H.P. Lovecraft created an original mythology that has not only become science fiction and fantasy classics, but also determined horror genre development in general. In his literary works, Lovecraft used images derived from both ancient religious traditions and contemporary western esotericism, filling his imaginary worlds with mysterious cosmic creatures. The writer’s cultural and historic environment played a very important role as the cultural landscape of New England and theosophical concepts widespread at that time had a great impact on the author’s work and writing. The original “mythology” invented by Lovecraft later played a key role in development of some new religious movements. Besides, Lovecraft’s mythology and images are reflected in the modern popular culture. The paper analyzes Lovecraft’s works and religious motives that are used or reflected in them, cultural factors that influenced the writer and Lovecraft’s heritage place in occult concepts, practices and subcultures of today.

Guru is a spiritual teacher who can help you teach the “truth” those people who need it. The presence of secret knowledge, “a holistic and clear understanding of the nature of reality” that is a feature that distinguishes a guru from a “normal” person or a simple teacher. True knowledge is realized by the spiritual teacher in revelation, in a certain experience, the authenticity of which is of no doubt, and through the sacred texts of the sruti and smriti. New Indian masters, gurus of Neo-Hinduism are modern teachers of wisdom, whose teachings are now widespread all around the world. The main aim of their teachings is enlightenment, liberation in life ( jivanmukta ), occurring through the spiritual perfection of the individual. Neo-Hinduism masters traditionally use three ways to achieve Moksha, described in Bhagavad-Gita and later Upanishads: “the path of knowledge” ( jnana-marga ), the “path of action” ( karma-marga ), “the course of true love” to God ( bhakti-marga )...

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The article discusses the possible perspectives of interdisciplinary research, standing on the border of the study of culture and religion. The author proposes to illustrate the specificity of such interdisciplinary character on the example of manifestation of Western esotericism in adventure computer games of the 90s. In the first part of the article main occulture myths are identified with the help of methodological frame of the part is C. Partridge’s theory of occulture. The author comes to the conclusion that the occulture makes the plot of games commercially successful. In the second part of the article the author refers to the theory of circulation of cultural product, developed by the Birmingham school of culture studies, in order to understand how from a research point of view, it is possible to use the knowledge of the deep occult influence on the industry of adventure games. The article discusses in detail the three phases of circulation: production, consumption and identity. The author concludes that occult plots and elements of computer games are secondary in relation to movies and literature, but this secondary character also provides them with the commercial success determined by recognition and justification of expectations of players.