Bernard of Clairvaux: Sermons for the Autumn Season
On the anniversary of the dedication of the monastery church at Clairvaux Saint Bernard spoke to the community to explain the meaning of the feast What sanctity can these stones have that we should celebrate their festival They do indeed have sanctity but it is because of your bodies Your bodies are holy because of your souls and this house is holy because of your bodiesThe thirtyeight sermons in this volume carry forth this theme revealing the holiness of the monastic life as monks alternate through the rhythm of the day and the year between the opus Dei and manual labor journeying faithfully through life to death and the transitus to glory The twelfthcentury Ecclesiastica Officia of the Cistercian Order required abbots to speak formally to their communities in chapter on seventeen fixed days mostly liturgical feasts This volume witnesses to Bernards fulfillment of this requirement and includes sermons for the Assumption and Nativity of the Virgin and the Feast of All Saints sermons devoted to the feasts of particular saints celebrated during the autumn months sermons for the time of harvest and funeral sermons that look forward to the eternal joy in the communion of saints
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Translated by Irene Edmonds, Edited by Mark Scott, OCSO, Introduction by Wim Verbaal
Author: edited by Jane Donahue Eberwein and Cindy MacKenzie foreword by Marietta Messmer
Emily Dickinson, who regarded a letter as a joy of Earth, was herself a gifted epistolary artistcryptic and allusive in style, dazzling in verbal effects, and sensitively attuned to the recipients of her many letters. In this volume, distinguished literary scholars focus intensively on Dickinsons letter-writing and what her letters reveal about her poetics, her personal associations, and her self-awareness as a writer. Although Dickinsons letters have provided invaluable perspective for biographers and lovers of poetry since Mabel Loomis Todd published the first selection in 1894, todays scholarly climate opens potential for fresh insights drawn from new theoretical approaches, informed cultural contextualizations, and rigorous examination of manuscript evidence. Essays in this collection explore ways that Emily Dickinson adapted nineteenth-century epistolary conventions of womens culture, as well as how she directed her writing to particular readers, providing subtly tactful guidance to ways of approaching her poetics. Close examination of her letters reveals the conscious artistry of Dickinsons writing, from her auditory effects to her experiments with form and tone. Her well-known correspondences with Thomas Wentworth Higginson, Susan Dickinson, Helen Hunt Jackson, and Otis Phillips Lord are examined here, but so too are previously neglected family communications with her aunt Kate Sweetser and cousin Eugenia Montague. Contributors find in these various letters evidence of Dickinsons enthusiastic participation in a sort of epistolary book club involving multiple friends, as well as her loving attentiveness to individuals in times of both suffering and joy. These inquiries highlight her thoughts on love, marriage, gender roles, art, and death, while unraveling mysteries ranging from legal discourse to Etruscan smiles. In addition to a foreword by Marietta Messmer, the volume includes essays by Paul Crumbley, Karen Dandurand, Jane Donahue Eberwein, Judith Farr, James Guthrie, Ellen Louise Hart, Eleanor Heginbotham, Cindy MacKenzie, Martha Nell Smith, and Stephanie Tingley.
Author: Nancy Weiss Malkiel
As the tumultuous 1960s ended, some very traditional, very conservative, highly prestigious colleges and universities in the United States and the United Kingdom decided to go coed in a remarkably brief span of time. They were met with fierce resistance. As one alumnus put it in a letter to his alma mater, Keep the damned women out. Telling the story of this momentous era in higher education, Nancy Weiss Malkiel explains that elite institutions embarked on coeducation not as a moral imperative but as a self-interested means of maintaining a first-rate applicant pool. Malkiel shows that coeducation was achieved not by organized efforts of women activists, but through strategic decisions made by powerful men. She illuminates the challenges of planning for the academic and non-academic lives of newly admitted women. Drawing on unprecedented archival research, Keep the Damned Women Out is a breathtaking work of history that is certain to be the definitive book on the subject.
