled in the parlance of magic: force of will (referring to psychokinesis, aka. mind-matter interaction), divination (referring to extrasensory perception), and theurgy (referring to experiences related to survival after death). Yet even with such clarification being made from the outset, there might still be readers who would wonder whether it is even a good idea to discuss psi phenomena in conjunction with magic, as some parapsychologists may be reminded of the effort once made by psychologist (and noted skeptic) James Alcock (1981) to portray an association between the two as being something fanciful and not fitting with the pursuit of science in his book Parapsychology: Science or Magic? Arguing on the basis of its seeming incompatibility with mainstream science, Alcock implied that psi is something that could be seen as being akin to occult conjuring, where one is able to spontaneously gain certain knowledge or mentally bring about certain event outcomes at will, without any apparent logic or reason. And as psychologist and psi researcher John Palmer (1983) had pointed out in his critical review of the book, Alcock even went on to imply that parapsychologists tend to act more like occult magicians than scientists, claiming that they are motivated by a predisposed belief in psi rather than an objective search for facts and data-driven theory. In light of such blatant accusations being made in the past, one might figure that parapsychologists would be wary of their subject matter being discussed or referred to in relation to magic again, in any shape or form. (shrink)

The idea that the womb moved freely about a woman's body causing spasmodic disease enjoyed great popularity among the ancient Greeks, beginning in the classical period with Plato and the Hippocratic writers and continuing on into the Roman and Byzantine periods. Armed with sophisticated analyses of the medical tradition and new texts pertaining to the magical, this essay describes how both approaches to the wandering womb develop side by side in mutual influence from the late classical period onwards. Of (...) special interest will be the tendency in both traditions to imagine both demons and errant wombs as wild animals and to use fumigations to control both. It concludes with a discussion of the historical development of and consequences for the idea that women alone possessed an internal organ that was variously interpreted as a mechanically defective body-part, a sentient and passionate animal, and then finally a demon with malicious intent, who bites and poisons the female body. It also argues against the hypothesis or assumption that midwives or wet-nurses were the original source for the idea of the wandering womb, suggesting that the syndrome never fit comfortably into the category of gynecological illness, because the womb was not the site of disease, but rather a cause of spasmodic disease in other areas of the body. (shrink)

This is the first book to analyze systematically crucial aspects of ancient Greek philosophy in their original context of mystery, religion, and magic. The author brings to light recently uncovered evidence about ancient Pythagoreanism and its influence on Plato, and reconstructs the fascinating esoteric transmission of Pythagorean ideas from the Greek West down to the alchemists and magicians of Egypt, and from there into the world of Islam.

Evaluation of a volume of English renderings of Akkadian-language texts con- cerning treatment of illness in ancient Assyria and Babylonia.

Daughters of Hecate: Women & Magic in the Ancient World. Edited by Kimberly B. Stratton and Dayna S. Kalleres. New York: Oxford University Press, 2014. Pp. xv + 533. $39.95.

The essays in Practicing Gnosis demonstrate that the Gnostics were not necessarily trendy intellectuals seeking epistomological certainities. Instead, this book explores how Gnostics were seeking religious experiences that relied on practices including ritual, magic, liturgy, and theurgy. This book celebrates the career of Birger A. Pearson.

part I. The unconscious: Into the darkness ; Spirits everywhere ; The unconscious in the laboratory ; The magical instinct ; The shadow -- part II. Magic: Fairy tales ; Alchemy ; Mystical numbers ; The tarot -- part III. Transcendence: Becoming transcendent ; The circulatio and the conjunctio.

En une trentaine d’années, un espace s’est constitué au sein des études sur l’Antiquité autour de la catégorie de « magie », employée pour rassembler des documents de natures et d’origines diverses et dont l’analyse s’est considérablement affinée ces dernières décennies. La notion même de « magie » est une convention, mais ses contours sémantiques et épistémologiques sont débattus. Certains chercheurs ont à plusieurs reprises mis en doute la pertinence d’une catégorie de sources, de pratiques...

