The
above image is Monica Sjöö’s painting “Cosmos Within Her Womb” (1971).
The
above image is Monica Sjöö’s painting “Cosmos Within Her Womb” (1971).
I’m
very pleased that my chapter, “Against Nature: Tree-Shaking Action in Minoan
Glyptic Art as Agonistic Behaviour” has been published in the conference
proceedings of the Aegean Gestures conference. Gesture, Stance, and Movement: Communicating
Bodies in the Aegean Bronze Age. Acts of the International Conference at the
University of Heidelberg, 11–13 November 2021, edited by Ute Günkel-Maschek,
Céline Murphy, Fritz Blakolmer, and Diamantis Panagiotopoulos.
Description
Gestures,
posture and facial expressions are central to conveying meaning through action
and physical communication. In works of art, they represent active or
communicative aspects of the figures and relate them to one another in coherent
narratives. This is particularly important for understanding ancient contexts
of meaning, especially in the study of societies with a limited corpus of
deciphered texts, such as those of the Aegean from the Neolithic to the Late
Bronze Age. The volume, which emerged from a conference in Heidelberg in 2021,
deals in 29 contributions with old hypotheses and new approaches to
interpreting 'body language' in Minoan Crete and Mycenaean Greece.
The
whole book is open access. See the complete Table of Contents and download the
book for free from Propylaeum Ebooks
I am very pleased to have three chapters in
this new book:
5. What is the Relationship
Between Ancient and Contemporary Paganism?
16. Can a Pagan Follow
More Than One Path or Tradition?
43. Is There A Difference
Between Magic and Magick?
See the full Table of
Contents and buy the book here at Equinox Publishing.
Description
Pagan Religions in Five Minutes provides an accessible set of essays on questions relating to Pagan identities and practices, both historically and in contemporary societies as well as informative essays on different Pagan groups, such as Druidry, Wicca, Heathenry and others. The book includes answers to a range of questions such as: How many Pagans are there? What do Pagans believe? Is Paganism a real religion or is it just made-up? Is Satanism a type of Paganism? Do all Pagans celebrate the solstices? Why is it written “Pagan” and other times “pagan”? Do they have sacred texts? Is Druidry the indigenous religion of Europe? What does the pentagram symbol mean? Can anyone be a witch? Are Pagans anti-Christian? The book also covers issues with terminology, including the labelling of ancient, non-Western and indigenous groups as ‘pagan’, common assumptions and misconceptions about Pagans, and more.
Each
essay is by a leading scholar in the field, offering clear and concise answers
along with suggestions for further reading. The book is ideal for both the
curious and as an entry book for classroom use and studying Paganism.
Because
each chapter can be read in about five minutes, the books offer ideal
supplementary resources in classrooms or an engaging read for those curious
about the world around them.
This volume came about based on the recognition
that the rise and spread of Covid-19 has led contemporary scholarship to
consider the possibility that there will be an increasing acceleration of new
and highly transmissible plagues, viruses and other diseases linked to the mass
travel and trade that characterizes hyper-globalisation. As historians and
archaeologists studying the civilisations of the most distant past, we felt
that we had something to contribute to this conversation through providing a historical
perspective, with the twin goals of relieving the social anxiety caused by
pandemics and taking advantage of our present experiences to see how we might
view our own research in a fresh, new light. Archaeologists and scholars of
ancient history know that epidemic plagues and other environmental catastrophes
are nothing new: disease and illness are clearly represented in the
archaeological and historical record. The chapters in this volume focus on
plague in antiquity, centred primarily on the ancient Near East.
Chronologically, they span the Bronze Age to Late Antiquity, and regionally
they cover Mesopotamia, Egypt, the Levant, Cyprus, Anatolia and the Indus
valley. The contributors discuss a range of topics related to plague—its causes
and transmission, environmental factors, responses and treatments, disruptions
and social effects—drawing on ancient texts, modern sociology, archaeological
evidence and cultural material remains. The variety of contributions
demonstrates that rather than being anomalous, various forms of illness were
normal, recurring and prevalent within the ancient world. The authors refer to
the current Covid-19 pandemic, which was also inspiration in producing this
work. This volume contributes to the contextualisation of plague, pestilence,
disease and disability within wider and deeper human history. See the Table of Contents and buy the book here at Peeters Publishers.