Author: Elena Lahr-Vivaz
In Mexican Melodrama, Elena Lahr-Vivaz explores the compelling ways that new-wave Mexican directors use the tropes and themes of Golden Age films to denounce the excesses of a nation characterized as a fragmented and fictitious construct. Analyzing big hits and quiet successes of both Golden Age and new-wave cinema, the author offers in each chapter a comparative reading of films from the two eras, considering, for instance, Amores perros (Loves a Bitch, Alejandro Gonzalez Inarritu, 2000) alongside Nosotros los pobres (We the Poor, Ismael Rodriguez, 1947). Through such readings, Lahr-Vivaz examines how new-wave directors draw from a previous generation to produce meaning in the present. Mexicos Golden Age of filmthe period from the 1930s to the 1950sis considered golden due to both the prestige of the eras stars and the critical and popular success of the films released. Golden Age directors often turned to the tropes of melodrama and allegory to offer spectators an image of an idealized Mexico and to spur the formation of a spectatorship united through shared tears and laughter. In contrast, Lahr-Vivaz demonstrates that new-wave directors of the 1990s and 2000s use the melodramatic mode to present a vision of fragmentation and to open a space for critical resistance. In so doing, new-wave directors highlight the limitations rather than the possibilities of a unified spectatorship, and point to the need for spectators to assume a critical stance in the face of the exigencies of the present. Written in an accessible style, Mexican Melodrama offers a timely comparative analysis of critically acclaimed films that will serve as key referents in discussions of Mexican cinema for years to come.
Author: Judy Thompson
This book celebrates Dorothy Burnhams many contributions to ongoing research on the Museums ethnographic collections from the Northern Athabaskan, Arctic, Plateau and Eastern Woodlands regions of North America. Eleven papers highlight the important role that comprehensive study of museum collections can play in material culture studies, as well as the value of detailed information for those seeking to revive traditional skills.
Author: James Everett Kibler, Jr.
William Summer founded the renowned Pomaria Nursery, which thrived from the 1840s to the 1870s in central South Carolina and became the center of a bustling town that today bears its name. The nursery grew into one of the most important American nurseries of the antebellum period, offering wide varieties of fruit trees and ornamentals to gardeners throughout the South. Summer also published catalogs containing well-selected and thoroughly tested varieties of plants and assisted his brother, Adam, in publishing several agricultural journals throughout the 1850s until 1862. In Taking Root, James Everett Kibler, Jr., collects for the first time the nature writing of William and Adam Summer, two of Americas earliest environmental authors. Their essays on sustainable farm practices, reforestation, local food production, soil regeneration, and respect for Mother Earth have surprising relevance today. The Summer brothers owned farms in Newberry and Lexington Counties, where they created veritable experimental stations for plants adapted to the southern climate. At its peak the nursery offered more than one thousand varieties of apples, pears, peaches, plums, figs, apricots, and grapes developed and chosen specifically for the southern climate, as well as offering an equal number of ornamentals, including four hundred varieties of repeat-blooming roses. The brothers experimented with and reported on sustainable farm practices, reforestation, land reclamation, soil regeneration, crop diversity rather than the prevalent cotton monoculture, and animal breeds accustomed to hot climates from Carolina to Central Florida. Written over a span of two decades, their essays offer an impressive environmental ethic. By 1860 Adam had concluded that a persons treatment of nature is a moral issue. Sustainability and long-term goals, rather than get-rich-quick schemes, were key to this philosophy. The brothers keen interest in literature is evident in the quality of their writing; their essays and sketches are always readable, sometimes poetic, and occasionally humorous and satiric. A representative sampling of their more-than-six hundred articles appear in this volume.
