True black magic: myth or reality?

True black magic, also known as dark magic, is a concept that has captured the imagination of people throughout history. It is often portrayed as an occult practice that involves harnessing supernatural forces to bring harm or manipulate others for personal gain. Unlike white magic, which is seen as a positive and benevolent force, black magic is associated with malevolence and evil intentions. The origins of black magic can be traced back to ancient times, where it was commonly practiced in various cultures and societies. It was believed that through the invocation of spirits and the use of rituals, one could gain power and control over others. Black magic was often associated with sorcery, witchcraft, and the manipulation of natural elements.

Gailyn Van Rheenen, Communicating Christ in Animistic Contexts (Pasadena, CA: William Carey Library, 1991), 217.

Essien, Notions of Healing and Transcendence in the Trajectory of African Traditional Religion Paradigm and Strategies, International Review of Mission 102, no. 11 If One Knows Where to Look, Fiction is Magic Reading Fictional Texts as Manuals of Magic in Post-Soviet Ukraine, Russia, and Belarus Kateryna Zorya.

Black magic was often associated with sorcery, witchcraft, and the manipulation of natural elements. Throughout history, black magic has been both feared and condemned by religious authorities. Many religions, such as Christianity and Islam, firmly denounce the use of black magic as it goes against their core principles and teachings.

Fictional Practice: Magic, Narration, and the Power of Imagination

To what extent were practitioners of magic inspired by fictional accounts of their art? In how far did the daunting narratives surrounding legendary magicians such as Theophilus of Adana, Cyprianus of Antioch, Johann Georg Faust or Agrippa of Nettesheim rely on real-world events or practices? Fourteen original case studies present material from late antiquity to the twenty-first century and explore these questions in a systematic manner. By coining the notion of ‘fictional practice’, the editors discuss the emergence of novel, imaginative types of magic from the nineteenth century onwards when fiction and practice came to be more and more intertwined or even fully amalgamated. This is the first comparative study that systematically relates fiction and practice in the history of magic.

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Preliminary Material

Copyright Page

Notes on Contributors

Introduction

Chapter 1 Magic as Pollution

Fictional Blasphemies and Ritual Realities in the Roman Period (1st cen. BCE–4th cen. CE)

Chapter 2 The Medieval Anti-Faust

Stories, Rituals, and Self-Representations in the Flowers of Heavenly Teaching

Chapter 3 Enchantment and Anger in Medieval Icelandic Literature and Later Folklore

Chapter 4 Narratives of the Witch, the Magician, and the Devil in Early Modern Grimoires

Chapter 5 When Ritual Texts Become Legendary

Practice and Fiction in Nordic Folklore

Chapter 6 Magic and Literary Imagination in H. P. Blavatsky’s Theosophy

Chapter 7 The Emergence of Fictional Practice in the Hermetic Order of the Golden Dawn

W.B. Yeats’ Talismanic Poetry

Chapter 8 “My Life in a Love Cult”

Tantra, Orientalism, and Sex Magic in Early Twentieth-Century Fiction

Chapter 9 Drawing Down the Moon

From Classical Greece to Modern Wicca?

Chapter 10 Drinking from Hecate’s Fountain

Kenneth Grant’s Typhonian Trilogies and the Fusion Between Literature and Practiced Magic

Chapter 11 If One Knows Where to Look, Fiction is Magic

Reading Fictional Texts as Manuals of Magic in Post-Soviet Ukraine, Russia, and Belarus

Chapter 12 “Cthulhu Gnosis”

Monstrosity, Selfhood, and Secular Re-Enchantment in Lovecraftian Occultural Practice

Chapter 13 A Magickal School in the Twenty-First Century

The Grey School of Wizardry and Its Prehistory

Chapter 14 Fictional Practice from Antiquity to Today

Person Index

Biographical Note

Bernd-Christian Otto is Senior Research Fellow at the International Consortium for Research in the Humanities at the University of Erlangen-Nuremburg. His research focuses on the history of magic, where he combines different methodologies such as conceptual history, discourse analysis, social theory, and ritual studies.
Dirk Johannsen is Professor of Cultural History at the Department of Culture Studies and Oriental Languages (IKOS), University of Oslo. His research focuses on narrative cultures, literature and popular religion in the nineteenth century, cognitive approaches, and trolls.

Contributors are Carole M. Cusack, Owen Davies, Ethan Doyle White, Claire Fanger, Kyle Fraser, Marco Frenschkowski, Christian Giudice, Aðalheiður Guðmundsdóttir, Dirk Johannsen, Ane Ohrvik, Bernd-Christian Otto, Hugh Urban, Justin Woodman, Kateryna Zorya.

