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Sister Marie Antoine's 'From Convent to Conflict; Or, A Nun's Account of the Invasion of Belgium' is a gripping and poignant memoir that vividly recounts the horrors of the Belgian invasion during World War I. Written in a straightforward and emotive style, the book provides a unique perspective on the devastation and challenges faced by the Belgian people during this tumultuous time. Through her detailed and insightful narrative, Sister Marie Antoine offers a personal account that brings to life the human toll of war, making this book a compelling read for history enthusiasts and those interested in the impact of war on individuals. Sister Marie Antoine, a nun who witnessed the invasion firsthand, draws on her own experiences and interactions with the local community to deliver a powerful and authentic account of the events that unfolded. Her dedication to serving others and her commitment to bearing witness to the suffering of her fellow Belgians shine through in her writing, adding depth and sincerity to the narrative. I highly recommend 'From Convent to Conflict' to readers looking for a moving and insightful account of the Belgian invasion during World War I. Sister Marie Antoine's firsthand perspective and heartfelt storytelling make this book a valuable addition to the literature on wartime experiences and the resilience of the human spirit.
Sometime in the 1740s, Sor María Magdalena, an indigenous noblewoman living in one of only three convents in New Spain that allowed Indians to profess as nuns, sent a letter to Father Juan de Altamirano to ask for his help in getting church prelates to exclude Creole and Spanish women from convents intended for indigenous nuns only. Drawing on this and other such letters—as well as biographies, sermons, and other texts—Mónica Díaz argues that the survival of indigenous ethnic identity was effectively served by this class of noble indigenous nuns. While colonial sources that refer to indigenous women are not scant, documents in which women emerge as agents who actively participate in shaping their own identity are rare. Looking at this minority agency—or subaltern voice—in various religious discourses exposes some central themes. It shows that an indigenous identity recast in Catholic terms was able to be effectively recorded and that the religious participation of these women at a time when indigenous parishes were increasingly secularized lent cohesion to that identity. Indigenous Writings from the Convent examines ways in which indigenous women participated in one of the most prominent institutions in colonial times—the Catholic Church—and what they made of their experience with convent life. This book will appeal to scholars of literary criticism, women’s studies, and colonial history, and to anyone interested in the ways that class, race, and gender intersected in the colonial world.
Nuns are hardly associated in the popular mind with rebellion and turmoil. In fact, convents have often been the scenes of conflict, but what went on behind the walls of convents was meant by the church to be mysterious. Great care was taken to prevent the "scandal" of factionalism in the nunneries from becoming widely known. This has made it very difficult to reconstruct the battles fought, the issues debated, and the relationships tested in such convents. Margaret Chowning has discovered a treasure-trove of documents that allow an intimate look at two crises that wracked the convent of La Purísima Concepción in San Miguel el Grande, New Spain (Mexico). At the heart of both rebellions were attempts by some nuns to impose a regimen of strict observance of their vows on the others, and the resistance mounted by those who had a different view of the convent and their own role in it. Would the community adopt as austere a lifestyle as they could endure, doing manual labor, suffering hunger and physical discomfort, deprived of the society of family and friends? Or would these women be allowed to lead comfortable and private lives when not at prayer? Accusations and counteraccusations flew. First one side and then the other seemed to have the upper hand. For a time, a mysterious and dramatic illness broke out among the rebellious nuns, capturing the limelight. Were they faking? Were they unconsciously influenced by their ringleader, the charismatic and manipulative young women who first experienced the "mal"? Rebellious Nuns covers the history of the convent from its founding in 1752 to the forced eviction of the nuns in 1863. While the period of rebellion is at the center of the narrative, Chowning also gives an account of the factors that led up to the crises and the rebellion's continuing repercussions on the convent in the decades to follow. Drawing on an abundance of sources, including numerous letters written by the bishop and local vicar as well as nuns of both factions, Chowning is able to give us not just the voices but the personalities of the nuns and other actors. In this way she makes it possible for us to empathize with all of them and to appreciate the complicated dynamics of having committed your life not only to God but to your community.
World War I has been recorded from many points of view: correspondent, poet, politician, and soldier. Comments from a nun living in a foreign country during the hostilities, however, can provide new insights. Isoline Jones was born in 1876 in England, and attended the boarding school at Tildonk, Belgium, run by the Ursuline sisters. She eventually converted to Roman Catholicism from Anglicanism and made her perpetual vows in 1907 as a member of the Ursuline community. Her religious name was Mother Marie Georgine. In August 1914, German forces invaded Belgium and occupied the convent and school, and her impressions of the war years are preserved in a series of letters written in the form of a diary. The siege of Antwerp, the plight of refugees, interaction with the German soldiers, and the hectic daily life of the convent were recorded by Mother Marie Georgine. Events occurring throughout Belgium did not escape her attention, and she did not avoid describing the brutality of war. Although sections of her diary have appeared in print, this is the first publication of Mother Marie Georgine's entire diary. Her impressions of World War I offer new perspectives on this tragic event.