The story of the beliefs and practices called 'magic' starts in ancient Iran, Greece, and Rome, before entering its crucial Christian phase in the Middle Ages. Centering on the Renaissance and Marsilio Ficino - whose work on magic was the most influential account written in premodern times - this groundbreaking book treats magic as a classical tradition with foundations that were distinctly philosophical. Besides Ficino, the premodern story of magic also features Plotinus, Iamblichus, Proclus, Aquinas, Agrippa, Pomponazzi, Porta, Bruno, (...) Campanella, Descartes, Boyle, Leibniz, and Newton, to name only a few of the prominent thinkers discussed in this book. Because pictures play a key role in the story of magic, this book is richly illustrated. (shrink)

Contemporary philosopher Michael Walzer described the Problem of Dirty Hands as the choice between achieving a morally good end by violating one's own moral principles and sticking to one's moral principles without achieving this end. Walzer specifically explored this problem in the context of someone in the position of political power who can make a significant impact on the greater good but only through performing morally problematic deeds. In the 2016 film Doctor Strange, there are three characters who see themselves (...) as presented with this problem: the Ancient One, Kaecilius, and Doctor Stephen Strange himself. Of the three characters we've considered, the Ancient One most obviously faced the Problem of Dirty Hands. Dark magic is one of those things that are so dangerous that they're simply forbidden, even by the most adept of users, such as the Ancient One. (shrink)

Ces dernières décennies, il est devenu habituel de considérer que la polis de la période classique contrôlait la religion sous tous ces aspects. Ce n’est que récemment que ce point de vue a été mis en question. Même si les aspects plus marginaux de la religion de la polis ont déjà reçu l’attention nécessaire, leur étude reste marquée, dans une certaine mesure, par les préjugés des savants des générations antérieures, eux-mêmes nourris des préjugés et des représentations des auteurs anciens. Cet (...) article se concentre sur les lieux de la vie reli­gieuse grecque, et plus particulièrement athénienne, où des livres et de l’écrit étaient particu­lièrement importants, dans la mesure où l’écrit permet aux gens de prendre une position plus indépendante en regard de la religion de la polis. Mes observations concerneront les manteis , la magie , les mystères et l’Orphisme , la mythographie , en terminant par quelques considérations sur la nature de la religion de la polis .In recent decades it has become customary to assume that in the classical period the polis controlled religion in all its aspects. It is only recently that this view is being questioned. Although the more marginal aspects of polis religion have already received the necessary attention, the study of these marginal aspects remains dominated, to a certain extent, by old prejudices of previous generations of scholars, which in turn were sometimes fed by the prejudices or representations of ancient authors. I will concentrate on those areas of Greek, especially Athenian, religious life in which books and writing were particularly important, as the written word enabled people to take a more independent stance in polis religion. Subsequently, I will make observations on manteis , magic , mysteries and Orphism and mythography , and end with some remarks on the nature of polis religion. (shrink)

