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In this volume Hindsley inspects each text and then studies them as a corpus to determine what may be said of the spirituality that inspired the authors and subjects and helped to produce such an outpouring of mystical literature.
The Mystical Presence of Christ investigates the connections between exceptional experiences of Christ's presence and ordinary devotion to Christ in the late medieval West. Unsettling the notion that experiences of seeing Christ's figure or hearing Christ speak are simply exceptional events that happen at singular moments, Richard Kieckhefer reveals the entanglements between these experiences and those that occur through the imagery, language, and rituals of ordinary, everyday devotional culture. Kieckhefer begins his book by reconsidering the "who" and the "how" of Christ's mystical presence. He argues that Christ's humanity and divinity were equally important preconditions for encounters, both exceptional and ordinary, which Kieckhefer proposes as existing on a spectrum of experience that moves from presupposition to intuition and finally to perception. Kieckhefer then examines various contexts of Christ manifestations—during prayer, meditation, and liturgy, for example—with attention to gender dynamics and the relationship between saintly individuals and their hagiographers. Through penetrating discussions of a diverse set of texts and figures across the long fourteenth century (Angela of Foligno, the nuns of Helfta, Margery Kempe, Dorothea of Montau, Meister Eckhart, Henry Suso, and Walter Hilton, among others), Kieckhefer shows that seemingly exceptional manifestations of Christ were also embedded in ordinary religious experience. Wide-ranging in scope and groundbreaking in methodology, The Mystical Presence of Christ is a magisterial work that rethinks the interplay between the exceptional and the ordinary in the workings of late medieval religion.
A magnificent proliferation of new Christ-centered devotional practices—including affective meditation, imitative suffering, crusade, Eucharistic cults and miracles, passion drama, and liturgical performance—reveals profound changes in the Western Christian temperament of the twelfth century and beyond. This change has often been attributed by scholars to an increasing emphasis on God's embodiment in the incarnation and crucifixion of Christ. In Holy Matter, Sara Ritchey offers a fresh narrative explaining theological and devotional change by journeying beyond the human body to ask how religious men and women understood the effects of God’s incarnation on the natural, material world. She finds a remarkable willingness on the part of medieval Christians to embrace the material world—its trees, flowers, vines, its worms and wolves—as a locus for divine encounter.Early signs that perceptions of the material world were shifting can be seen in reformed communities of religious women in the twelfth-century Rhineland. Here Ritchey finds that, in response to the constraints of gendered regulations and spiritual ideals, women created new identities as virgins who, like the mother of Christ, impelled the world’s re-creation—their notion of the world’s re-creation held that God created the world a second time when Christ was born. In this second act of creation God was seen to be present in the physical world, thus making matter holy. Ritchey then traces the diffusion of this new religious doctrine beyond the Rhineland, showing the profound impact it had on both women and men in professed religious life, especially Franciscans in Italy and Carthusians in England. Drawing on a wide range of sources including art, liturgy, prayer, poetry, meditative guides, and treatises of spiritual instruction, Holy Matter reveals an important transformation in late medieval devotional practice, a shift from metaphor to material, from gazing on images of a God made visible in the splendor of natural beauty to looking at the natural world itself, and finding there God’s presence and promise of salvation.
In Women, Men, and Spiritual Power, John Coakley explores male-authored narratives of the lives of Catherine of Siena, Hildegard of Bingen, Angela of Foligno, and six other female prophets or mystics of the late Middle Ages. His readings reveal the complex personal and literary relationships between these women and the clerics who wrote about them. Coakley's work also undermines simplistic characterizations of male control over women, offering an important contribution to medieval religious history. Coakley shows that these male-female relationships were marked by a fundamental tension between power and fascination: the priests and monks were supposed to hold authority over the women entrusted to their care, but they often switched roles, as the men became captivated with the women's spiritual gifts. In narratives of such women, the male authors reflect directly on the relationship between the women's powers and their own. Coakley argues that they viewed these relationships as gendered partnerships that brought together female mystical power and male ecclesiastical authority without placing one above the other. Women, Men, and Spiritual Power chronicles a wide-ranging experiment in the balance of formal and informal powers, in which it was assumed to be thoroughly imaginable for both sorts of authority, in their distinctly gendered terms, to coexist and build on each other. The men's writings reflect an extended moment in western Christianity when clerics had enough confidence in their authority to actually question its limits. After about 1400, however, clerics underwent a crisis of confidence, and such a questioning of institutional power was no longer considered safe. Instead of seeing women as partners, their revelatory powers began to be viewed as evidence of witchcraft.
The Mind's Eye focuses on the relationships among art, theology, exegesis, and literature--issues long central to the study of medieval art, yet ripe for reconsideration. Essays by leading scholars from many fields examine the illustration of theological commentaries, the use of images to expound or disseminate doctrine, the role of images within theological discourse, the development of doctrine in response to images, and the place of vision and the visual in theological thought. At issue are the ways in which theologians responded to the images that we call art and in which images entered into dialogue with theological discourse. In what ways could medieval art be construed as argumentative in structure as well as in function? Are any of the modes of representation in medieval art analogous to those found in texts? In what ways did images function as vehicles, not merely vessels, of meaning and signification? To what extent can exegesis and other genres of theological discourse shed light on the form, as well as the content and function, of medieval images? These are only some of the challenging questions posed by this unprecedented and interdisciplinary collection, which provides a historical framework within which to reconsider the relationship between seeing and thinking, perception and the imagination in the Middle Ages.
A multi-disciplinary re-evaluation of the role of women religious in the Middle Ages, both inside and outside the cloister. Medieval women found diverse ways of expressing their religious aspirations: within the cloister as members of monastic and religious orders, within the world as vowesses, or between the two as anchorites. Via a range of disciplinary approaches, from history, archaeology, literature, and the visual arts, the essays in this volume challenge received scholarly narratives and re-examine the roles of women religious: their authority and agency within their own communities and the wider world; their learning and literacy; place in the landscape; and visual culture. Overall, they highlight the impact of women on the world around them, the significance of their presence in communities, and the experiences and legacies they left behind.
The Daughter Zion allegory represents a particular narrative articulation of the paradigm of bridal mysticism deriving from the Song of Songs, the core element of which is the quest of Daughter Zion for a worthy object of love. Examining medieval German religious writing (verse and prose) and Dutch prose works, Annette Volfing shows that this storyline provides an excellent springboard for investigating key aspects of medieval religious and literary culture. In particular, she argues, the allegory lends itself to an exploration of the medieval sense of self; of the scope of human agency within the mystical encounter; of the gendering of the religious subject; of conceptions of space and enclosure; and of fantasies of violence and aggression. Volfing suggests that Daughter Zion adaptations increasingly tended to empower the religious subject to seek a more immediate relationship with the divine and to embrace a wider range of emotions: the mediating personifications are gradually eliminated in favour of a model of religious experience in which the human subject engages directly with Christ. Overall, the development of the allegory from the twelfth to the fifteenth centuries marks the striving towards a greater sense of equality and affective reciprocity with the divine, within the context of an erotic union.
First published in 2001, Medieval Germany: An Encyclopedia provides a comprehensive guide to the German and Dutch-speaking world in the Middle Ages, from approximately C.E. 500 to 1500. It offers detailed accounts of a wide variety of aspects of medieval Germany, including language, literature, architecture, politics, warfare, medicine, philosophy and religion. In addition, this reference work includes bibliographies and citations to aid further study. This A-Z encyclopedia, featuring over 500 entries written by expert contributors, will be of key interest to students and scholars, as well as general readers.