Sastra populer terjadi pada masanya dan penggemarnya saat itu. 2. Intensitas penyajian dan pemilihan persoalan atau tema Vera Pragnell was inspired both by Christianity (in particular William E. Orchard and the Fellowship of Reconciliation) [2] as well as the principles of pioneering socialist Edward Carpenter. [1] She imposed no conditions or rules on prospective settlers and insisted that The Sanctuary was open to everyone. Initially, all who came to live there were given a half-acre plot on which they would park a caravan or build a simple house. Eventually communal facilities were created such as a shop, a school and a building used for theatre and dancing. Neuburg’s critical presence in creating “The Vision and the Voice,” alone makes it nearly unthinkable that he is not credited as a major Gnostic and Thelemic Saint. Whatever the criteria for Sainthood, integral participation in the creation of the work which Crowley considered second in importance only to Liber AL seems adequate, while for those trivializing Crowley’s pansexuality to frame him as a predominantly heterosexual male, the fact that his sexual acts with Neuburg lie at the heart of Thelema’s second revelation must be a firm and absolute refutation which seems impossible to ignore.

Annie Besant in 1885, at the age of 38. SCM 12640, Annie Besant, Annie Besant: an Autobiography, (London, 1908). By the time he met J. F. C. Fuller, he was still disillusioned with Judeo-Christian faith, but had become a mystic. Fuller noted that Crowley had attended Trinity and introduced the two. Neuburg was 23, Crowley 31. The concept of Master/slave relationships was certainly not unknown at the time. Sacher-Masoch’s model, however, was Mistress/slave, which did not apply to Crowley and Neuburg. The culture of gay male Master/slave (M/s) which prevailed after the Second World War as recorded in Townsend’s “Run, Little Leather Boy” (1970) and “Leatherman’s Handbook” (1972) did not yet exist, though the English public school system can be considered through the understanding of BDSM as the “English Vice” to have had some influence on the Weimar era culture may have served in part as inspiration. The conventional narrative would be one of Crowley “falling in” to depravity, hungering for ever darker and more twisted sexual experiences or fantasies. His early writing, however guarded, shows there was never a shortage of such fantasy, though in some cases it required experience to name. An understanding of actual human psychology would suggest that Crowley was in the process of understanding and accepting himself, becoming comfortable both his homosexuality and his darker urges, both sadistic and masochistic. This acceptance of the entire self is an underlying concept of modern psychology but it appears strongly in Thelema, and is a major theme in Crowley’s work from this point on.

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Victor E. Neuburg, The penny histories: a study of chapbooks for young readers over two centuries, illustrated with facsimiles of seven chapbooks (The Juvenile Library; London: Oxford University Press, 1968) A number of the residents and visitors were friends and associates of Edward Carpenter, who was a supporter and inspiration to the community. [8] In 1928, Vera Pragnell published her book "The Story of the Sanctuary" [1] and dedicated it to the "splendid pioneer" Edward Carpenter with a poem by Victor Neuburg praising Carpenter as "our Youth's doyen". Vera had a personal connection with Carpenter, as in 1927 she had married the painter Dennis Earle, [6] who had previously been known as Ted Earle when he was Carpenter's lover [8] Decline [ edit ] There was no single break between Crowley and Neuburg, though their relationship culminated in a fight. As a new “Dominant” without guidance or standards, Crowley overextended his hand, tiring Neuburg out and using him as the whipping boy for his frustration and ire. After five years as the “underclassman” he was tired of the role, and Crowley’s energy was going elsewhere. Neuburg undertook a vacation where other former Equinox staff who had fallen out with Crowley convinced him that the Master was simply a poser, and attempted to poison his mind regarding Crowley’s involvement in the death of Jeanne Heyse.