I’m really excited that A Century of
James Frazer’s The Golden Bough: Shaking the Tree, Breaking the Bough,
edited by Stephanie Lynn Budin and Caroline J. Tully is now available forpre-order. This is the book that was produced from the online conference “Shaking
the Tree, Breaking the Bough: Frazer’s Golden Bough at 100”.
This multidisciplinary volume examines
the ongoing effects of James G. Frazer’s The Golden Bough in modern Humanities
and its wide-ranging influence across studies of ancient religions, literature,
historiography and reception studies.
It begins by exploring the life and
times of Frazer himself and the writing of The Golden Bough in its cultural
milieu. The volume then goes on to cover a wide range of topics, including:
ancient Near Eastern religion and culture; Minoan religion and in particular
the origins of notions of Minoan matriarchy; Frazer’s influence on the study of
Graeco-Roman religion and magic; Frazer’s influence on modern Pagan religions;
and the effects of Frazer’s works in modern culture and scholarship generally.
Chapters examine how modern academia – and beyond – continues to be influenced
by the otherwise discredited theories in The Golden Bough, ideas such as Sacred
Marriage and the incessant Fertility of Everything. The book demonstrates how
scholarship within the Humanities as well as practitioners of alternative
religions and the common public remain under the thrall of Frazer over one
hundred years since the publication of the abridged edition of The Golden
Bough, and what we must do to shake off that influence.
A Century of James Frazer’s The Golden
Bough is of interest to scholars and students from a wide range of disciplines,
including Ancient History, History of Religion, Comparative Religion, Classical
Studies, Archaeology, Historiography, Anthropology, Folklore, and Reception
Studies.
Table of Contents
Preliminaries
1. The Golden Bough: setting the scene –
Tim Parkin
2. Sir James Frazer and The Golden Bough
– Ronald Hutton
3. “Off With His Head!”: Wilhelm
Mannhardt’s Wald- und Feldkulte at the Roots of The Golden Bough - Frederico
Delgado Rosa
4. The Golden Bough and the Press –
Julia Phillips
5. Hypothesis as Theory: The Golden
Bough and the Obstinate Nostrums in Religious Studies and the Humanities – Ryan
C. Chester
Ancient Near East
6. Ištar’s Sexual Agency in Akkadian
Love Literature – Martti Nissinen
7. Dying and Rising Gods in Ancient
Mesopotamian Religion and the Frazerian Paradigm of Fertility Religion – JoAnn
Scurlock
8. The Fads that Drive Us: From Frazer,
Freud, and Foucault to Butler and Connell – Stephanie Lynn Budin
9. The Hebrew Bible Scapegoat:
Complicating a Frazerian Typology – Caroline Ward-Smith
Aegean and Classical
10. Embracing the Goddess: Evans and the
Minoan feminine divine – Christine Morris
11. Guess Who’s Back, Back Again?
Graeber and Wengrow’s Resurrection of Minoan Matriarchy in ‘The Dawn of
Everything’ – Stephen O’Brien
12. Same same, but different: Frazer’s
Sympathetic Law of Similarity and the study of Greco-Roman defixiones – Saskia
Moorrees
13. Reading about Nymphs and Roman
Soldiers with and without Frazer – Isabel Köster
Pagan Studies
14. Surviving Frazerisms: twenty-first
century Witchcraft and the eternal return – Helen Cornish
15. Moon and Huntress: Frazer’s Arician
Diana in Italian-American Witchcraft – Caroline J. Tully
16. Lilith from Demoness to Mother
Goddess: a Frazerian legacy in French Luciferian Wicca? – Vanessa
Toupin-Lavallée
17. Contemporary Tree Lore and the
Ancient Worship of Trees: The Contributions of James Frazer in the Contemporary
Study of Religion and Ecology – Ive Brissman
The Modern World
18. Derivative and Associative Popular
Frazerism: A Cultural Complex at Work in Late Modern Europe – Alessandro Testa
19. Frazer and the Magical Oath – Fritz
Lampe
Coda
20. Diana’s Mirror: The Reflective Surface of Frazer’s The Golden Bough – Robert Fraser
I've recently returned from Italy where I was attending a conference on shamanism and exploring the archaeological site of the sanctuary of the Roman goddess Diana, as well as looking at all the archaeological and historical museums in Rome. And I'm going back again in October! I'm super excited that I have been selected to participate in the artist residency at DOMUS in the town of Galatina, southern Italy. My artistic project is titled “The Theatre of Spirits: Trance Performances and Séance Phenomena in the Australian Spiritualist Movement, 1870 – 1950.” I will also be researching folkloric and environmental aspects of the Salento region such as the Tarantism phenomenon in which (mainly) women were allegedly bitten by the tarantula and became possessed; and the ecological problem of the death of olive trees affected by rapid desiccation, CoDiRo, due to the proliferation of the Xylella Fastidiosa bacterium which started to afflict the trees in 2013. THis is going to be great!
