"Mexican Karismata" chronicles the life of Francisca de los Angeles (1674-1744), the daughter of a poor Creole mother and mestizo father who became a renowned holy woman in her native city of Queretaro, Mexico, during the high Baroque period. As a precocious young visionary and later as the headmistress of an important religious institution for women, Francisca actively partook in the project to revitalize the Catholic cult in New Spain's northern regions led by her mentors, the Spanish missionaries of the Congregation for the Propagation of Faith. Her copious correspondence, containing hundreds of unedited letters, documents the personal experience of popular Catholicism during the high Baroque period in New Spain.Francisca's journey to God did not follow prescribed hagiographical guidelines, drawing its inspiration instead from an eclectic mix of the doctrines of the Counter-Reformation, medieval spirituality, and local traditions. Her ecstatic apostolate to the dead and living often bordered on heresy but found acceptance and came to fruition under the protection of Queretaro's ecclesiastical and secular elite. Her life shows how mystic rapture and sociability joined in this colonial variation of Early Modern Catholicism and demonstrates the remarkable vitality and openness of urban spirituality in the New World. Ellen Gunnarsdottir teaches Spanish at the University of Iceland.
A major achievement in the field of translation, this anthology presents a rich assortment of classical Arabic poems and literary prose, from pre-Islamic times until the 18th century, with short introductions to guide non-specialist students and informative endnotes and bibliography for advanced scholars. Like many pre-modern Arabic anthologies it aims at being both entertaining and informative. It ranges from the early Bedouin poems with their evocation of desert life to refined urban lyrical verse, from tender love poetry to sonorous eulogy or vicious lampoons, and from the heights of mystical rapture to the frivolity of comic verse. The prose contains anecdotes, entertaining or edifying tales and parables, a fairy-tale, a bawdy story, samples of literary criticism, and much more. With this anthology, distinguished Arabist Geert Jan van Gelder brings together well-known texts as well as less familiar pieces that will be new even to scholars in the field. Many recent studies and anthologies of Middle Eastern literatures are primarily interested in Islam and religious matters - an emphasis that leads to the common misconception that almost everything in the region was and is dominated by religion. Classical Arabic Literature instead brings to life the rich variety of pre-modern Arabic social and cultural life, where secular texts happily coexisted with religious ones. This masterful anthology, in English only, will introduce this vibrant literary heritage to a wide spectrum of new readers.
Can ecstatic experiences be studied with the academic instruments of rational investigation? What kinds of religious illumination are experienced by academically minded people? And what is the specific nature of the knowledge of God that university theologians of the Middle Ages enjoyed compared with other modes of knowing God, such as rapture, prophecy, the beatific vision, or simple faith? Ecstasy in the Classroom explores the interface between academic theology and ecstatic experience in the first half of the thirteenth century, formative years in the history of the University of Paris, medieval Europe's fountain of knowledge. It considers little-known texts by William of Auxerre, Philip the Chancellor, William of Auvergne, Alexander of Hales, and other theologians of this community, thus creating a group portrait of a scholarly discourse. It seeks to do three things. The first is to map and analyze the scholastic discourse about rapture and other modes of cognition in the first half of the thirteenth century. The second is to explicate the perception of the self that these modes imply: the possibility of transformation and the complex structure of the soul and its habits. The third is to read these discussions as a window on the predicaments of a newborn community of medieval professionals and thereby elucidate foundational tensions in the emergent academic culture and its social and cultural context. Juxtaposing scholastic questions with scenes of contemporary courtly romances and reading Aristotle's Analytics alongside hagiographical anecdotes, Ecstasy in the Classroom challenges the often rigid historiographical boundaries between scholastic thought and its institutional and cultural context.
Can ecstatic experiences be studied with the academic instruments of rational investigation? What kinds of religious illumination are experienced by academically minded people? And what is the specific nature of the knowledge of God that university theologians of the Middle Ages enjoyed compared with other modes of knowing God, such as rapture, prophecy, the beatific vision, or simple faith? Ecstasy in the Classroom explores the interface between academic theology and ecstatic experience in the first half of the thirteenth century, formative years in the history of the University of Paris, medieval Europe's fountain of knowledge. It considers little-known texts by William of Auxerre, Philip the Chancellor, William of Auvergne, Alexander of Hales, and other theologians of this community, thus creating a group portrait of a scholarly discourse. It seeks to do three things. The first is to map and analyze the scholastic discourse about rapture and other modes of cognition in the first half of the thirteenth century. The second is to explicate the perception of the self that these modes imply: the possibility of transformation and the complex structure of the soul and its habits. The third is to read these discussions as a window on the predicaments of a newborn community of medieval professionals and thereby elucidate foundational tensions in the emergent academic culture and its social and cultural context. Juxtaposing scholastic questions with scenes of contemporary courtly romances and reading Aristotle's Analytics alongside hagiographical anecdotes, Ecstasy in the Classroom challenges the often rigid historiographical boundaries between scholastic thought and its institutional and cultural context.