A play entitled Sanctuary, featuring Vera Pragnell and Victor Neuburg, written by Chris Green, was presented at the 2012 Brighton Fringe Festival. The relationship becomes important because it in many ways defines the magic. Safe in his role as the dominant partner, Crowley was for the first time able to engage in a reasonably safe exploration of his homosexual side. In his significant earlier relationships, he had been either an equal or the less experienced partner. Certainly Herbert Charles Pollitt/Diane de Rougy, four years older than Crowley, was the senior of the two. Neuburg was born in London in 1883. His father deserted the family soon after he was born and he was raised by his mother and maternal family. The family seems to have been reasonably prosperous despite his father’s desertion, as he was a student at Trinity College, Cambridge, by 1906. Pernyataannya langsung, artinya tanpa kualifikasi dan dengan jelas dipaparkan secara langsung serta tidak bertele-tele. Crowley's attitude was clearly not that of a disinterested teacher. It also represented part of a complex and ritualized playing out of elements of his personal relationship with Neuburg. He chastised the Probationer, but in terms that related to the man. Crowley afterwards expressed the view that there was a "fundamental moral deficiency in his character," and "a strain of racial congenital cowardice too deeply seated for eradication." At the time he continually harped upon his student's supposed "racial," that is, Jewish, traits, and Neuburg found the personal abuse almost intolerable. He went through periods of rebellion, but in awe of Crowley, bound to him emotionally, and cognizant of his vow, Neuburg always repented of his outbursts. The racial slurs and personal insults continued. Meanwhile, however, Neuburg began to have some magical success. Prolonged periods of yoga and meditation began to facilitate changed states of consciousness, and these in turn gave way to vivid experiences on the astral planes. Moments of supreme spiritual insight, of intense and rapturous identification with the cosmic "Mind," were equaled by episodes of horrifying despair. But Neuburg emerged from the storm to find a sense of peace and harmony, and seemed to find within himself some kind of "center." He understood that, at some level, this sense of center accorded with the magician's will, the essential focal point for all magical activity. Crowley approved the insight, commenting that this approached a description of initiated consciousness. In Neuburg's account of his Retirement, dated 29 June 1909, he thanked his Most Holy Guru and, fittingly, both praised and blamed him. Crowley then advanced his Probationer to the Grade of Neophyte.There are a number of models for their relationship and a few bear discussion. Certainly they had a declared Master/aspirant relationship, and also an informal relationship with Crowley as older poet and mentor. The dynamics between them run deeper and bear considerably more exploration than allowed here, however because this important aspect of their lives together has been so poorly understood we will add some commentary. Hutton, Ronald (1999). The Triumph of the Moon: A History of Modern Pagan Witchcraft. Oxford University Press. ISBN 9780192854490. In the year 1984/5 he was Samuel Foster Haven Fellow of the American Antiquarian Society. His Fellowship publication was 'Chapbooks in America', in Cathy N. Davidson, ed., Reading in America (Baltimore: Johns Hopkins University Press, 1989) [1] Later, when I have finished this letter, I’ll walk down the lane. It will be dark then; lamps will be lit in the farmhouses, and the farmers will be sitting at their fires, looking into the blazing wood and thinking of God knows what littlenesses, or thinking of nothing at all but their own animal warmth. . . .

Karya dalam sastra populer ini terkenal atau populernya hanya sementara atau saat itu saja. Ketika ada karya baru yang muncul dan lebih menarik, maka sastra yang populer sebelumnya akan tenggelam dan dilupakan. 7. Banyak dikritik Victor E. Neuburg, Chapbooks: a bibliography of references to English and American chapbook literature of the eighteenth and nineteenth centuries (London: Vine Press, 1964) He was educated at the University of Leicester where he received the degree of Master of Education in 1967. [1] He was Lecturer (later Senior Lecturer) [1] in the School of Librarianship North-Western Polytechnic/Polytechnic of North London. He was general editor of the Woburn Press series of reprints The Social History of Education. [2]

The Poet of Church Street

Dari penjelasan para ahli di atas, dapat disimpulkan bahwa sastra populer merupakan sastra yang dianggap memiliki esensi yang lebih rendah dari sastra non populer dan dianggap tidak memiliki keindahan dari segi makna karena disampaikan dengan jelas dan tidak berbelit-belit, tidak seperti sastra serius, karena mementingkan target pasar. Karakteristik Sastra Populer Artinya, prosa atau fiksi jadi karangangan yang sifatnya menjelaskan secara terurai atau mengenai suatu masalah, peristiwa, dan lain sebagainya mengenai kehidupan manusia. 3. Novel Sifat sastra populer ini biasanya tergolong klise atau selalu diulang-ulang karena tujuannya mengabdi atau menuruti selera pembaca atau memenuhi target pasar atau komersil. 6. Situasional