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A captivating study of translation, adaptation, and intellectual cross-pollination that situates the Castilian Hermes in the center of medieval Mediterranean cultural exchangeHermes Trismegistus, a Hellenistic conflation of the Greek Hermes (god of interpretative wisdom) and the Egyptian Thoth (god of wisdom) was considered by many in the medieval world as the father of culture. Between c. 300 BCE - c. 1200 CE various treatises were attributed to the legendary sage, becoming known as the Hermetica - a combination of diverse philosophical and spiritual systems, addressing subjects such as alchemy, magic, and astrology.The Hermetica circulated widely, with premodern translations in Latin, Hebrew, Syriac, Persian, Arabic, and other Eastern languages. Whilst these iterations have been thoroughly researched, little attention has been paid to the Castilian Hermes, the first rendition of the wisdom traditions of Hermes Trismegistus in a Romance language. This book follows the ways in which Hermetic knowledge was brought to the Iberian Peninsula, showing how Hermes became the philosophical and spiritual inspiration for Christian, Arabic, and Jewish scholars there.Udaondo Alegre unveils the pivotal role of King Alfonso X ('the Learned') of Castile (1252-84) in creating this Spanish Hermes. Through the meticulous tracing of source texts and literary influences, the author explores the myriad ways in which Hermes crossed religious and linguistic boundaries to embody a composite intellectual identity, emblematic of medieval Spain's multicultural ethos. Alfonso's court is revealed as the site for a unique convergence of translation and interpretation that shaped a distinctly'Hispanic'Hermes.

In pursuing how fourteenth-century English texts engage with philosophical, intellectual, and theological questions, the work of Denise N. Baker has powerfully shaped the field of medieval studies. This collection honors Baker's legacy as a scholar and teacher by taking a fresh approach to the most salient literary, mystical, and devotional works written in late medieval England. The contributors examine a variety of foundational texts ranging from Piers Plowman and The Canterbury Tales to The Cloud of Unknowing and Julian of Norwich's Showings. Their analyses offer new insights into medieval literature and culture by examining the intricacies of vice and virtue, the connections between gender and literary form, and the ethical potential of social formations. Additionally, the volume attests to the wider influence of fourteenth-century literature. Not only do the contributors explore how medieval writers make their own claims of memorialization, but they also analyze later iterations of Middle English writing in the context of nineteenth- and twentieth-century print culture. Featuring chapters by both early scholars and those at the later stages of their careers, this volume celebrates the impact of Baker's scholarship over the past four decades. At the same time, this book offers an incisive inquiry into many of the most debated issues and texts in studies of late medieval England.

This book explores Federico García Lorca's late poetry and drama within its context of mysticism. Lorca's singular language reveals compelling evidence of innate spiritual potential, influenced by poets from Christian, Sufi, Buddhist, and other mystic traditions, from his earliest works to its culmination in the technical mastery of his last poems. Guided by musicality and polyvalence, close readings of The Tamarit Divan, Sonnets of Dark Love, and Yerma offer a novel approach to seemingly obscure texts that resist conventional analysis. The methodology of Lorca's Immanent Mysticism adheres to the poet-playwright's own aesthetic theory. For Lorca, duende-inspired creation calls for equally inspired reception within true artistic experience. This groundbreaking study places Lorca not only within a contemporary spectrum of Modernist production, but, more importantly, within the framework of a new mysticism for our time.

Mysticism in the Theater introduces theater makers to the power and possibility of using historical mystical ideas to influence all aspects of a production. Historical mysticism represents ideas developed by recognized spiritual thinkers in all religions and time periods: individuals who stilled their ego, and perceived the unity of all, hidden within the apparent multiplicity of existence.This unique manner of spiritual inlay allows theatrical presentations to find the height of artistic expression: art at the intersection of our historical moment and the eternal. This study introduces theater makers to the history of mystical inspiration within performance work and develops strategies for inserting mystical ideas into their productions. The book ties this model into theatre's history, as mystical ideas and quotes have been inserted into productions from Greek theatre through Shakespeare and into the present day.This book explores how teachings and ideas of specific historical mystical thinkers might influence all aspects of contemporary theatrical productions including writing, directing, acting, stagecraft/set design, lighting design, costume design, sound design, and choreography.

