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Through a penetrating analysis of reason and intellect, spiritual imagination, and the light of faith, this book addresses fundamental questions pertaining to our search for meaning.
Quill and Cross in the Borderlands examines nearly four hundred years of history, folklore, literature, and art surrounding the legendary Lady in Blue and her historical counterpart, Sor María de Jesús de Ágreda. This legendary figure, identified as seventeenth-century Spanish nun and writer Sor María de Jesús de Ágreda, miraculously appeared to tribes in colonial-era New Mexico and taught them the rudiments of the Catholic faith. Sor María, an author of mystical Marian texts, became renowned not only for her alleged spiritual travel from her cloister in Spain to New Mexico but also for her writing, studied and implemented by Franciscans and others around the world. Working from original historical accounts, archival research, and a wealth of literature on the legend and the historical figure alike, Anna M. Nogar meticulously examines how and why the person and the legend became intertwined in Catholic consciousness and social praxis. Nogar addresses the influence of Sor María’s spiritual texts on many spheres of New Spanish and Spanish society over several centuries. Eventually, the historical Sor María and her writings virtually disappeared from view, and the Lady in Blue became a prominent folk figure in the present-day U.S. Southwest and U.S.-Mexico borderlands, appearing in folk stories, artwork, literature, theater, and public ritual that survives today. Quill and Cross in the Borderlands documents the material legacy of a legend that has survived and thrived for hundreds of years, and at the same time rediscovers the extraordinary impact of a hidden writer.
Environmental practices among Mexican American woman have spurred a reconsideration of ecofeminism among Chicana feminists. Christina Holmes examines ecological themes across the arts, Chicana activism, and direct action groups to reveal how Chicanas can craft alternative models for ecofeminist processes. Holmes revisits key debates to analyze issues surrounding embodiment, women's connections to nature, and spirituality's role in ecofeminist philosophy and practice. By doing so, she challenges Chicanas to escape the narrow frameworks of the past in favor of an inclusive model of environmental feminism that alleviates Western biases. Holmes uses readings of theory, elaborations of ecological narratives in Chicana cultural productions, histories of human and environmental rights struggles in the Southwest, and a description of an activist exemplar to underscore the importance of living with decolonializing feminist commitment in body, nature, and spirit.
"A systematic look at migration that seeks to reimagine the operative political, social, and cultural narratives of immigration through a Eucharistic theology"--
Jillian Guzmán, who is nine years old at the beginning of the book, communicates through drawings rather than speech as she travels with her mother, Angie O'Malley, throughout the borderlands of Arizona and northwestern Mexico. Later she creates survival maps for border crossers and paints murals at the Casa de los Olvidados, a refuge in Sonora run by the traditional healer Juana of God. These darkly funny tales, focusing on Mexican-American, Euro-American, and Mexican characters, feature visionary experiences, ghosts, faith healers, a deer's head that speaks, a dog who channels spirits of the dead--and a young woman whose drawings begin to create realities instead of just reflecting them.
Borderland Churches is a call to embrace the pluralistic, post Christian and postmodern culture with a sense of opportunity and hope. The author uses the image of the church crossing over into an "in -between time", a place where faith is lived outside the walls of the church engaging the community in incarnational ways. To live in that "precarious but exhilarating place where faith and other faiths and no faith meet." Only individuals and congregations that accept this new reality will be able to carry on Christian ministry in this new cultural situation. A TCP Leadership Series title.
The Spirit of the Border is an historical novel written by Zane Grey, first published in 1906. The novel is based on events occurring in the Ohio River Valley in the late eighteenth century. It features the exploits of Lewis Wetzel, a historical personage who had dedicated his life to the destruction of Native Americans and to the protection of nascent white settlements in that region. The story deals with the attempt by Moravian Church missionaries to Christianize Indians and how two brothers' lives take different paths upon their arrival on the border. A highly romanticized account, the novel is the second in a trilogy, the first of which is Betty Zane, Grey's first published work, and The Last Trail, which focuses on the life of Jonathan Zane, Grey's ancestor.
Fleshing the Spirit brings together established and new writers to explore the relationships between the physical body, the spirit and spirituality, and social justice activism. The anthology incorporates different genres of writing—such as poetry, testimonials, critical essays, and historical analysis—and stimulates the reader to engage spirituality in a critical, personal, and creative way.
Santa Teresa Urrea and Don Pedrito Jaramillo were curanderos—faith healers—who, in the late nineteenth and early twentieth centuries, worked outside the realm of "professional medicine," seemingly beyond the reach of the church, state, or certified health practitioners whose profession was still in its infancy. Urrea healed Mexicans, Indigenous people, and Anglos in northwestern Mexico and cities throughout the US Southwest, while Jaramillo conducted his healing practice in the South Texas Rio Grande Valley, healing Tejanos, Mexicans, and Indigenous people there. Jennifer Koshatka Seman takes us inside the intimate worlds of both "living saints," demonstrating how their effective healing—curanderismo—made them part of the larger turn-of-the century worlds they lived in as they attracted thousands of followers, validated folk practices, and contributed to a modernizing world along the US-Mexico border. While she healed, Urrea spoke of a Mexico in which one did not have to obey unjust laws or confess one's sins to Catholic priests. Jaramillo restored and fed drought-stricken Tejanos when the state and modern medicine could not meet their needs. Then, in 1890, Urrea was expelled from Mexico. Within a decade, Jaramillo was investigated as a fraud by the American Medical Association and the US Post Office. Borderlands Curanderos argues that it is not only state and professional institutions that build and maintain communities, nations, and national identities but also those less obviously powerful.
Literary Nonfiction. Poetry. Latinx Studies. LGBTQIA Studies. Edited by Ricardo F. Vivancos-Pèrez and Norma Cantú. Rooted in Gloria Anzaldúa's experiences growing up near the U.S./Mexico border, BORDERLANDS/LA FRONTERA remaps our understanding of borders as psychic, social, and cultural terrains that we inhabit and that inhabit us all. Drawing heavily on archival research and a comprehensive literature review while contextualizing the book within her theories and writings before and after its 1987 publication, this critical edition elucidates Anzaldúa's complex composition process and its centrality in the development of her philosophy. It opens with two introductory studies; offers a corrected text, explanatory footnotes, translations, and four archival appendices; and closes with an updated bibliography of Anzaldúa's works, an extensive scholarly bibliography on Borderlands, a brief biography, and a short discussion of the Gloria E. Anzaldúa Papers. "Ricardo F. Vivancos-Pèrez's meticulous archival work and Norma Elia Cantú's life experience and expertise converge to offer a stunning resource for Anzaldúa scholars; for writers, artists, and activists inspired by her work; and for everyone. Hereafter, no study of Borderlands will be complete without this beautiful, essential reference."--Paola Bacchetta