In her new book, Carolyn Abbate considers the nature of operatic performance and the acoustic images of performance present in operas from Monteverdi to Ravel. Paying tribute to music's realization by musicians and singers, she argues that operatic works are indelibly bound to the contingency of live singing, playing, and staging. She seeks a middle ground between operas as abstractions and performance as the phenomenon that brings opera into being. Weaving between opera's "facts of life" and a series of works including The Magic Flute, Parsifal, and Pelleas, Abbate explores a spectrum of attitudes towards musical performance, which range from euphoric visions of singers as creators to uncanny images of musicians as lifeless objects that have been resuscitated by scripts. In doing so, she touches upon several critical issues: the Wagner problem; coloratura, virtuosity, and their critics; the implications of disembodied voice in opera and film; mechanical music; the mortality of musical sound; and opera's predilection for scenes positing mysterious unheard music. An intersection between transcendence and intense physical grounding, she asserts, is a quintessential element of the genre, one source of the rapture that operas and their singers can engender in listeners. In Search of Opera mediates between an experience of opera that can be passionate and intuitive, and an intellectual engagement with opera as a complicated aesthetic phenomenon. Marrying philosophical speculation to historical detail, Abbate contemplates a central dilemma: the ineffability of music and the diverse means by which a fugitive art is best expressed in words. All serious devotees of opera will want to read this imaginative book by s music-critical virtuoso.
Exporting the Rapture documents for the first time how the complex theological construct of Dispensationalism was repackaged from its southern Irish roots into a system ideal for exporting to North America, where it became the distinguishing feature of the bestselling Scofield Bible. The influence of John Nelson Darby is highlighted.
INTRODUCTION: RAPT ORATION PART ONE: THE PERFORMANCE OF THE DRAMATIC MONOLOGUE The Poetics and Politics of the Dramatic Monologue Poetics: Persuasive Similitude Politics: Whig Poetics Victorian Rapture Victorian End Times The Rapture of St. Simeon Stylites Simeon's Afterlife: The Message of the Butterfly PART TWO: UNREAL CITY: VICTORIANS IN TROY The Knowledge of Troy Feeding the Heart: Educating Tennyson Locating Victorian Troy The Knowledge of Ulysses The Character of the Homeric Statesman "Ulysses" and the Rapture of Troy PART THREE: THE COMPOSITION OF THE SONG-BUILT CITY Tithonus and the Uses of Masculine Beauty Trojan Aesthetics The Rapture of Tithonus Tithonus, Tiresias and Song-built Civics Tithonus and Trojan Aristocracy The Rapture of Tiresias CONCLUSION: TENNYSON'S APOTHEOSIS NOTES INDEX
In the 'twinkling of an eye' Jesus secretly returns to earth and gathers to him all believers. As they are taken to heaven, the world they leave behind is plunged into chaos. Cars and airplanes crash and people search in vain for loved ones. Plagues, famine, and suffering follow. The antichrist emerges to rule the world and to destroy those who oppose him. Finally, Christ comes again in glory, defeats the antichrist and reigns over the earth. This apocalyptic scenario is anticipated by millions of Americans. These millions have made the Left Behind series - novels that depict the rapture and apocalyse - perennial bestsellers, with over 40 million copies now in print. In Rapture Culture, Amy Johnson Frykholm explores this remarkable phenomenon, seeking to understand why American evangelicals find the idea of the rapture so compelling. Drawing on extensive interviews with reders of the novels. Rapture Culture sheds light on a mindset that is little understood and far more common than many of us suppose.
Acknowledgements Introduction Chapter One David Hare: The Work of Mourning, or, The Agony and the Ecstasy of the Bourgeoisie The Year of Magical Thinking - Teeth 'n' Smiles - Plenty -- The Secret Rapture - Skylight - The Judas Kiss - Amy's View - My Zinc Bed - The Permanent Way -- The Vertical Hour - Gethsemane Chapter Two Howard Barker: Will and Desire - From the Tragedy of Socialism to the Ecstasy of the Unconscious Claw - Fair Slaughter - That Good Between Us -- The Power of the Dog - Victory - The Castle - The Europeans -- The Possibilities - Gertrude-The Cry - Dead Hands - The Seduction of Almighty God by the Boy Priest Loftus in the Abbey of Calcetto, 1539 Chapter Three Edward Bond: Tragedy and Postmodernity, or, The Promethean Impulse Saved - Lear - Bingo - The Fool -- Restoration -- The War Plays - Olly's Prison - At the Inland Sea - Coffee- The Crime of the Twenty-First Century - Chair Chapter Four Caryl Churchill: The Dionysian Mobius Strip Seven Jewish Children - Lovesick - Abortive -- Owners - Traps -- Light Shining in Buckinghamshire - Cloud Nine - Top Girls - Fen - A Mouthful of Birds -- Lives of the Great Poisoners - The Skriker - Thyestes --- Far Away -- A Number Chapter Five New English Tragedians: The Tragedy of the Tragic Mark Ravenhill: Shopping and Fucking - Faust is Dead - Handbag - Some Explicit Polaroids - Product - The Cut - pool (no water) - Sarah Kane: Blasted - Phaedra's Love - Cleansed - Crave - 4.48 Psychosis Conclusion: Late Modernism in Jerusalem Works Cited Index
Women are running for president. Men are exfoliating. It's all jumbled: you can't read the signs.Can any woman have it all? After university Catherine and Gwen chose opposite paths: Catherine built a career as a rock-star academic, while Gwen built a home with a husband and children. Decades later, unfulfilled in opposite ways, each woman covets the other's life, and a dangerous game begins as each tries to claim the other's territory. Sparks fly and the age-old question arises: what do women really want?Gina Gionfriddo dissects modern gender politics in this breathtakingly witty and virtuosic comedy, set in a small New England college town. Traversing the experiences of women across the generations, this play is a hugely entertaining exploration of a new style of feminism, ripe for the twenty-first century.Rapture, Blister, Burn was commissioned by Playwrights Horizons, where it premiered, with funds from the Harold and Mim Steinberg Charitable Trust. It received its UK premiere at the Hampstead Theatre, London, in January 2014.
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