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San Juan de la Cruz es un gran poeta místico español, exponente máximo del auge lírico-religioso. Su obra supone el punto final, en madurez insuperable, del misticismo y apunta directamente a la abstracción temática. Destaca la armonía de su verso, la cadencia y tensión espiritual que por su perfección sólo admite comparación con la de Fray Luis de León.
San Juan de la Cruz es el gran desconocido del pueblo cristiano. En los últimos cuarenta años han proliferado métodos de oración y meditación trascendental. Y es precisamente en esa búsqueda por encontrar una guía firme y permanente donde muchos se han topado con san Juan de la Cruz. Al paso que canta la belleza de la creación en sus sublimes poemas, el santo nos recuerda que toda la belleza creada es nada comparada con la divina. Quien renuncie a lo pasajero, superficial e ilusorio, se encontrará con el Todo de Dios. El libro que nos ofrece Isaías A. Rodríguez no pretende sustituir a san Juan en lo que pueda decirnos, sino que nos ayuda a entender lo que san Juan nos dice, a ver los caminos que va señalando, y a seguir las pautas para nuestra peregrinación que es la vida. Saint John of the Cross is the great unknown of the Christian community. The last forty years have seen a growth in prayer methods and transcendental meditation. The search for a guide that teaches such prayer and meditation practices have led many seekers to the teachings of Saint John of the Cross. Like a song that sings the beauty of the creation in its sublime poems, the Saint teaches us that all of the beauty of creation is nothing in comparison with the beauty of the divine. In this book, Isaías A. Rodriguez does not pretend to be able to substitute Saint John in what he can teach us, but he helps us to understand what Saint John says to us, to discover the roads that he shows us, and to stay on course for our life pilgrimage.
Thought and Poetic Structure in San Juan de la Cruz's Symbol of Night is a comprehensive appraisal of the traditional critical perspectives of mysticism: philosophical, theological, literary, and psychological. Examining the a priori limitations of these approaches, the book presents an original definition of the symbol as an integral whole of experience and expression, and concludes that night is the form - the organizing principle - of spiritual life.
Stemming from the work of Thomas Keating, "Centering Prayer in Life and Ministry" allies meditation practices with silent prayer and offers a powerful method of attending to the word of God. This collection of essays contains many key insights into the meaning and practice of centering prayer.
"Caspicara was the most renowned sculptor of the eighteenth-century Andean world. Yet many works that are attributed to this Indigenous artist cannot be firmly documented as he is nearly absent in traditional archival records. Susan Webster seeks to analyze not only the visual imagery and material culture of his many works, but she also seeks to lay the foundation for understanding how scholars can revive the life and records of artists and other historical figures--many of whom were Indigenous in this period--with different methodologies. By cultivating artistic theory, popular religious devotion, and specific styles of sculpture, Webster's examination of the labor and workshop practices of this period contextualize the extensive commercial networks that existed within Quito and emanated beyond it. Webster explores the reason why authors constructed an almost completely fictional life story and canon for this artist that continued for two centuries, how this story fueled the agendas and goals of these authors in melding the colonial past with a newly independent country that could measure itself against western European culture, and as a potent story for tourists. She then considers the ways in which Caspicara's work was at the center of debates of sculpture versus painting in Quito. These debates and their development in the city also add context to notions of authorship, and how it was documented (or not). By exploring the professional world where he worked, Webster's analysis of Indigenous sculptors and their family networks of labor and apprenticeship in the arts allow us to understand the changing workforce and materials for sculptures. This analysis also reveals what day-to-day life may have been for Caspicara, and how this routine informed the artistic choices available to him. Archival materials indirectly offer glimpses into how patrons regarded Caspicara and his work, and how the work of others later embellished or altered his original vision. Throughout the chapters, visuality, materials, and reception challenge the typical obsession of art historians, museum curators, and auction houses in their hunger to attribute authorship in ways that increase the value, both for prestige and monetary reasons, and in ways that end up obscuring authorship and intent"--