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Through its missionary, pedagogical, and scientific accomplishments, the Society of Jesus-known as the Jesuits-became one of the first institutions with a truly "global" reach, in practice and intention. The Oxford Handbook of the Jesuits offers a critical assessment of the Order, helping to chart new directions for research at a time when there is renewed interest in Jesuit studies. In particular, the Handbook examines their resilient dynamism and innovative spirit, grounded in Catholic theology and Christian spirituality, but also profoundly rooted in society and cultural institutions. It also explores Jesuit contributions to education, the arts, politics, and theology, among others. The volume is organized in seven major sections, totaling forty articles, on the Order's foundation and administration, the theological underpinnings of its activities, the Jesuit involvement with secular culture, missiology, the Order's contributions to the arts and sciences, the suppression the Order endured in the 18th century, and finally, the restoration. The volume also looks at the way the Jesuit Order is changing, including becoming more non-European and ethnically diverse, with its members increasingly interested in engaging society in addition to traditional pastoral duties.
This volume explores the production of knowledge of normativity in the age of early modern globalisation by looking at an extraordinarily pragmatic and normative book: Manual de Confessores, by the Spanish canon law professor Martín de Azpilcueta (1492-1586). Intertwining expertise, methods, and questions of legal history and book history, this book follows the actors and analyses the factors involved in the production, circulation, and use of the Manual, both in printed and manuscript forms, in the territories of the early modern Iberian Empires and of the Catholic Church. It convincingly illustrates the different dynamics related to the materiality of this object that contributed to “glocal” knowledge production. Contributors are: Samuel Barbosa, Manuela Bragagnolo, Christiane Birr, Luisa Stella de Oliveira Coutinho Silva, Byron Ellsworth Hamann, Idalia García Aguilar, Pedro Guibovich Pérez, Natalia Maillard Álvarez, César Manrique Figueroa, Stuart M. McManus, Yoshimi Orii, David Rex Galindo, Airton Ribeiro, and Pedro Rueda Ramírez.
Genre studies and genre approaches to literacy instruction continue to develop in many regions and from a widening variety of approaches. Genre has provided a key to understanding the varying literacy cultures of regions, disciplines, professions, and educational settings. GENRE IN A CHANGING WORLD provides a wide-ranging sampler of the remarkable variety of current work. The twenty-four chapters in this volume, reflecting the work of scholars in Europe, Australasia, and North and South America, were selected from the over 400 presentations at SIGET IV (the Fourth International Symposium on Genre Studies) held on the campus of UNISUL in Tubarão, Santa Catarina, Brazil in August 2007—the largest gathering on genre to that date. The chapters also represent a wide variety of approaches, including rhetoric, Systemic Functional Linguistics, media and critical cultural studies, sociology, phenomenology, enunciation theory, the Geneva school of educational sequences, cognitive psychology, relevance theory, sociocultural psychology, activity theory, Gestalt psychology, and schema theory. Sections are devoted to theoretical issues, studies of genres in the professions, studies of genre and media, teaching and learning genre, and writing across the curriculum. The broad selection of material in this volume displays the full range of contemporary genre studies and sets the ground for a next generation of work.
The curious tale of two priest impersonators in late colonial Mexico Cut loose from their ancestral communities by wars, natural disasters, and the great systemic changes of an expanding Europe, vagabond strangers and others out of place found their way through the turbulent history of early modern Spain and Spanish America. As shadowy characters inspiring deep suspicion, fascination, and sometimes charity, they prompted a stream of decrees and administrative measures that treated them as nameless threats to good order and public morals. The vagabonds and impostors of colonial Mexico are as elusive in the written record as they were on the ground, and the administrative record offers little more than commonplaces about them. Fugitive Freedom locates two of these suspect strangers, Joseph Aguayo and Juan Atondo, both priest impersonators and petty villains in central Mexico during the last years of Spanish rule. Displacement brought pícaros to the forefront of Spanish literature and popular culture—a protean assortment of low life characters, seen as treacherous but not usually violent, shadowed by poverty, on the move and on the make in selfish, sometimes clever ways as they navigated a hostile, sinful world. What to make of the lives and longings of Aguayo and Atondo, which resemble those of one or another literary pícaro? Did they imagine themselves in literary terms, as heroes of a certain kind of story? Could impostors like these have become fixtures in everyday life with neither a receptive audience nor permissive institutions? With Fugitive Freedom, William B. Taylor provides a rare opportunity to examine the social histories and inner lives of two individuals at the margins of an unfinished colonial order that was coming apart even as it was coming together.
A CONFISSÃO DE LÚCIO: LÚCIO'S CONFESSION, publicada pelo poeta Mário de Sá-Carneiro em 1914, um ano antes do aparecimento do primeiro número da revista Orpheu, é uma novela que parece apresentar, através da fragmentação, a existência de questões que ficam sem resposta. A repetição de silêncios intervalares, os espelhamentos intertextuais como forma de dar consistência a essa outra voz, o consciente de que tudo aquilo é material com que se constrói a obra de arte e cuja linguagem é plástica e maleável, criadora dum sentido provisório e impossível de fixar-se. É considerada por José Régio como a obra-prima de entre as novelas de Mário de Sá-Carneiro, onde estão presentes três de suas obsessões dominantes: o suicídio, o amor pervertido e o anormal avançando até a loucura. A CONFISSÃO DE LÚCIO: LÚCIO'S CONFESSION é uma das obras mais importantes de Mário de Sá-Carneiro por conter três das suas obsessões dominantes: o suicídio, o amor pervertido e o anormal a avançar até à loucura, através da história dum triângulo entre Lúcio, Marta, e Ricardo – onde os estudiosos veem em Ricardo o outro de Lúcio, e Marta a ponte de ligação entre eles. Apresentado sob a forma de uma confissão autobiográfica, um romance policial, a novela inicia-se com uma breve introdução, em que o narrador, Lúcio, ao assumir-se como autor, justifica o seu objetivo: confessar-se inocente após ter cumprido os dez anos de prisão a que fora condenado pelo assassínio dum amigo, Ricardo de Loureiro. O narrador promete dizer toda a verdade, mesmo quando ela é inverossímil, sobre essa morte ocorrida em circunstâncias misteriosas e sem testemunhas, mas considerada judicialmente como um crime passional. Por ser um texto de vanguarda, já que Mário de Sá-Carneiro empenhou-se na busca de novos significantes numa ruptura com o modelo centrado no código princípio-meio-fim, esta obra de ficção continua aberta a novos estudos e interpretações. Nesta obra, ao incitar as suas personagens na busca duma transcendência distorcida, Sá-Carneiro cria uma atmosfera de exacerbado lirismo. Capaz de acrescentar um prazeroso sabor ao narrar o inarrável, mesmo no leitor que possui poucas fibras de sensibilidade ele é capaz de produzir um turbilhão interior próximo ao palpitar acelerado do coração quando em êxtase.
One of the earliest known autobiographies by a woman, this is the extraordinary tale of Catalina de Erauso, who in 1599 escaped from a Basque convent dressed as a man and went on to live one of the most wildly fantastic lives of any woman in history. A soldier in the Spanish army, she traveled to Peru and Chile, became a gambler, and even mistakenly killed her own brother in a duel. During her lifetime she emerged as the adored folkloric hero of the Spanish-speaking world. This delightful translation of Catalina's own work introduces a new audience to her audacious escapades.