{"title":"《呼唤灵魂:墨西哥人叙事中的体现灵性》克里斯蒂娜·加西亚·洛佩兹著(书评)","authors":"D. López","doi":"10.1353/mrw.2021.0036","DOIUrl":null,"url":null,"abstract":"lay readership—transmitting the magical to the masses—The Winged Bull is imbued with conservative views of gender roles, contempt of ‘abnormal’ sexuality, and nationalist and racist themes. Ultimately, the willingness to look beyond surfacelevel readings of Dion Fortune presents an honest, comprehensive study. The final three chapters of Occult Imagination are connected through British spiritualism. Aren Roukema studies the formative occult influences upon the science fiction genre, using Emma Hardinge Britten’s Ghost Land—in which spiritualist themes feature prominently—to illustrate the bricolage of occult and scientific tropes. In the eleventh chapter, Massimo Introvigne discusses the artistic techniques employed in the creation of the Theosophical Society’s portraits of the Masters. Introvigne notes that these techniques were similar to those of ‘spirit painting,’ a spiritualist phenomenon in which mediums produce portraits of deceased individuals that they ‘see’ or are guided by. In the final chapter, Steven J. Sutcliff discusses the intersections of spiritualism, literature, and the ‘occult imagination’ in his study of the fiction of David Lindsay. For instance, Lindsay’s novel Arcturus begins with a séance, and The Haunted Woman, equating spiritualism with “artifice and greasepaint” (237), features a spiritualist main character involved in occult circles. The compatibility of this section’s chapters makes a strong case for spiritualist influences upon art and literature. Overall, Occult Imagination is an accessible and engaging contribution to esoteric studies, especially successful at conveying occult entanglements with popular culture (via literature, tabloids, etc.) during Britain’s Occult Revival. While the boundary lines between the book’s four sections are not impermeable, and there is much overlap among the twelve chapters, this arguably works to the collection’s advantage, presenting the ‘occult imagination’ as a liminal and roving specter—haunting museums, courtrooms, the arts, and the masses.","PeriodicalId":41353,"journal":{"name":"Magic Ritual and Witchcraft","volume":"16 1","pages":"264 - 267"},"PeriodicalIF":0.2000,"publicationDate":"2022-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"Calling the Soul Back: Embodied Spirituality in Chicanx Narrative by Christina Garcia Lopez (review)\",\"authors\":\"D. 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引用次数: 1
摘要
外行读者——将魔法传递给大众——《飞牛》充满了对性别角色的保守观点,对“异常”性行为的蔑视,以及民族主义和种族主义的主题。最终,本书愿意超越对迪翁•福琛肤浅的解读,呈现出一份诚实、全面的研究。《神秘想象》的最后三章是通过英国招魂术联系起来的。Aren Roukema研究了神秘主义对科幻小说类型的影响,用艾玛·哈丁·布里顿的《幽灵之地》来说明神秘主义和科学比喻的拼凑。在第十一章中,Massimo Introvigne讨论了神智学会大师肖像创作中使用的艺术技巧。英特罗维吉指出,这些技术类似于“灵画”,一种通灵现象,灵媒绘制出他们“看到”或受到引导的死者肖像。在最后一章中,Steven J. Sutcliff在他对David Lindsay小说的研究中讨论了唯心论、文学和“神秘想象”的交叉点。例如,林赛的小说《阿克图尔斯》以一场意外开始,而《闹鬼的女人》将招魂术等同于“诡计和油漆画”(237页),刻画了一个与神秘圈子有关的招魂主要人物。本节各章的兼容性为唯灵论对艺术和文学的影响提供了强有力的论据。总的来说,《神秘想象》是对神秘学研究的一种易于理解和引人入胜的贡献,特别是在英国神秘学复兴期间,它成功地传达了神秘学与流行文化(通过文学、小报等)的纠缠。虽然这本书的四个部分之间的界限不是不可渗透的,而且十二个章节之间有很多重叠,但这可以说是该系列的优势,将“神秘的想象力”呈现为一个有限的和流动的幽灵-萦绕在博物馆,法庭,艺术和群众中。
Calling the Soul Back: Embodied Spirituality in Chicanx Narrative by Christina Garcia Lopez (review)
lay readership—transmitting the magical to the masses—The Winged Bull is imbued with conservative views of gender roles, contempt of ‘abnormal’ sexuality, and nationalist and racist themes. Ultimately, the willingness to look beyond surfacelevel readings of Dion Fortune presents an honest, comprehensive study. The final three chapters of Occult Imagination are connected through British spiritualism. Aren Roukema studies the formative occult influences upon the science fiction genre, using Emma Hardinge Britten’s Ghost Land—in which spiritualist themes feature prominently—to illustrate the bricolage of occult and scientific tropes. In the eleventh chapter, Massimo Introvigne discusses the artistic techniques employed in the creation of the Theosophical Society’s portraits of the Masters. Introvigne notes that these techniques were similar to those of ‘spirit painting,’ a spiritualist phenomenon in which mediums produce portraits of deceased individuals that they ‘see’ or are guided by. In the final chapter, Steven J. Sutcliff discusses the intersections of spiritualism, literature, and the ‘occult imagination’ in his study of the fiction of David Lindsay. For instance, Lindsay’s novel Arcturus begins with a séance, and The Haunted Woman, equating spiritualism with “artifice and greasepaint” (237), features a spiritualist main character involved in occult circles. The compatibility of this section’s chapters makes a strong case for spiritualist influences upon art and literature. Overall, Occult Imagination is an accessible and engaging contribution to esoteric studies, especially successful at conveying occult entanglements with popular culture (via literature, tabloids, etc.) during Britain’s Occult Revival. While the boundary lines between the book’s four sections are not impermeable, and there is much overlap among the twelve chapters, this arguably works to the collection’s advantage, presenting the ‘occult imagination’ as a liminal and roving specter—haunting museums, courtrooms, the arts, and the masses.