In the fifteenth-century kingdom of Brittany, seventeen-year-old Ismae escapes from the brutality of an arranged marriage into the sanctuary of the convent of St. Mortain, where she learns that the god of Death has blessed her with dangerous gifts--and a violent destiny.
Ingrid Bergman’s engaging screen performance as Sister Mary Benedict in The Bells of St. Mary’s made the film nun a star and her character a shining standard of comparison. She represented the religious life as the happy and rewarding choice of a modern woman who had a “complete understanding” of both erotic and spiritual desire. How did this vibrant and mature nun figure come to be viewed as girlish and naïve? Why have she and her cinematic sisters in postwar popular film so often been stereotyped or selectively analyzed, so seldom been seen as women and religious? In Veiled Desires—a unique full-length, in-depth look at nuns in film—Maureen Sabine explores these questions in a groundbreaking interdisciplinary study covering more than sixty years of cinema. She looks at an impressive breadth of films in which the nun features as an ardent lead character, including The Bells of St. Mary’s (1945), Black Narcissus (1947), Heaven Knows, Mr. Allison (1957), Sea Wife (1957), The Nun’s Story (1959), The Sound of Music (1965), Change of Habit (1969), In This House of Brede (1975), Agnes of God (1985), Dead Man Walking (1995), and Doubt (2008). Veiled Desires considers how the beautiful and charismatic stars who play chaste nuns, from Ingrid Bergman and Audrey Hepburn to Susan Sarandon and Meryl Streep, call attention to desires that the veil concealed and the habit was thought to stifle. In a theologically and psychoanalytically informed argument, Sabine responds to the critics who have pigeonholed the film nun as the obedient daughter and religious handmaiden of a patriarchal church, and the respectful audience who revered her as an icon of spiritual perfection. Sabine provides a framework for a more complex and holistic picture of nuns onscreen by showing how the films dramatize these women’s Christian call to serve, sacrifice, and dedicate themselves to God, and their erotic desire for intimacy, agency, achievement, and fulfillment.
This volume includes two early seventeenth-century translations of Roman Catholic books by English recusant nuns - Catherine Greenbury (a Franciscan) and Mary Percy (a Benedictine). To practise their faith on the continent both these women fled Elizabethan England where Roman Catholic practice had been outlawed under pain of severe penalty (even death). Catherine Greenbury was born at York into a wealthy upper middle-class family but left England after the death of her husband, shortly after the birth of her daughter in or around 1616. After establishing herself in Brussels in a convent dedicated to St Elizabeth, she became its first elected 'Mother' in 1626. During her early years here she translated the work included in this volume - François van den Broecke's biography in Dutch of the saintly Queen Elizabeth of Portugal. A comparison of Greenbury's version with the Dutch text shows not only that the translation is very competent and faithful, but also that she takes the editorial freedom to improve the text. Lady Mary Percy, daughter of Thomas Percy the seventh Earl of Northumberland, left England for Flanders and in 1598 she founded a Benedictine convent in Brussels especially for Englishwomen. Here Mary Percy translated a 1598 French edition of Breve compendio, by the Italian Jesuit Achille Gagliardi with his student Isabella Berinzaga, a mystical handbook which guides the reader through a series of elaborately defined stages striving towards 'deiformitie' - a state in which the soul is 'united unto the will of God'.
They charmed some of Europe’s most illustrious men, honing their social skills as well as their sexual ones, and accumulating wealth, fame, and power along the way. Unlike their geisha counterparts, courtesans didn't lived in brothels or bend their wills to suit their suitors. They were the muses who enflamed the hearts of our most celebrated artists--Raphael, Manet, Dumas, and Proust, to name just a few--as well as becoming artists in their own right. Offering the first comprehensive tour of their worlds, Susan Griffins celebrates these first feminists and hails their virtues: Timing, Beauty, Cheek, Brilliance, Gaiety, Grace, and Charm. From Veronica Franco, who graced the palazzos of sixteenth-century Venice, and Madame de Pompadour, the arbiter of all things fashionable at Versailles during the reign of Lous XV, to La Belle Otero of the grand boulevards of Paris in the Gay Nineties and Marion Davies, who took Hollywood by storm in the 1920's and 1930's, The Book of the Courtesans enticingly illustrates the intricacies of their lavish lifestyles and incredible life stories. Fascinating true tales and enlightening snippets from courtesans' memoirs further reveal how these cunning women seized their opportunity to become the West's first liberators, free to choose their own lovers and command remarkable respect. Delving into his scintillating world, The Book of the Courtesans is an impeccably researched, beautifully crafted portrait of some of the most intriguing figures in women's history.