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Toward the end of the twentieth century, in art as well as ritual studies, cultural turns contributed to elaborating a broad definition of ritual and rituality. Rituality is now generally regarded as one of the master keys to understanding not only cultures in general but also arts in particular. Poetic rituality sheds light on the liminal characteristics of the art form and references to ritual practices, ritual forms and structures that are set in motion in a way that allows special aesthetic characteristics and semantic aspects to arise. The contributors to the volume - theatre and literary studies scholars as well as students from Yale, Bielefeld, Károli University, and the Grotowski Institute - had the opportunity to share their related works in the course of several recent international academic events.

This book explores the interrelation of contemporary French theatre and poetry. Using the pictorial turn in the various branches of art and science, its observable features, and the theoretical framework of the conceptual metaphor, this study seeks to gather together the divergent manners in which French poetry and theatre address this turn. Poetry in space and theatricality of poetry are studied alongside theatre, especially to the performative aspect of the originally theological concept of'kenosis'. In doing so the author attempts to make use of the theological concept of kenosis, of central importance in Novarina's oeuvre, for theatrical and dramatological purposes. Within poetic rituals, kenotic rituals are also examined in the book in a few theatrical practices – János Pilinszky and Robert Wilson, Jerzy Grotowski and Eugenio Barba – facilitating a better understanding of Novarina's works.Accompanied by new English translations in the appendices, this is the first English language monograph related to the French essayist, dramaturg and director Valère Novarina's theatre, and will be of great interest to students and scholars in theatre and literature studies.The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND)] 4.0 license.

The present volume offers an interdisciplinary collection of twenty-four studies to readers interested in the religious, philosophical and artistic aspects of initiation. In itself, the concept of initiation presupposes that there is an initiator, someone to be initiated, and secret rite or knoweledge-in short, a mystery-into which the elect few would be admitted and which must not be revealed to the rest. Initiation is thus very personal, as it encompasses-in Christian theology at least-an encounter with God but also involves a communal experience. While in European context, initiation is an essentially Christian idea, not all the papers of the present volume turn to the Christian tradition for sources. Hermetism, Neoplatonism, pre-Christian paganism and Renaissance esotericism also find a place among the studies published here. Religion and philosophy are not the only viewpoints adopted by our authors, however; the section on art and litterature discusses initiation as it appears on stage, in novels, short stories, and drama as well as poetry, especially in modern European literature.

This volume examines mystical experiences as portrayed in various ways by “authors” such as philosophers, mystics, psychoanalysts, writers, and peasant women. These “mystical authors” have, throughout the ages, attempted to convey the unsayable through writings, paintings, or oral stories. The immediate experience of God is the primary source and ultimate goal of these mystical expressions. This experience is essentially ineffable, yet all mystical authors, either consciously or unconsciously, feel an urge to convey what they have undergone in the moments of rapture. At the same time they are in the role of intermediaries: the goal of their self-expression – either written, painted or oral – is to make others somehow understand or feel what they have experienced, and to lead others toward the spiritual goal of human life. This volume studies the mystical experiences and the way they have been described or portrayed in West-European culture, from Antiquity to the present, from an interdisciplinary perspective, and approaches the concept of “immediate experience” in various ways.

Students majoring in English get acquainted with Williams'text in the course'introduction to Literary Studies'. Some frequently asked questions are :'What makes it a poem?''Wouldn't anybody be able to write such a text?'Some students indeed get personally involved. They respond to litterature, either in verse, or in prose, sometimes through rewriting texts and sometimes in the traditional way, through literary analysis and research. This book testifies to the fact that they indeed have something to say.

Cet ouvrage invite le lecteur à étudier la fonction de l'acte contemplatif dans son rapport à l'espace et au temps, en s'interrogeant notamment sur la valeur et la portée épistémiques de cet acte lorsqu'il se détermine en relation à une réalité représentée comme'infinie'. Conçu dans un contexte interdisciplinaire, le recueil regroupe les études et réflexions de chercheurs français et hongrois de différentes spécialités.

The present volume brings to North American Native Studies – with its rich tradition and accumulated expertise in the Central European region – the new complexities and challenges of contemporary Native reality. The umbrella theme ‘Indigenous perspectives'brings together researchers from a great variety of disciplines, focusing on issues such as democracy and human rights, international law, multiculturalism, peace and security, economic and scientific development, sustainability, literature, and arts and culture, as well as religion.The thirty-five topical and thought-provoking articles written in English, French and Spanish offer a solid platform for further critical investigations and a useful tool for classroom discussions in a wide variety of academic fields.

Le changement esthético-poétique qui se produit dans les années 1970 dans l'œuvre de János Pilinszky trouve une partie de son origine en France grâce aux nombreux séjours qu'il y effectue, mais aussi grâce aux trois domaines qui retiennent son attention : d'abord l'œuvre de Simone Weil, ensuite le renouveau liturgique qui servira de modèle à sa conception du théâtre, et finalement la prise de connaissance du théâtre de Robert Wilson.