This book deals with W. B. Yeats's mystical experience and explores how mysticism is exemplified in his poetry. We cannot understand Yeats deeply without considering the mystical dimension always fundamentally at stake in his work. The book includes Yeats's interests in the mystical and mythical elements of the world's dominant cultures and, accordingly, his interpretation of history in a context that broadly negotiated with magic, the occult, theosophy, alchemy, astrology, mythology, mysticism, and religion. The book tackles Celtic culture and mysticism, highlighting Yeats's longing for the Celtic heroic age as represented by its heroes, namely, Cuchulain, Oisin, and Fergus. It also explores the influence Rosicrucianism had on his esoteric system, and discusses Yeats's automatic writing experience with his wife and his apocalyptic vision.

Queer God de Amor explores the mystery of God and the relationship between divine and human persons. It does so by turning to the sixteenth-century writings of John of the Cross on mystical union with God and the metaphor of sexual relationship that he uses to describe this union. Juan's mystical theology, which highlights the notion of God as lover and God's erotic-like relationship with human persons, provides a fitting source for rethinking the Christian doctrine of God, in John's own words, as “un no sé qué,” “an I know not what.”In critical conversations with contemporary queer theologies, it retrieves from John a preferential option for human sexuality as an experience in daily life that is rich with possibilities for re-sourcing and imagining the Christian doctrine of God. Consistent with other liberating perspectives, it outs God from heteronormative closets and restores human sexuality as a resource for theology. This outing of divine queerness—that is, the ineffability of divine life—helps to align reflections on the mystery of God with the faith experiences of queer Catholics. By engaging Juan de la Cruz through queer Latinx eyes, Miguel Díaz continues the objective of this series to disrupt the cartography of theology latinamente.

The Golden Age of Spanish mysticism has traditionally been read in terms of individual authors or theological traditions. God Made Word, however, considers early modern Spanish mysticism as a question of language and as a discourse that circulated in concrete social, institutional, and geographic spaces. Proposing a new reading of early modern Spanish mysticism, God Made Word traces the struggles over the representation of interiorized spiritual union – the tension between making it known and conveying its unknowability – far beyond the usual canon of mystic literature. Dale Shuger combines a study of genres that have traditionally been the object of literary study, including poetry, theatre, and autobiography, with a language-based analysis of other areas that have largely been studied by historians and theologians. Arguing that these generic separations grew out of an increasing preoccupation with the cultivation and control of interiorized spirituality, God Made Word shows that by tracing certain mystic representations we come to understand the emergence of different discursive rules and expectations for a wide range of representations of the ineffable.

This is a transnational and bilingual investigation of the cross-fertilisation of mystical religiosity and modern poetical imagination in the works of the Bengali poet Rabindranath Tagore and the Irish poet W. B. Yeats. The book demonstrates how their commitments to transnational mysticism deeply form and inform the modernist literary projects of these poets as well as their understanding of cultural modernity. Although its primary interest lies in their poetry and poetics, the monograph also includes some of their relevant prose works. This study begins with a close look at and around the phase of 1912-1913, when Yeats and Tagore met over the collection of the latter's English translations of his spiritual verses, Gitanjali, and took mutual interests in each other's works and cultural significances. The monograph then expands on both sides of that phase, selectively covering the whole career of the poets in its exploration of their parallel mystic-modern cultural-poetical projects.

The monograph series Oxford Studies in Medieval Literature and Culture showcases the plurilingual and multicultural quality of medieval literature and actively seeks to promote research that not only focuses on the array of subjects medievalists now pursue in literature, theology, and philosophy, in social, political, jurisprudential, and intellectual history, the history of art, and the history of science but also that combines these subjects productively. It offers innovative studies on topics that may include, but are not limited to, manuscript and book history; languages and literatures of the global Middle Ages; race and the post-colonial; the digital humanities, media and performance; music; medicine; the history of affect and the emotions; the literature and practices of devotion; the theory and history of gender and sexuality, ecocriticism and the environment; theories of aesthetics; medievalism. This volume examines Latin and vernacular writings that formed part of a flourishing culture of mystical experience in the later Middle Ages (ca. 1150–1400), including the ways in which visionaries within their literary milieu negotiated the tensions between personal, charismatic inspiration and their allegiance to church authority. It situates texts written in England within their wider geographical and intellectual context through comparative analyses with contemporary European writings. A recurrent theme across all of these works is the challenge that a largely masculine and clerical culture faced in the form of the various, and potentially unruly, spiritualities that emerged powerfully from the twelfth century onward. Representatives of these major spiritual developments, including the communities that fostered them, were often collaborative in their expression. For example, holy women, including nuns, recluses, and others, were recognized by their supporters within the church for their extraordinary spiritual graces, even as these individual expressions of piety were in many cases at variance with securely orthodox religious formations. These writings become eloquent witnesses to a confrontation between inner, revelatory experience and the needs of the church to set limitations upon charismatic spiritualities that, with few exceptions, carried the seeds of religious dissent. Moreover, while some of the most remarkable texts at the centre of this volume were authored (and/or primarily read) by women, the intellectual and religious concerns in play cut across the familiar and all-too-conventional boundaries of gender and social and institutional affiliation.

