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Drawing on medieval Chinese poetry, fiction, and religious scriptures, this book illuminates the greatest goddess of Taoism and her place in Chinese society.
A queen makes another kind of debut in the sixth installment of Whitehall, an episodic royal tale full of true history and sensual intrigue, new from Serial Box Publishing. When it comes to the theater, sometimes the audience holds more drama than the stage. Jenny the servant girl gets a taste for life’s pleasures, while Catherine seeks to find her footing in a court still ruled by the tempestuous Barbara. This episode is brought to you by Mary Robinette Kowal, who asks that you please be seated and turn your attention to the stage.
"This is the provocative and deeply moving story of the divine passion, the love passion, and of pagan men and women whose primitive, uninhibited rites allowed them to workship their bodies and express their yearnings and passions according to the urging of desire."--Back cover.
Hndiyya al-'Ujaimi, a young eighteenth-century nun whose faith was matched by her ambition and intellect, lies at the heart of this absorbing history of Middle Eastern Christianity. At the age of twenty-six, Hindiyya left her hometown of Aleppo to establish a convent in the mountains of Lebanon. Her order and her growing public profile as a visionary and living saint met with stiff opposition from Latin missionaries and with mistrust from the Vatican. Church authorities were suspicious of feminine spirituality and independent religious authority, eventually subjecting her to two Inquisitions by the Vatican. Sentenced to spend her entire life imprisoned, Hindiyya died in 1798 in her cell, leaving a legacy that shaped the church for many years to come. Compelling in its cinematic scope—resplendent with the requisite villains and mysterious events infused with sinister and sexual tensions, tragedy, and pathos—Hindiyya’s story holds within its folds a larger tale about the construction of a new Christianity in the Levant. Khater skillfully reveals what her story tells us about religious minorities in the Middle East, early modern cultural encounters between the West and the Middle East, and the relationship between gender, modernity, and religion.
In 1914, Luisa writes in a letter to the now Saint, Annibale M. di Francia: “I am finally sending you this handwritten copy of The Hours of the Passion of Our Lord Jesus Christ. May it all be for His greater Glory. I have also enclosed a few pages where I describe the effects and the beautiful promises that Jesus makes to everyone who meditates these Hours of the Passion. I believe that if whoever meditates on them is a sinner, he will convert; if he is imperfect, he will become perfect; if he is holy, he will become holier; if he is tempted, he will find victory; if suffering, he will find strength, medicine, and comfort in these Hours; if weak and poor, he will find a spiritual food and a mirror in which to look at himself continually and so become beautiful and similar to Jesus, our model”.
This book's theological and philosophical construction of a God of enjoyment poetically remaps views of divine love. Posing a critique to the Aristotelian unmoved mover and actus purus whose intellective enjoyment is self-enclosed, this book's affective tones paint an image of a passionate God who suffers and yearns because of love, and permeably intermingles with the cosmos, in order to intensely love the many by taking on their form as lover, even if appearing improper. The narrative of this book leads the reader onto a via eminentia or path of excess of the intemperate kind, first in the form of an intellective appetite that for St. Thomas Aquinas places God beyond the divine self, then more erotically of a silhouette of "so good a lover" whose love, as for mystics like St. Teresa de Avila, is like a delectable pain that wounds and is wounded by love. Culminating with hospitable images of banqueting, fiesta, and the carnival, it progressively deterritorializes God's affect, in that it conceives of an expansively hospitable enjoyment that stems from the many life forms and their ways of loving. With a renewed sense of welcome to pleasure, the book also upholds a disruptive ethic. Ultimately, an immoderate God of love whose passionate enjoyment stems from the sufferings as well as joys of the cosmos offers another paradigm of lovingly enjoying oneself in relationship with the many others, whose dreams and hopes, pains and ancestral memories, come to empathically be a part of one's passionate becomings.
Divine Renaissance Volume II opens with a call to the Soul to take flight from the world's clamour, reach the Sanctuary of Being, and stand in the Great Silence of the Presence within.It goes on to reveal riches upon riches concerning the Mystery of Prayer, the Ascent of the Soul, its path to Angelic realms and its ultimate union with the Gods. The true path of the healer is revealed, the zodiacal ministry of the celestial hierarchy of Gods, the mysterious ministry of the one known as the Master and also many aspects of Christian Church Offices and truths long veiled by its Doctrine. This is the day of the Divine Renaissance when the Truth is re-revealed that will set every Soul free. Free to take flight and stand in the Presence of the Divine within and to be led by Him, and Him alone, to a life of Peace, spirituality and Divine Love.
This book’s theological and philosophical construction of a God of enjoyment poetically remaps divine love. Posing a critique to the Aristotelian unmoved mover whose intellective enjoyment is self-enclosed, this book’s affective tones depict a passionate God who intermingles with the cosmos to suffer and yearn out of love— even improper love. Divine Enjoyment leads the reader to a path of excess, first in the form of an intellective appetite that for Aquinas places God beyond the divine self, then more erotically in the silhouette of a lover whose love is like the delectable pain of mystics. Culminating with banqueting, fiesta, and carnival, the book deterritorializes God’s affect, conceiving of an expansively hospitable enjoyment stemming from many life forms With a renewed welcome for pleasure, the book also upholds a disruptive ethic. Ultimately, an immoderate God of love whose passionate enjoyment stems from the sufferings as well as joys of the cosmos offers another paradigm of lovingly enjoying oneself in relationship with passionate becomings that belong to many others.
Translated from Julian of Norwich. A 14th Century Mystic. The Prayers are a reflective translation of the sixteen revelations from God imparted to Julian of Norwich that define the Trinty, the Personification and the association between God and man's higher entity, with infinite discernment and benevolence. After experiencing the "Revelations" Mother Julian spent twenty years in reflection. After being imparted with "innermost enlightenment" she wrote her longer version of eighty-six chapters. It describes the rise of man's higher entity towards God; the various stages of the devotional life; the undertaking imparted by God in this evolution; and Mother Julian's perspective in consideration of God. In brief the book is a translation into prayer reflecting on the sixteen revelations of benevolence imparted to Mother Julian of Norwich by Jesus Christ in the fourteenth century.