This is the text of a presentation I did on Kahn and Selesnick's Tarot of the Drowning World, which was hosted by Morbid Anatomy on the 10 September 2023. For the complete PowerPoint with all images, see my academia page.
I’m very
excited to be able to talk about the Tarot of the Drowning World. Of all the
tarot decks on the market today that I am aware of, it is only the Tarot of the
Drowning World and the Carnival at the End of the World tarot decks that I feel
motivated to make the effort to learn, and this is because of (along with the
excellent artwork) their contemporary relevance. These two decks are, let’s
say, “up to date” with what is happening in the – or on the – world today.
While I
appreciate many other decks, based on their theory or their art or both: (1) I
simply don’t have time to master them all and; (2) the Kahn, Selesnick, and
Falkner tarot decks are directly relevant to the environment – which should be a
topic of major concern and interest to all humans and certainly is to me.
Today I want to
focus on the presence and associations of Water in the Tarot of the
Drowning World.
While thinking
of a title for this presentation I remembered the term “Aqua Profonda”. This is
a rather famous term in inner city Melbourne, Australia, where I live as it
refers to a sign painted on a wall at the Fitzroy Pool, which is located just
up the road, here, from me. The pool opened in 1908, but the sign was painted around
1953 or 54 at the initiative of the pool manager, James Murphy, because he
found that he kept having to rescue Italian migrant children from the deep end
of the pool. He asked an Italian friend what the words for “deep water” were in
Italian and had them painted at the deep end of the pool.
“Aqua” here is
actually misspelled; in Italian it has a “c” in it – as it is here, it’s the
Latin. That reminds me of the Italian Acqua Alta, which in Latin is “deep
water”, but in Italian is “high water”, evoking the Acqua Alta high water in
Venice. Acqua Alta the name for the high tides that flood part of Venice (and
some other places around the northern Adriatic) between autumn and spring,
caused by a combination of the moon’s pull on the water and two winds, the
sirocco and the bora, also Venice is sinking, very slowly, but I digress.
The Aqua Profonda
sign is a big deal in Melbourne and it even has heritage listing so it can’t be
destroyed. In addition to its association with the post-war migration program; it
appeared in the 1982 film Monkey Grip
– which is based on a 1977 novel by Australian writer Helen Garner, about living
in share housing and experimental approaches to relationships in Fitzroy, which
back then was considered a slum, although now it is extremely desirable and
expensive. In the film Aqua Profonda serves as a metaphor for the tempestuous
relationship of the main protagonists; and lastly, Aqua Profonda was the slogan
of the Save Our Pool campaign in the mid 1990s when the council was considering
closing the pool.
So, Aqua
Profonda means Deep Water, but to me it also evokes, Profound Water – which
seems pertinent to the Tarot of the Drowning World deck, because isn’t that
what we want to access – or to be – as diviners? Profound!
Synonyms for
“profound” include words like deep, thoughtful, reflective, philosophical,
weighty and insightful. The dictionary definition includes: very great or
intense; penetrating or entering deeply into subjects of thought or knowledge; and
having deep insight or understanding. This is what the visual aspect of the Tarot
of the Drowning World – with its water – evokes for me: this inundation, this
potentially deep water, on top of which float human figures, objects, animals,
plants, and all sorts of flotsam. Maybe they are arising from, or are buoyed up
by, this Aqua Profonda. Maybe this Aqua Profonda is our deep dark subconscious
mind from which float up images and insights…
Aiming for or
claiming profundity can seem hubristic – but it’s surely no bolder than
claiming the power or skill of divination itself.
