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A groundbreaking illumination of the creation and reception of extant erotic poetry written in Latin during the Middle Ages
Poetry - ISBN: 978-0-9889447-5-6 Melissa Studdard's high-flying, bold poetic language expresses an erotic appetite for the world: "this desire to butter and eat the stars," as she says, in words characteristically large yet domestic, ambitious yet chuck- ling at their own nerve. This poet's ardent, winning ebullience echoes that of God, a recurring character here, who finds us Her children, splotchy, bawling and imperfect though we are, "flawless in her omni- scient eyes." -Robert Pinsky In so many ways the poems in this book read like paintings, touching and absorbing the light of the known world while fingering the soul until it lifts, trembling. Gates splayed, bodies read as books, and hearts born of mouths, Studdard's study, which is a creation unto itself, would have no doubt pleased Neruda's taste for the alchemic impurity of poetry, which is, as we know, poetry that is not only most pure of heart, but beautifully generous in vision and feeling. -Cate Marvin
Argues that theoretical physics and cosmology can provide a key to overcoming race-related problems, explaining how they enable a means for discussing individual and communal quests for fulfillment beyond racial, ethnic, class, and sexual barriers. Original.
“A mock self-help book designed not to help but to provoke . . . to inveigle us into thinking about who we are and how we got into this mess.” (Los Angeles Times Book Review). Filled with quizzes, essays, short stories, and diagrams, Lost in the Cosmos is National Book Award–winning author Walker Percy’s humorous take on a familiar genre—as well as an invitation to serious contemplation of life’s biggest questions. One part parody and two parts philosophy, Lost in the Cosmos is an enlightening guide to the dilemmas of human existence, and an unrivaled spin on self-help manuals by one of modern America’s greatest literary masters.
This book traces the genealogy of early Chinese conceptions of emotions, as part of a broader inquiry into evolving conceptions of self, cosmos and the political order. It seeks to explain what was at stake in early philosophical debates over emotions and why the mainstream conception of emotions became authoritative.
A “creatively captivating and intellectually challenging” existential mystery from the great Polish author—“sly, funny, and . . . lovingly translated” (The New York Times). Winner of the 1967 International Prize for Literature Milan Kundera called Witold Gombrowicz “one of the great novelists of our century.” Now his most famous novel, Cosmos, is available in a critically acclaimed translation by the award-winning translator Danuta Borchardt. Cosmos is a metaphysical noir thriller narrated by Witold, a seedy, pathetic, and witty student, who is charming and appalling by turns. In need of a quiet place to study, Witold and his melancholy friend Fuks head to a boarding house in the mountains. Along the way, they discover a dead bird hanging from a string. Is this a strange but meaningless occurrence or is it the first clue to a sinister mystery? As the young men become embroiled in the Chekhovian travails of the family that runs the boarding house, Grombrowicz creates a gripping narrative where the reader questions who is sane and who is safe. “Probably the most important 20th-century novelist most Western readers have never heard of.” —Benjamin Paloff, Words Without Borders
The impetus behind the ease with which the church has periodically justified violent behavior lies in its conceptual image of God as a violent deity. This book emerges out of a passion to think differently--albeit biblically--about the character of God and articulates a theological construction of a nonviolent God--an alternative to any image of God that seems to condone human violence. It calls the church to rethink theology as something other than what might be termed "redemptive violence" and encourages Christians to reinterpret Scripture and traditional theological beliefs in ways that are more faithful to the God disclosed in Jesus of Nazareth. Students of theology need a fresh glimpse of the love, mercy, and redemptive power of God through Jesus. As it follows the structure of the Apostles' Creed through the various theological topics, this book reminds Christians to share in God's desires for peace and love and to recommit themselves to the call of God to be "ministers of reconciliation" and lovers of both neighbors and enemies even while, at times, responding to violence with nonviolent resistance.
Eros: The Myth of Ancient Greek Sexuality is a controversial book that lays bare the meanings Greeks gave to sex. Contrary to the romantic idealization of sex dominating our culture, the Greeks saw eros as a powerful force of nature, potentially dangerous and in need of control by society: Eros the Destroyer, not Cupid the Insipid, is what fired the Greek imagination. The destructiveness of eros can be seen in Greek imagery and metaphor, and in their attitudes toward women and homosexuals. Images of love as fire, disease, storms, insanity, and violence—top 40 song clichés for us—locate eros among the unpredictable and deadly forces of nature. The beautiful Aphrodite embodies the alluring danger of sex, and femmes fatales like Pandora and Helen represent the risky charms of female sexuality. And homosexuality typifies for the Greeks the frightening power of an indiscriminate appetite that threatens the stability of culture itself. In Eros: The Myth of Ancient Greek Seualily, Bruce Thornton offers a uniquely sweeping and comprehensive account of ancient sexuality free of currently fashionable theoretical jargon and pretensions. In its conclusions the book challenges the distortions of much recent scholarship on Greek sexuality. And throughout it links the wary attitudes of the Greeks to our present-day concerns about love, sex, and family. What we see, finally, are the origins of some of our own views as well as a vision of sexuality that is perhaps more honest and mature than our own dangerous illusions.
The secular clergy - priests and other clerics outside of monastic orders - were among the most influential and powerful groups in European society during the central Middle Ages. The secular clergy got their title from the Latin word for world, saeculum, and secular clerics kept the Church running in the world beyond the cloister wall, with responsibility for the bulk of pastoral care and ecclesiastical administration. This gave them enormous religious influence, although they were considered too worldly by many contemporary moralists - trying, for instance, to oppose the elimination of clerical marriage and concubinage. Although their worldliness created many tensions, it also gave the secular clergy much worldly influence. Contemporaries treated elite secular clerics as equivalent to knights, and some were as wealthy as minor barons. Secular clerics had a huge role in the rise of royal bureaucracy, one of the key historical developments of the period. They were instrumental to the intellectual and cultural flowering of the twelfth century, the rise of the schools, the creation of the book trade, and the invention of universities. They performed music, produced literature in a variety of genres and languages, and patronized art and architecture. Indeed, this volume argues that they contributed more than any other group to the Twelfth-Century Renaissance. Yet the secular clergy as a group have received almost no attention from scholars, unlike monks, nuns, or secular nobles. In The Secular Clergy in England, 1066-1216, Hugh Thomas aims to correct this deficiency through a major study of the secular clergy below the level of bishop in England from 1066 to 1216.
Renaissance images could be real as well as linguistic. Human beings were often believed to be an image of the cosmos, and the sun an image of God. Kathryn Banks explores the implications of this for poetic language and argues that linguistic images were a powerful tool for rethinking cosmic conceptions. She reassesses the role of natural-philosophical poetry in France, focusing upon its most well-known and widely-read exponent, Guillaume de Saluste Du Bartas.Through a sustained analysis of Maurice Sceve's Delie , Banks also rethinks love lyric's oft-noted use of the beloved as image of the poet. Cosmos and Image makes an original contribution to our understanding of Renaissance thinking about the cosmic, the human, and the divine. It also proposes a mode of reading other Renaissance texts, and reflects at length upon the relation of 'literature' to history, to the history of science, and to political turmoil.