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Roly Bain is a priest who is a clown. His unique ministry is a dramatic sign of the joy of the gospel which is often obscured by church pomp and ceremony, and the inverted values of the kingdom of God. Here, Bain tells his story and relects on the long tradition of the holy fool; the biblical concepts of the "foolishness of God" and "the folly of the cross"; the relationship between humour and healing; prayer and prayerfulness; and much more. Peppered with moving and memorable anecdotes from his work in prisons, hospices, schools and, increasingly, business organizations, this book should encourage all who try to communicate the good news of the gospel. Roly Bain first trained as a priest and then as a clown and has since combined the two roles with astonishing success. He is in constant demand to conduct services, celebrations and workshops, often in places of great need, such as prisons and hospitals. His first book, 'Fools Ruch In', was published by HarperCollins and sold through three printings. He lives in Bristol.
There are saints in Orthodox Christian culture who overturn the conventional concept of sainthood. Their conduct may be unruly and salacious, they may blaspheme and even kill - yet, mysteriously, those around them treat them with even more reverence. Such saints are called 'holy fools'. In this pioneering study Sergey A. Ivanov examines the phenomenon of holy foolery from a cultural standpoint. He identifies its prerequisites and its development in religious thought, and traces the emergence of the first hagiographic texts describing these paradoxical saints. He describes the beginnings of holy foolery in Egyptian monasteries of the fifth century, followed by its high point in the cities of Byzantium, with an eventual decline in the twelfth to fourteenth centuries. He also compares the important Russian tradition of holy fools, which in some form has survived to this day.
This monograph explores the way that the profile and the critical functions of the holy fool have developed in European cinema, allowing this traditional figure to capture the imagination of new generations in an age of religious pluralism and secularization. Alina Birzache traces the cultural origins of the figure of the holy fool across a variety of European traditions. In so doing, she examines the critical functions of the holy fool as well as how filmmakers have used the figure to respond to and critique aspects of the modern world. Using a comparative approach, this study for the first time offers a comprehensive explanation of the enduring appeal of this protean and fascinating cinematic character. Birzache examines the trope of holy foolishness in Soviet and post-Soviet cinema, French cinema, and Danish cinema, corresponding broadly to and permitting analysis of the three main orientations in European Christianity: Orthodox, Catholic, and Protestant. This study will be of keen interest to scholars of religion and film, European cinema, and comparative religion.
The Path of the Holy Fool: How the Labyrinth Ignites Our Visionary PowersThe Path of the Holy Fool summons each of us to become a Holy Fool: one who is accountable, stands for equality and social justice, embraces an ecological vision, and encourages community spirit. Lauren Artress, who established the two permanent labyrinths at Grace Cathedral, San Francisco, is a leading force in the Labyrinth Movement. Her new book The Path of the Holy Fool: How the Labyrinth Ignites Our Visionary Powers expands upon her earlier work in Walking a Sacred Path: Rediscovering the Labyrinth as a Spiritual Practice. Through the Parsifal story Artress suggests the labyrinth serves as a Grail that is discovered in the invisible, imaginative, in-between world symbolized by the Grail Castle. Most importantly this book invites readers to explore and reflect upon their own uniquely configured imaginations. It is through the imagination that self-reflection and raw experiences of the Holy occur. Once we navigate our imaginative processes without fear, the labyrinth experience ignites our creativity, heals our wounds and opens our big picture vision that nurtures empathy and gives us eyes to see and ears to hear-even through the sorrows of the pandemic-the call for a life-enhancing future. The labyrinth offers the Holy Fool an unwavering path as we learn to takes risks, create new modalities and find a way to contribute to our evolving world. ISBN (eBook): 978-1-7359188-0-8
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The religious dimension of Tolstoy's life is usually associated with his later years following his renunciation of art. In this volume, Daniel Rancour-Laferriere demonstrates instead that Tolstoy was preoccupied with a quest for God throughout all of his adult life. Although renowned as the author of War and Peace, Anna Karenina, The Death of Ivan Ilych, and other literary works, and for his activism on behalf of the poor and the downtrodden of Russia, Tolstoy himself was concerned primarily with achieving personal union with God.Tolstoy suffered from periodic bouts of depression which brought his creative life to a standstill, and which intensified his need to find comfort in the embrace of a personal God. At times he was in such psychic pain he wanted to die. Yet Tolstoy felt that he deserved to suffer, and he learned to welcome suffering in masochistic fashion. Rancour-Laferriere locates the psychological underpinnings of Tolstoy's suffering in a bipolar illness that led him actively to seek suffering and self-humiliation in the Russian tradition of holy foolishness. With voluntary suffering, and Jesus Christ as his model, Tolstoy advocated nonresistance to evil, and in his daily life he strove never to return evil actions or words with physical or verbal resistance. On the other hand, being bipolar, Tolstoy in some situations would drift in a manic direction, indulging in delusions of grandeur. Indeed, the aging Tolstoy occasionally went so far as to equate himself with God, as can be seen from his diaries and personal correspondence.The pantheistic world view which Tolstoy achieved at the end of his life meant that God was within himself and within all people and all things in the entire universe. By this time Tolstoy was also utilizing images of a mother to represent his God. With this essentially maternal God so conveniently available, there was nowhere Tolstoy could be without Her. For, in the end, Tolstoy's quest for God was a
Offers a new account of Tolstoi's relationship with the Orthodox Church, showing how the novelist was influenced by his Christian heritage.
"This richly illustrated volume’s innovative intersciplinary approaches and engagement with the newest scholarly literature presents a new basis for exploration of holy foolishness [iurodstvo] in Russia as a unique expression of national identity. Its articles elucidate the genesis, nature, and development of the foolishness in the medi[e]val period and its on-going significance as a broadly cultural and religious paradigm. Sweeping in its scope, this volume is poineering in several respects: addressing holy foolishness from its Byzantine origins to postmodern, contemporary Russia, it offers innovative explorations of hagiographical, historical, poetic, and liturgical apsects of writings about such seeminal holy fools as Andrew of Constantinople, Isaakii of Kiev Caves Monastery and Kseniia of St. Petersburg; the first English translation of A. M.Panchenko’s classic study of holy foolish phenomenology, 'Laughter as Spectacle'; and new discussions of miniatures accompanying the text of St. Andrew’s vita. Further, it addresses foundational moments in the institutionalization of holy foolishness: the Church calendar commemorations of holy fools inherited from Byzantium; the first Russian holy foolish narrative; the genesis of the Intercession cult in the vita of Andrew the fool; the first holy foolish vita with verifiable facts about the protagonist’s life; the first canonized Russian female holy fool, Kseniia of St. Petersburg; and comprehensive treatments of holy foolery’s culturological significance for Leningrad underground poets, Soviet and post-Soviet performance art, and postmodern thinkers. The volume’s innovative interdisciplinary approaches and engagement with the newest scholarly literature assure its broad appeal to students and teachers of Russian culture, and of comparative, and religious studies, and offer a new basis for exploration of this spiritually and culturally complex phenomenon"--