While I am very
enthusiastic about the Tarot of the Drowning World, I have not yet mastered it
to a sufficient degree to use in a professional setting. My tarot deck of
choice since 1984 has been the Aleister Crowley and Lady Frieda Harris-designed
Thoth deck – and I didn’t use that in a professional capacity until about 10
years after originally learning it.
I have had two
stints as a professional tarot reader; once for a period of time in the early 1990s
at a shop called Mythical Moon and more recently since 2019 at a shop called
Muses of Mystery, both located in Melbourne. It wasn’t until this second time around
working as a tarot reader that I noticed that the cards of the Thoth deck did
not cover some of the types of concerns relevant to humans today. Two obvious
examples of this lack of contemporary coverage are that it is very gender
binary and it does not address or incorporate the environmental crisis. While
sure, you can make it cover those topics – you can extend certain cards’
meanings to include those issues – but it doesn’t really. It wasn’t designed
that way.
Of course the
Thoth deck was designed in the early 20th century, and is based on what
I’ll generalise as the “Western Mystery Tradition”, incorporating Egyptian,
Greek and Roman mythology, the Qabalistic tree of life, alchemy, astrology, and
the Empedoclean Four Elements – which I love, of course!
The Thoth tarot
deck classifies Water as one of the Four Elements or the Classical Elements, a
model proposed in the mid-fifth century BCE by the Pre-Socratic philosopher,
Empedocles of Akragas in Sicily. Empedocles conceived the basis of existence as
consisting of, or deriving from, four roots: Fire, Water, Air and Earth, moved by two opposing forces, Love and Strife. The
model of the Four Elements was transmitted through the centuries, and found its
way into the proto-tarot back when it was a game in 16th century
Florence.[1]
In the late nineteenth century the Four Elements system
was an important component in the theory informing the magical rituals of the
Hermetic Order of the Golden Dawn, the magical society Crowley was initiated
into and which paved the way for the popularity of occultism today. The Four
Elements consequently feature in Crowley’s Thoth (and many other subsequent)
tarot decks. What is important to note in regard to this is that in the Thoth tarot
the Four Elements are symbolic.
As Crowley explains
“One must constantly remember that the terms used by ancient and medieval
philosophers do not mean at all what they mean nowadays. ‘Water’ does not mean
to them the chemical compound H2O; it is an intensely abstract idea, and exists
everywhere...The word ‘element’ does not mean a chemical element; it means a
set of ideas; it summarises certain qualities or properties.”
In popular
occultism water is characterised as passive, feminine, and emotional. In the
Thoth deck “water” represents aspects of water such as (and I quote Crowly
here) the “swift passionate attack of rain and springs… water’s power of
solution…brilliance… its power of reception and reflection… purity and beauty…
dreaminess, illusion and tranquility… transmission, refraction, distortion…elasticity,
volatility, hydrostatic equilibrium… the catalytic faculty and the energy of
steam… transmutation, stagnancy and putrefaction… and crystallisation.” Water
is attributed to the Zodiac signs Cancer, Scorpio and Pisces, the suit of Cups,
to the Queens in the Court Cards, and also to one of the Major Arcana, the
Hanged Man, through the attribution to it of the Hebrew letter Mem, which means
water. Crowley explains that “It would perhaps be better to say that it [in
this card] represents the spiritual function of Water in the economy of
initiation; it is a baptism which is also a death.” Again, here despites its
many forms, Water is symbolic.
So how is the
Tarot of the Drowning World different? What does it mean when the whole deck is
“attributed” to water?
Sarah asks, “Is
the Drowned World a new world being born, arising out of a dark abyss or cosmic
ocean? Yes…. Submerged and Resurgent.” Panic and victimhood turn into ingenuity
and determination. Use an apocalypse to receive apokálypsis (or revelation). Stare into the cards and allow it to
arise. Create the future.
So, like the
Thoth and all good tarot decks, the Tarot of the Drowning World is more than
just a divinatory system. It is a story, a world, a lesson, a source of
knowledge, and of solutions. It is both literal and symbolic, both a vision of
impending death and destruction, and of creation and regeneration. Most
importantly, it situates humans within the world, on a horizontal plane in
relationship with literal water – with rising seas, inundation of islands,
flooding, sinking, drowning, tears, fluids, lakes, rivers, rain, puddles, and drinks
– and encourages us to see renewal within devastation and to actively envision
the future.