By Lynne L. Hume, Nevill Drury
ISBN-10: 1440804184
ISBN-13: 9781440804182
The forms of Magical event: Indigenous, Medieval, and glossy Magic presents a complete quantity that examines magic in all its facets. via unique case reports, verbatim bills of non-public reviews, and first-hand event from the authors' personal lively participation in lots of replacement non secular rituals and ceremonies, this designated publication unearths how magic could be a common phenomenon that crosses cultural, ancient, and spatial boundaries.
The paintings is geared up in 5 sections that include a number of extensive issues: indigenous magical and shamanic practices; medieval witchcraft; sorcery and airtight magic; and modern Western magical practices, together with the function of sexuality, trance, and meditation. The introductory part explores the assumption of magic, different realities, and the employment of the entire senses, whereas the ultimate part discusses modern problems with ecology and cybermagic. The authors provide voice to the strong feelings and emotions that consequence from a mystical come upon, supplying attractive and obtainable info to normal readers, whereas these good versed within the opaque global of magic and occultism, recognition experiences, and imaginal and disembodied nation-states will have fun with the book's content material at a deeper point.
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Additional resources for The Varieties of Magical Experience: Indigenous, Medieval, and Modern Magic
Sample text
Songs or chants, accompanied by music or not, can be employed to evoke intense emotional experiences in singers and listeners alike and are used to great effect in charismatic Christian churches. Also, among the Sufis, repetitive prayer and movement can break through barriers so that the Sufis feel they are in the presence of God. Certain instruments such as drums (universally identified as a potent element of emotionally charged rituals), and the more culturally specific didjeridu, can trigger the same sort of transformations and lead to intense emotional and physiological changes.
In the performance of songs that name (and therefore contain the power of) important geographical and sacred sites, the singing is accompanied by the large, strong beating of sticks (timpil pulka). The expression inma pulka inkanyi, or “singing in a strongly accented style,” describes the performance. 25 The didjeridu is not present in all areas of Australia, but even in areas where it is found, music is primarily vocal and is built around short bursts of singing, the length governed by the physical endurance of the singer to maintain breath.
Krisna consciousness is said to be the original, natural energy of the living entity, and when devotees hear the transcendental vibration of the chant this consciousness is revived. Through kirtan (a form of congregational chanting accompanied by percussion instruments and sometimes spontaneous dancing) the devotee associates with the Divine via sound vibration, and this can develop into a mood of spontaneous devotional rapture. In the yogic traditions of meditation, a Sanskrit mantra is said to first calm the mind so that stillness can be experienced, and then, through constant repetition, the syllabic resonance takes one deep into the energy centers, or chakras.
The Varieties of Magical Experience: Indigenous, Medieval, and Modern Magic by Lynne L. Hume, Nevill Drury
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