Savoring Theopoetics

Savoring God ◽  
2021 ◽  
pp. 25-52
Author(s):  
Gloria Maité Hernández
Keyword(s):  
Twentieth Century ◽  
Sixteenth Century ◽  
Divine Love ◽  
Metaphorical Language ◽  
Similar Experience

While the notion of theopoetic is modern, the concept existed long before the term was coined by twentieth-century theologians. Chapter 1 introduces in detail John of the Cross’s notion of gustar a Dios (to savor God) and the Gauḍīya Vaiṣṇava concept of madhura bhakti rasa—“the sweet savor of divine love”—as analogous models of theopoetic. Each of these sixteenth-century theologians deploys the term “savoring” within his own context, and does so toward two ends: to describe the all-encompassing relationship between the person and the divine illustrated in the poetry; and to prescribe a mode of interpreting the verses that leads readers into a similar experience. In both cases, the poems’ commentaries not only explain the theological meaning of the poems but also recreate their metaphorical language. This use of poetry to communicate theological meaning is identified as the practice of theopoetic. The first chapter closes with an elucidation of the book’s methodology.

From “Captain Kidd” to Gospel Music

Sweet Thing ◽  
2021 ◽  
pp. 29-79
Author(s):  
Nicholas Stoia
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Sixteenth Century ◽  
Gospel Music ◽  
Great Awakening ◽  
Popular Song ◽  
History Of

The roots of the “Sweet Thing” scheme reach back to sixteenth-century Scotland and England. One of the main branches of this lineage crosses the Atlantic as a penitent broadside ballad castigating Captain William Kidd, a pirate sent to the gallows in London in 1701. Chapter 1 concerns the history of this branch: the long journey of a stanzaic structure from ancient Scottish popular song through English broadside balladry, from the transatlantic broadside “Captain Kidd” through the fervent folk hymnody of the Great Awakening, and from nineteenth-century popular song and urban revivalism to twentieth-century gospel music. Throughout this span, the distinctive rhythmic and textual attributes of the form are apparent in all of the genres that it crosses. In both broadsides and folk hymns we can observe or reconstruct certain melodic characteristics that accompany the form, and in the folk hymns we can also see some general harmonic attributes.

A Window to Internal and External Change in Banking

2018 ◽  
Author(s):  
Bernardo Bátiz-Lazo
Keyword(s):  
Twentieth Century ◽  
Computer Technology ◽  
Business Organizations ◽  
Organizational Challenges ◽  
Late Twentieth ◽  
Self Service ◽  
The Impact ◽  
Late Twentieth Century ◽  
Proper Consideration

Chapter 1 (‘A Window to Internal and External Change in Banking’) provides a wide-arch view of the themes in the book. It highlights how in spite of being deeply embedded in our culture as an object of everyday life, the interaction with ATMs is largely inconsequential for most people. This chapter also forwards a case to study the ATM to better understand the possibilities for technological change to bring about a cashless economy. Another argument put forward is that the ATM is essential to appreciate the technological and organizational challenges that gave rise to self-service banking. As a result, the case is made that business histories of the late twentieth century will be incomplete without proper consideration to the impact of computer technology on the different aspects of business organizations.

The Obligation to Choose

2018 ◽  
Author(s):  
Rachel Crossland
Keyword(s):  
Twentieth Century ◽  
Close Attention ◽  
The Past ◽  
Light Quanta ◽  
Early Twentieth Century ◽  
Wave Particle Duality ◽  
Night And Day ◽  
Scientific Ideas

Chapter 1 explores Woolf’s writings up to the end of 1925 in relation to scientific ideas on wave-particle duality, providing the ‘retrospect of Woolf’s earlier novels’ which Michael Whitworth has suggested shows that she was working ‘in anticipation of the physicists’. The chapter as a whole challenges this idea of anticipation, showing that Woolf was actually working in parallel with physicists, philosophers, and artists in the early twentieth century, all of whom were starting to question dualistic models and instead beginning to develop complementary ones. A retrospect on wave-particle duality is also provided, making reference to Max Planck’s work on quanta and Albert Einstein’s development of light quanta. This chapter pays close attention to Woolf’s writing of light and her use of conjunctions, suggesting that Woolf was increasingly looking to write ‘both/and’ rather than ‘either/or’. Among other texts, it considers Night and Day, Mrs Dalloway, and ‘Sketch of the Past’.

Introduction

2018 ◽  
Author(s):  
Rembert Lutjeharms
Keyword(s):  
Sixteenth Century ◽  
Political History ◽  
The Political ◽  
Poetry And Poetics ◽  
Sanskrit Poetics ◽  
History Of ◽  
Sanskrit Poetry ◽  
The Way

This chapter introduces the main themes of the book—Kavikarṇapūra, theology, Sanskrit poetry, and Sanskrit poetics—and provides an overview of each chapter. It briefly highlights the importance of the practice of poetry for the Caitanya Vaiṣṇava tradition, places Kavikarṇapūra in the (political) history of sixteenth‐century Bengal and Orissa as well as sketches his place in the early developments of the Caitanya Vaiṣṇava tradition (a topic more fully explored in Chapter 1). The chapter also reflects more generally on the nature of both his poetry and poetics, and highlights the way Kavikarṇapūra has so far been studied in modern scholarship.