Author: By Larry Silver
Modern viewers take for granted the pictorial conventions present in easel paintings and engraved prints of such subjects as landscapes or peasants. These generic subjects and their representational conventions, however, have their own origins and early histories. In sixteenth-century Antwerp, painting and the emerging new medium of engraving began to depart from traditional visual culture, which had been defined primarily by wall paintings, altarpieces, and portraits of the elite. New genres and new media arose simultaneously in this volatile commercial and financial capital of Europe, home to the first open art market near the city Bourse. The new pictorial subjects emerged first as hybrid images, dominated by religious themes but also including elements that later became pictorial categories in their own right: landscapes, food markets, peasants at work and play, and still-life compositions. In addition to being the place of the origin and evolution of these genres, the Antwerp art market gave rise to the concept of artistic identity, in which favorite forms and favorite themes by an individual artist gained consumer recognition.In Peasant Scenes and Landscapes, Larry Silver examines the emergence of pictorial kindsscenes of taverns and markets, landscapes and peasantsand charts their evolution as genres from initial hybrids to more conventionalized artistic formulas. The relationship of these new genres and their favorite themes reflect a burgeoning urbanism and capitalism in Antwerp, and Silver analyzes how pictorial genres and the Antwerp marketplace fostered the development of what has come to be known as signature artistic style. By examining Bosch and Bruegel, together with their imitators, he focuses on pictorial innovation as well as the marketing of individual styles, attending particularly to the growing practice of artists signing their works. In addition, he argues that consumer interest in the style of individual artists reinforced another phenomenon of the later sixteenth century: art collecting. While today we take such typical artistic formulas as commonplace, along with their frequent use of identifying signatures (a Rothko, a Pollock), Peasant Scenes and Landscapes shows how these developed simultaneously in the commercial world of early modern Antwerp.
Author: Mark Häberlein
The clash of modernity and an Amish buggy might be the first image that comes to ones mind when imagining Lancaster, Pennsylvania, today. But in the early to mid-eighteenth century, Lancaster stood apart as an active and religiously diverse, ethnically complex, and bustling city. On the eve of the American Revolution, Lancasters population had risen to nearly three thousand inhabitants; it stood as a center of commerce, industry, and trade. While the German-speaking populationAnabaptists as well as German Lutherans, Moravians, and German Calvinistsmade up the majority, about one-third were English-speaking Anglicans, Catholics, Presbyterians, Quakers, Calvinists, and other Christian groups. A small group of Jewish families also lived in Lancaster, though they had no synagogue. Carefully mining historical records and documents, from tax records to church membership rolls, Mark Haberlein confirms that religion in Lancaster was neither on the decline nor rapidly changing; rather, steady and deliberate growth marked a diverse religious population.
Author: Ron J. Lesthaeghe
Fertility in Belgium declined early and remained low compared with that in other European countries. For this reason, and because of the nation's heterogeneity, study of its demographic transition illuminates the relationship between fertility behavior and socioeconomic development. Professor Lesthaeghe first describes the Belgian experience in a way that permits direct comparison with that of other European nations. He then tests the several explanatory hypotheses for the European fertility decline against his data.Belgium's heterogeneity in the nineteenth-century and in the first half of the twentieth was economic, social, and cultural. Some areas of the country underwent industrialization as early as 1800-1830, while others shifted away from agriculture and artisanal modes of production only between 1880 and 1910. Between 1890 and 1900, regional fertility levels differed drastically, as did regional infant mortality rates and life expectancies at birth. In addition, wide variation occurred in the process of secularization, linguistic characteristics, demographic trends, and other cultural indicators. By describing and analyzing these data in relation to Belgium's fertility decline, Professor Lesthaeghe makes a major contribution to the theory of the demographic transition that occurred throughout Europe.Originally published in 1978.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Author: Gladys Amanda Reichard
In this in-depth exploration of the symbols found in Navaho legend and ritual, Gladys Reichard discusses the attitude of the tribe members toward their place in the universe, their obligation toward humankind and their gods, and their conception of the supernatural, as well as how the Navaho achieve a harmony within their world through symbolic ceremonial practice.Originally published in 1963.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.