In Black Utopias Jayna Brown takes up the concept of utopia as a way of exploring alternative states of being, doing, and imagining in Black culture. Musical, literary, and mystic practices become utopian enclaves in which Black people engage in modes of creative worldmaking. Brown explores the lives and work of Black women mystics Sojourner Truth and Rebecca Cox Jackson, musicians Alice Coltrane and Sun Ra, and the work of speculative fiction writers Samuel Delany and Octavia Butler as they decenter and destabilize the human, radically refusing liberal humanist ideas of subjectivity and species. Brown demonstrates that engaging in utopian practices Black subjects imagine and manifest new genres of existence and forms of collectivity. For Brown, utopia consists of those moments in the here and now when those excluded from the category human jump into other onto-epistemological realms. Black people—untethered from the hope of rights, recognition, or redress—celebrate themselves as elements in a cosmic effluvium.

In T. S. Eliot's Ascetic Ideal, Joshua Richards charts an intellectual history of T. S. Eliot's interaction with asceticism. This history is drawn from Eliot's own education in the topic with the texts he read integrated into detailed textual analysis. Eliot's early encounters with the ascetic ideal began a lifetime of interplay and reflection upon self-denial, purgation, and self-surrender. In 1909, he began a study of mysticism, likely, in George Santayana's seminar, and thereafter showed the influence of this education. Yet, his interaction with the ascetic ideal and his background in mysticism was not a simple thing; still, his early cynicism was slowly transformed to an embrace.

As an ancient Indian poet-dramatist, Kālidāsa cannot be absorbed into the homogenizing tendencies of Hindu hagiography, as has often been attempted, especially in the period after independence. From being projected as a Brahmin by birth in legends, a Vedāntist and Vaishnavite in darsana (theology), and more recently, owing to Western theoretical perspectives being applied to texts separated in time and contexts, Kalidasa is critiqued for a patriarchal and casteist outlook. These various readings have privileged personal theories and validated them by reading literary texts in certain ways. ‘Memory, Metaphor and Mysticism in Kalidasa's ‘AbhijñānaŚākuntalam''brings together scholars from both sides of the globe who offer possibilities for reviewing this text, not as an Oriental discovery or a cultural property, but as an ancient literary text that can be read in multiple philosophical contexts. Further, the translations of ‘AbhijñānaŚākuntalam'into South Asian languages like Urdu and Nepali and a classical language like Persian are also included for detailed study for understanding the impact of this text in the respective literary traditions of these languages, and to assess the actual cross-literary dialogue that this text made, without hyperboles and generalizations, given the fact that many of these translation happened just before and after independence when literary historiography and nation writing project went hand in hand in India.

Mystic Moderns examines the responses of three British authors—Evelyn Underhill (1875–1941), May Sinclair (1863–1946), and Mary Webb (1881–1927)—to the emerging modernity of the long early twentieth-century moment encompassing the First World War. As they explored divergent but overlapping understandings of what mystical experience might be, these authors rejected claims that modernity's celebration of the secular and rational left no place for the mystical; rather, they countered, sensitivity to a greater reality could both establish and validate personal agency, and was integral to their identities as modern women. Their preoccupations with the dynamism of human connection drew on prevailing ideas of “vital energy” or “life force” developed by Arthur Schopenhauer and Henri Bergson in ways that channeled modernity's erotic energy of change. By using their fiction to describe new, self-authenticating forms of mysticism separate from either the prevailing orthodoxy of establishment Christianity or the extreme heterodoxy of their era's enthusiasm for paranormal experimentation, they also contributed to the rise of a generic concept of “spirituality.” Mystic Moderns thus offers historical perspective on contemporary claims for self-constructed, non-institutional spiritual experience associated with the claim “I'm spiritual, not religious.”Working as they did within the shadow of the First World War, Underhill, Sinclair, and Webb were, in the end, attempting to determine what might be of authentic value for a modern age marked by ubiquitous death. While not themselves utopian authors, each was touched by her era's complicated hunger for the best of all possible worlds. Their constructions of how an individual should be and act in the midst of modernity thus simultaneously projected visions of what that modernity itself should become.

