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The Judeo-Christian scriptures understand humans as being made in the image of God. What exactly does this mean? Basic agreement is that it means humans can only know and understand themselves in relation to God. If, however, this God is pure uncreated spirit, where does human embodiment fit in? Is it an obstacle to understanding? Or is it in some way instructive? John Paul II comes down decisively in favor of the body’s value and importance. In his catechetical series, widely known as the Theology of the Body, John Paul II analyzes what is distinctive about human beings. He undertakes a “reading” of the body. This book reflects on John Paul II’s interpretation, extending his findings to the Virgin Mary. Her specifically female, maternal body is seen to offer insights into how the body images God—in how it “speaks.” The transformations of the female body parallel the transformations of language in poetry. The reconfigurations and accommodations of the gestational body are, this book suggests, poetic incarnations of God-likeness. Body-Poetics of the Virgin Mary offers a Mariological slant on theological anthropology and a new way to think of how humans poetically image God.
Firmly establishes the importance of early affective devotion in the hybrid poetics of the earliest English poetry.
Modern scholarship generally treats the "debate about women" (querelle des femmes) as a late medieval phenomenon, perhaps touched upon by canonic authors like Chaucer but truly begun by Christine de Pizan (1364-1429), and therefore primarily of English and French origin. That emphasis has obscured the ways in which both writers were participating in a much wider, much older cultural phenomenon with varied and intractable roots. Articles in this collection explore how gender is put into debate in Anglo-Saxon, German, Spanish and Italian cultures, and they re-examine French and Middle English debate literature. The collection is carefully planned to be accessible to students seeking an idea of the debate's motifs and contours while maintaining the high level of issue involvement necessary to commanding a more seasoned audience. Contributors include Pamela Benson, Alcuin Blamires, Margaret Franklin, Roberta Krueger, Clare Lees and Gillian Overing, Ann Matter, Karen Pratt, Helen Solterer, Julian Weiss, and Barbara Weissberger.
Olivier-Thomas Venard's Thomas d'Aquin poète théologien trilogy, an in depth analysis of the scripture of St. Thomas Aquinas, is translated for a new audience in this streamlined anthology. Featuring selections from all three books in the trilogy, chosen in accordance with Venard's direction and discernment, it introduces not only arguments pertinent to the theme of this volume, but an invitation to explore the full breadth of Venard's work. Concentrating on the subjects of scripture, theology and literature, language as a theological question and the word of God, Murphy and Oakes capture the scope and energy of Venard's trilogy while collating many of its key passages. Ranging from the themes of a poetic gospel and Christology to the Thomist theories of semiology and the metaphysics of the Word, this volume sets scholars on the path to a deeper understanding of Aquinas's systematic theology.
Christopher M. Flavin examines the ways in which late classical medieval women’s writings serve as a means of emphasizing both faith and social identity within a distinctly Christian, and later Catholic, tradition, which remains a major part of the understanding of faith and the self. Flavin focuses on key texts from the lives of desert saints and the Passio Perpetua to the autobiographies of Counter-Reformation women like Teresa of Ávila to illustrate the connections between the self and the divine.
Through interdisciplinary readings of medieval literature and devotional artifacts, The Medieval Poetics of the Reliquary shows how reliquaries shaped ideas about poetry and poetics in late-medieval England.
In 1846, Edgar Allen Poe wrote that 'the death of a beautiful woman is, unquestionably, the most poetic topic in the world'. The conjuction of death, art and femininity forms a rich and disturbing strata of Western culture, explored here in fascinating detail by Elisabeth Bronfen. Her examples range from Carmen to Little Nell, from Wuthering Heights to Vertigo, from Snow White to Frankenstein. The text is richly illustrated throughout with thirty-seven paintings and photographs. The argument that this book presents is that narrative and visual representations of death can be read as symptoms of our culture and because the feminine body is culturally constructed as the superlative site of "other" and "not me", culture uses art to dream the deaths of beautiful women.