Savoring God

2021 ◽  
Author(s):  
Gloria Maité Hernández
Keyword(s):  
Sixteenth Century ◽  
Oral Tradition ◽  
Divine Love ◽  
Central Moments ◽  
Presence Of God ◽  
The Cross ◽  
John Of The Cross ◽  
The Relationship

This book compares two mystical works central to the Christian Discalced Carmelite and the Hindu Bhakti traditions: the sixteenth-century Spanish Cántico espiritual (Spiritual Canticle), by John of the Cross, and the Sanskrit Rāsa Līlā, originated in the oral tradition. These texts are examined alongside theological commentaries: for the Cántico, the Comentarios written by John of the Cross on his own poem; for Rāsa Līlā, the foundational commentary by Srīdhara Swāmi along with commentaries by the sixteenth-century theologian Jīva Goswāmī, from the Gauḍīya Vaiṣṇava school, and other Gauḍīya theologians. The phrase “savoring God” in the title conveys the Spanish gustar a Dios (to savor God) and the Sanskrit madhura bhakti rasa (the sweet savor of divine love). While “savoring” does not mean exactly the same thing for these theologians, they use the term to define a theopoetics at work in their respective traditions. The book’s methodology transposes their notions of “savoring” to advance a comparative theopoetics grounded in the interaction of poetry and theology. The first chapter explains in detail how theopoetics is regarded considering each text and how they are compared. The comparison is then laid out across Chapters 2, 3, and 4, each of which examines one of the three central moments of the theopoetic experience of savoring that is represented in the Cántico and Rāsa Līlā: the absence and presence of God, the relationship between embodiment and savoring, and the fulfillment of the encounter between the divine and the lovers.

An Archaeology of the Twentieth Century in the Anthracite Coal Region of Northeast Pennsylvania

2018 ◽  
pp. 7-30 ◽  
Author(s):  
Michael P. Roller
Keyword(s):  
Twentieth Century ◽  
Karl Marx ◽  
Structural Violence ◽  
Giorgio Agamben ◽  
Theoretical Concepts ◽  
Anthracite Coal ◽  
Research Questions ◽  
The Relationship ◽  
Coal Region

Chapter 1 provides a broad theoretical, historical, and ethnographic context to the research, and an overview of the major research questions addressed in the book. Topics such as the approach to the structural violence of everyday life in the twentieth century, the relationship between migrants and the sovereignty of political states, racialization, and the labor needs of late industrial capitalism are addressed. Relevant theoretical concepts from scholars such as Giorgio Agamben, Walter Benjamin and Karl Marx are introduced here. The ethnographic and discursive context of immigrant discrimination in the present, and the manner in which it informs the broad trajectory of the research is presented. Lastly, the manner in which interdisciplinary data is applied to this research is also presented.

The Militant Negro Domestic, 1945–1965

2017 ◽  
Author(s):  
Ashley D. Farmer
Keyword(s):  
Twentieth Century ◽  
Black Women ◽  
Political Identity ◽  
The Political ◽  
American Imperialism ◽  
Political Actors ◽  
Women's Equality ◽  
Working Class Women ◽  
Gender Specific

Chapter 1 begins in the late 1940s, and documents how postwar black women radicals collectively constructed the political identity of the “Militant Black Domestic.” Using their political tracts, satire, and pamphlets, this chapter shows how black women used this trope to reimagine black working-class women as grassroots political actors who critiqued American imperialism, promoted black self-determination, forged international radical alliances, and advocated for women’s equality. The chapter also reveals how, through their writings about the Militant Black Domestic, black women radicals sustained and further developed early twentieth-century black nationalist expressions, laying the groundwork for future gender-specific expressions of Black Power.

Cut and paste

2018 ◽  
pp. 25-65
Author(s):  
Anna Dahlgren
Keyword(s):  
Twentieth Century ◽  
Visual Culture ◽  
Historical Perspective ◽  
Avant Garde ◽  
Victorian Britain ◽  
Art Form ◽  
Close Study ◽  
History Of ◽  
Illustrated Press

Chapter 1 considers the mechanisms of breaks and continuities in the history of photocollage with regard to gender, genre and locations of display. Collage is commonly celebrated as a twentieth-century art form invented by Dada artists in the 1910s. Yet there was already a vibrant culture of making photocollages in Victorian Britain. From an art historical perspective this can be interpreted as an expression of typical modernist amnesia. The default stance of the early twentieth century’s avant-garde was to be radically, ground-breakingly new and different from any historical precursors. However, there is, when turning to the illustrated press, also a trajectory of continuity and withholding of traditions in the history of photocollage. This chapter has two parts. The first includes a critical investigation of the writings on the history of photocollage between the 1970s and 2010s, focusing on the arguments and rationales of forgetting and retrieving those nineteenth-century forerunners. It includes examples of amnesia and recognition and revaluation. The second is a close study of a number of images that appear in Victorian albums produced between 1870 and 1900 and their contemporary counterparts in the visual culture of illustrated journals and books.

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