Magic takes many forms. Supernatural magic is what our ancestors used in order to explain the world before they developed the scientific method. The ancient Egyptians explained the night by suggesting the goddess Nut swallowed the sun. The Vikings believed a rainbow was the gods’ bridge to earth. The Japanese used to explain earthquakes by conjuring a gigantic catfish that carried the world on its back—earthquakes occurred each time it flipped its tail. These are magical, extraordinary tales. But there (...) is another kind of magic, and it lies in the exhilaration of discovering the real answers to these questions. It is the magic of reality—science. Packed with clever thought experiments, dazzling illustrations and jaw-dropping facts, The Magic of Reality explains a stunningly wide range of natural phenomena. What is stuff made of? How old is the universe? Why do the continents look like disconnected pieces of a puzzle? What causes tsunamis? Why are there so many kinds of plants and animals? Who was the first man, or woman? This is a page-turning, graphic detective story that not only mines all the sciences for its clues but primes the reader to think like a scientist as well. Richard Dawkins, the world’s most famous evolutionary biologist and one of science education’s most passionate advocates, has spent his career elucidating the wonders of science for adult readers. But now, in a dramatic departure, he has teamed up with acclaimed artist Dave McKean and used his unrivaled explanatory powers to share the magic of science with readers of all ages. This is a treasure trove for anyone who has ever wondered how the world works. Dawkins and McKean have created an illustrated guide to the secrets of our world—and the universe beyond—that will entertain and inform for years to come. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The “Magic” of Music:Archaic Dreams in Romantic Aesthetics and an Education in AestheticsAlexandra Kertz-WelzelO, then I close my eyes to all the strife of the world—and withdraw quietly into the land of music, as into the land of belief, where all our doubts and our sufferings are lost in a resounding sea....1Music serves many different functions in human life, accompanying everyday activities such as working, shopping, or watching TV, (...) as well as creating an individual world of sounds in which to relax, to enjoy life, or just to escape into one's dreams. Tia DeNora describes this personal use of music as a technology for the self and quotes Mireille, a contract cleaner, who thinks that "everybody should listen to music. It helps you to be calm, relaxed, to see your life differently."2This desire to change minds or moods and perhaps to be personally transformed by music also motivates adolescents to listen to their music giving them a strong feeling of self-identity and helping to relieve boredom, get through difficult times, or reduce tension.3 Although this obviously everyday use of music is usually different from the life-changing strong experiences with music which Robert Panzarella4 or Alf Gabrielsson5 investigate in their research, it nevertheless shows the natural human desire to use music to transform emotions or experience life more intensively. Certainly, adolescents do have different kinds [End Page 77] of intensive and even ecstatic experiences with music; for example, while attending a rock concert with its pseudo-religious implications, or a Friday night dance party with friends, or while making music in a band. Gabrielsson quotes the description of a young woman, attending an outdoor concert of Prince:One feels so free somehow. At concerts one can dance, jump, scream and sing as much as one wants. You are like a part of it all, not just a spectator. Throughout the whole concert the audience was in total ecstasy. It was only one thing that mattered: the music! You are filled with the wonderful feeling that everything is all right, that you are living only for what is happening 'right now.' You are in a way 'intoxicated with joy."... You don't think about what you are doing. You do what you feel like, without even thinking about it.6This desire for intensive or even ecstatic experiences through music is not only an aspect of individual life, it is also an important issue in the history of music and aesthetics from ancient times. One origin of music and art can be found in the relationship of music with religion and ritual, using sound's emotional and ecstatic power to connect the world of human beings and the sacred. Music as magic and a means of ecstasy was a frequent conceptualization in ancient Egypt, as well as in Greece, in the rites of ancient Celts and early Christians, and also in non-Western religions today.7 Priests or shamans among the Australian Aborigines, Native Americans, and West-African tribes use the emotional power of music to evoke trance in their contemporary practices.Unfortunately, the aesthetics of Western European art music, especially since the eighteenth century, tends to eliminate this sensual "magic"8 of music only to replace an ecstatic way of experiencing music with a more intellectual approach. The idea of absolute music or the aesthetics of formalism attempts to establish a "pure" approach to listening without feeling, imagination, or sensuality. It is a claim to elitism which might be one reason why it is difficult for students to be affected by Western European art music, since it appears to be far away from their own world of intensive music experience. Not only the way of listening and performing Western European art music, but also the music itself may prevent students from further involvement in "classical" music and having the kind of intensive experiences their "own" music offers them. If a goal of music education is not only to involve students in art music but also to deepen and enhance their lives through aesthetic experiences, it may be reasonable to start with their musical experiences and to... (shrink)

Apuleius’ tale of Cupid and Psyche is shown to feature detailed knowledge of ancient magic integrated into the plot, especially the magic of the so-called ‘Sword of Dardanus’ spell and of other papyri with Middle Platonic content. A recently published gemstone from Perugia testifies to the wide distribution of the ‘Sword’. Apuleius’ allusion to the erotic spell involves both Cupid and Venus torturing Psyche. Although Venus’ intentions are to prevent the bond between the lovers, her actions inadvertently echo those (...) depicted in the ‘Sword’ and contribute to the couple's eternal union. Ancient magic is therefore shown to be potent and effective, despite Venus’ plans. This is a methodology Apuleius is known to use widely, for example in his obvious allusions to, and adaptations of, Hellenistic poetry in the story. Magic joins poetry and philosophy as a category of texts shown to be playfully integrated into Apuleius’ construction of the plot of Cupid and Psyche. (shrink)