Table of contents

List of Figures
Notes on Contributors

Introduction
Bernd-Christian Otto and Dirk Johannsen

1 Magic as Pollution: Fictional Blasphemies and Ritual Realities in the Roman Period (1st cen. BCE–4th cen. C)
Kyle Fraser

2 The Medieval Anti-Faust: Stories, Rituals, and Self-Representations in the Flowers of Heavenly Teaching
Claire Fanger

3 Enchantment and Anger in Medieval Icelandic Literature and Later Folklore
Aðalheiður Guðmundsdóttir

4 Narratives of the Witch, the Magician, and the Devil in Early Modern Grimoires
Owen Davies

5 When Ritual Texts Become Legendary Practice and Fiction in Nordic Folklore
Ane Ohrvik

7 The Emergence of Fictional Practice in the Hermetic Order of the Golden Dawn: W.B. Yeats’ Talismanic Poetry
Dirk Johannsen

8 “My Life in a Love Cult”: Tantra, Orientalism, and Sex Magic in Early Twentieth-Century Fiction
Hugh B. Urban

9 Drawing Down the Moon: From Classical Greece to Modern Wicca?
Ethan Doyle White

10 Drinking from Hecate’s Fountain: Kenneth Grant’s Typhonian Trilogies and the Fusion Between Literature and Practiced Magic
Christian Giudice

11 If One Knows Where to Look, Fiction is Magic: Reading Fictional Texts as Manuals of Magic in Post-Soviet Ukraine, Russia, and Belarus
Kateryna Zorya

12 “Cthulhu Gnosis” Monstrosity, Selfhood, and Secular Re-Enchantment in Lovecraftian Occultural Practice
Justin Woodman

13 A Magickal School in the Twenty-First Century: The Grey School of Wizardry and Its Prehistory
Carole M. Cusack

14 Fictional Practice from Antiquity to Today
Bernd-Christian Otto

Readership

Students and researchers in the study of esotericism, religious studies, anthropology, literary, cultural, and historical studies as well as those interested in novel approaches to the history of magic.

What is too much for someone on the spectrum who has trouble with high stimulus situations may be ideal for a person with ADHD who needs extra stimulus. What is too much energy expenditure for a person with fibromyalgia might be the exact right amount of effort for a person with bipolar 2 who needs to feel like they are putting hard work into something. The generalization that happens when we throw all mental and physical disorders into one giant category makes these arguments no more than a simple exclusionary clause because it’s too much work to teach and help people figure out how to adapt their magical practice to their capabilities.

In these belief systems, black magic is seen as an attempt to usurp divine authority and impose human will on the natural order. Despite its negative connotations, black magic continues to exert a fascination on people today. In popular culture, it is often depicted in movies, books, and television shows, portraying dark wizards and witches who use their powers for nefarious purposes. However, it is important to recognize that these portrayals are fictional and do not accurately reflect the real-world practice of black magic. In reality, true black magic is a rare and secretive practice. It requires extensive knowledge and understanding of ancient rituals, symbols, and occult traditions. Practitioners of black magic are said to possess a deep understanding of human psychology and the ability to manipulate it to their advantage. However, it is crucial to note that black magic is often associated with negative consequences. Those who engage in such practices are believed to incur a karmic debt, which may result in personal suffering or even spiritual ruin. The pursuit of power and control through black magic is seen as an inherently destructive and self-destructive endeavor. In conclusion, true black magic is a complex and controversial subject. It evokes a mix of fear, fascination, and moral outrage. While it continues to captivate the human imagination, it remains a practice that is largely shrouded in secrecy and mystery. Whether it is a force for evil or simply a manifestation of the human desire for power and control, true black magic remains a topic that both repels and intrigues..

Reviews for "The dangers of dabbling in true black magic"

- Sarah - 1 star - I was really disappointed with "True Black Magic". The characters felt flat and underdeveloped, and the plot was predictable and lacked any sort of originality. The writing style was also quite amateurish, with awkward dialogue and repetitive descriptions. Overall, I felt like I wasted my time reading this book and would not recommend it to others.

- John - 2 stars - I wanted to like "True Black Magic" because I'm a fan of the genre, but it just didn't deliver. The pacing was off, with long stretches of tedious exposition followed by rushed action scenes. The magic system was poorly explained and inconsistent, which made it hard to stay engaged in the story. Additionally, the main character was frustratingly naive and made illogical decisions that further diminished my enjoyment of the book.

- Emily - 2 stars - As someone who loves dark fantasy, I was excited to read "True Black Magic". However, I found it to be a disappointing and disjointed read. The world-building was lacking, leaving me confused about the rules and history of the magic system. The plot meandered and didn't have a satisfying resolution, leaving many loose ends. Overall, I think this book had potential, but it fell short on multiple fronts and left me unsatisfied.

- Mike - 1 star - "True Black Magic" was a complete letdown. The writing was full of cliches and overused tropes, making it feel like a cheap imitation of other fantasy novels. The main character was irritatingly whiny and lacked any sort of depth or growth. The dialogue was stilted and unnatural, making it difficult to connect with any of the characters. I struggled to finish this book and have no desire to read anything else by this author.

The ancient origins of true black magic