How do invocations of history inform speculative discourses in Western astrology? This article examines how events from the recorded past factor into predictive forecasts among professional astrologers for whom celestial patterns are indicative of shifting and evolving world-historical trends. Drawing on examples from prominent voices in the North American astrology community, across a range of commercial and social media platforms, I outline the parameters of what I call “astrological historicity,” a temporal orientation guided by archetypal principles closely associated with New Age metaphysics and psychodynamic theories of the self. I argue that while such sensibilities reinforce an ethos of therapeutic spirituality, they are not so narrowly individualistic as to preclude social and political considerations. Astrological historicity is at times a vehicle for culturally resonant expressions of historical consciousness, including critical awareness of historical legacies of racial and social injustice that directly link the past to the present and foreseeable future. Furthermore, while astrological accounts of history emulate aspects of modern historicism, including its orientation toward linear temporality and developmental themes, they rely on a nonlinear framework predicated on recurring cycles, correspondences, and synchronicities, bringing a complex heterotemporality to bear on world-historical circumstances. In seeking to understand the moral and political entailments of this area of occult knowledge production, this article aims to shed light on astrology’s cultural appeal not just as popular entertainment, spirituality, or therapy, but as an intellectual and cultural resource for many people searching for ways to express their frustration and disillusionment with reigning political-economic systems and authorities.

That Safavid Iran was scene to a boom in the occult sciences (ʿulum-i gharība) is now beginning to be acknowledged by specialists; what has yet to be appreciated is the extent to which that boom represented a smooth and conscious continuation of Mamluk, Aqquyunlu, Ottoman and especially Timurid Sunni precedent. In particular, lettrism (ʿilm-i ḥurūf), developed by the Pythagoreanizing, imamophile New Brethren of Purity as universal imperial science, was embraced by leading Safavid thinkers and doers as a primary Sunni means of Shiʿizing Iran. This occult continuity is epitomized by the oeuvre of Maḥmūd Dihdār Shīrāzī “ʿIyānī” (fl. 1576), the most prolific Persian author on lettrism of the sixteenth century and teacher to Shaykh Bahāʾī (d. 1621) himself. His Unveiling Secrets (Kashf al-asrār)—a passionate prosimetric paean to Imam ʿAlī as cosmic principle in strictly Akbarian-Būnian terms, like Rajab al-Bursī’s (d. after 1410) work before it—is contextualized and translated here as a case in point.

This article analyses the construction of religious origin myths for Islam within ‘universal religion’ and esoteric frameworks in late nineteenth- and early twentieth-century South Asia and beyond, and sheds light on the role of ‘Western’ and Anglo-Indian converts in this process. At its core is a case study of the elusive Hamid Snow, founder of the so-called ‘Church of Islam’ in 1891 in Sikanderabad, Deccan. On the following pages, I reconstruct Snow's biography from little-known Urdu and English sources, analyse his writings, and place him within a context of religious modernist, esoteric, and convert networks encompassing South Asia, Europe, the United States, the Philippines, and other parts of the world. By focusing on the nature of the scholarship of religion at the time, and the reconstruction of religious pasts under the influence of esotericism and religious modernism, the article traces the influence of Orientalist and Eurocentric views on perceptions of the Islamic tradition and contributes to larger debates about the role of laypeople, especially those with an interracial background, in interpreting religious history and acting as cultural mediators between different communities during a time of ‘hybrid transnational occultism’.1

Eusapia Palladino (1854-1918) is remembered as one of the most famous mediums in the history of spiritualism. Renowned scientists attended her séances in Europe and in the United States. They often had to admit to being unable to understand the origin of the phenomena produced. Cesare Lombroso, for example, after meeting Eusapia, was converted first to mediumism, then spiritualism. This article will retrace the early stages of her career as a medium and shed light on the way she managed to gain the attention of scientists. It will also show why they chose her as an epistemic object.

The article discusses attempts to visualise the soul on photographic plates at the end of the nineteenth century, as conducted by the French physician Hippolyte Baraduc in Paris. Although Baraduc refers to earlier experiments on fluidic photography in his book on The Human Soul (1896) and is usually mentioned as a precursor to parapsychological thought photography of the twentieth century, his work is presented as a genuine attempt at photographic soul-catching. Rather than producing mimetic representations of thoughts and imaginations, Baraduc claims to present the vital radiation of the psyche itself and therefore calls the images he produces psychicones.

The article first discusses the difference between this method of soul photography and other kinds of occult media technologies of the time, emphasising the significance of its non-mimetic, abstract character: since the soul itself was considered an abstract entity, abstract traces seemed all the more convincing to the contemporary audience. Secondly, the article shows how the technological agency of photography allowed Baraduc’s psychicones to be tied into related discourses in medicine and psychology. Insofar as the photographic plates displayed actual visual traces, Baraduc and his followers no longer considered hallucinations illusionary and pathological but emphasised the physical reality and normality of imagination. Yet, the greatest influence of soul photography was not on science but on art. As the third part of the paper argues, the abstract shapes on Baraduc’s plates provided inspiration for contemporary avant-garde aesthetics, for example, Kandinsky’s abstract paintings and the random streams of consciousness in surrealistic literature.

In July 1925, the psychiatrist Albert Moll appeared before the district court in Berlin-Schöneberg charged with having defamed the medium Maria Vollhardt (alias Rudloff) in his 1924 book Der Spiritismus [Spiritism]. Supported by some of Berlin’s most prominent occultists, the plaintiff – the medium’s husband – argued that Moll’s use of terms such as ‘trick’, ‘manipulation’ and ‘farce’ in reference to Vollhardt’s phenomena had been libellous. In the three-part trial that followed, however, Moll’s putative affront to the medium – of which he was eventually acquitted – was overshadowed, on the one hand, by a debate over the scientific status of parapsychology, and on the other, by the question of who – parapsychologists, occultists, psychiatrists or jurists – was entitled to claim epistemic authority over the occult. This paper will use the Rudloff–Moll trial as a means of examining Moll’s critique of occultism, not only as it stood in the mid-1920s, but also as it had developed since the 1880s. It will also provide insight into the views of Germany’s occultists and parapsychologists, who argued that their legitimate bid for scientific credibility was hindered by Dunkelmänner [obscurantists] such as Albert Moll.