Im theoretischen Werk des anarchistischen Schriftstellers Gustav Landauer (1870-1919) und im Frühwerk Walter Benjamins (1892-1940) erscheint die ästhetische Moderne in widersprüchlicher Gestalt. So rekurriert Landauer zur metaphysischen und normativen Fundierung seiner Ästhetik auf vormoderne, mystische Denkhorizonte, die nicht nur einen klassizistischen Begriff ästhetischer Form begründen, sondern in Funktion radikaldemokratischer Politik treten. Auch Benjamins Jugendschriften enthalten solch neo-mystische Momente, doch setzt um 1915 bei ihm eine Werktransformation ein, die sowohl den Bereich des Politisch-Ästhetischen als auch den Rückgriff auf Theologie und – im Zuge einer Rehabilitation der durch Fritz Mauthner abgewerteten Sprache – die zugrundeliegende Medienontologie betrifft: Ästhetische Form wird zunehmend brüchig, mystische Erfahrung sprachlich und Medientheorie materialistisch.

This book contributes to the ongoing discussion of the place of contemporary Galician writer Blanca Andreu's work within the 1980s post-“novísimo” movement, as part of a larger resurgence of the Surrealist in Spanish poetry and its possible placement in the more recent mystical poetry of Spain. It provides a detailed textual analysis of her poetry, and in doing so reveals not only that her work encompasses notions of the surreal and the mystical but also, although Andreu has so far written entirely in Castilian (Spanish), that her poetry utilizes a variety of traditional Galician and Portuguese symbols and images. In this way her work challenges the boundaries between what we as readers may accept as a solely Castilian, Galician, or Spanish poetic. It bases its transtheoretical framework on findings from such fields as Galician studies, Iberian studies, mysticism studies, paradigm shift studies, and regional studies over the past two decades. Ultimately, this comprehensive and unique study shows how Andreu's multifaceted transnational work may pertain to, and expand, our knowledge of each of these areas of focus.

Grounded Visionary: The Mystic Fictions of Gerald Murnane is a reading of Australian writer Gerald Murnane's fiction in the light of what is known as the Perennial Philosophy, a philosophical tradition that positions itself as the mystical foundation of all the world's religions and spiritual systems. The essential tenet of that philosophy is that at a fundamental level all of life is a unity—consciousness and world are the same thing—and that it is possible, if extremely difficult, for the discriminating individual mind to experience this wholeness. Murnane's work can be seen not to take its lead from writings in this philosophical tradition but rather to resonate with many of them through Murnane's unique artistic expression of his experience of the world. The crux of the argument is that beneath their yearnings for landscapes and love, Murnane's narrators and chief characters are all in search of the essential unity that the Perennial Philosophy postulates. Taking its cue from Murnane's self-description as a'technical writer,'this book examines each of the author's works in detail to reveal how structures and themes are seamlessly woven together to create artworks that shimmer with mystery while at the same time remaining thoroughly grounded in the actual. Grounded Visionary is the first full-length study of Gerald Murnane's work to tackle head-on his underlying mystical sensibility and is also the first to deal comprehensively with the author's complete fictional output from Tamarisk Row to Border Districts. This book will be of interest to all lovers of modern literature and will be of special interest to students of Australian literature and those concerned with the interface between art and spirituality.

Mystik, verstanden als radikale individuelle Grenzerfahrung, ist zugleich ein Grenzfall kognitiver Bewältigung und kommunikativer Mitteilbarkeit. Das Vermittlungsproblem der mystischen Erfahrung und das Wissen um die damit verbundenen Paradoxien und Dissonanzen teilen die mittelalterlichen Mystiker mit modernen Neurowissenschaftlern, Physikern und Künstlern. Aus unterschiedlichen theoretischen, historischen und systematischen Blickrichtungen erkundet der vorliegende Band die Herausforderungen der Mystik an gegenwärtige Spektren der Kommunikations-, Bild- und Medienwissenschaft.

Through the lens of Hopkins's'masterwork', The Philosophical Mysticism of Gerard Manley Hopkins readdresses Hopkins's frequently overlooked mysticism as an interior narrative within his corpus. Drawing on a range of religious, literary and visual traditions from Augustine's Confessions to the seventeenth-century spiritual emblem, this book demonstrates the ways in which the Wreck deliberately constructs and conceals a mystical and contemplative narrative. Typology and allegory are some of the important hermeneutic tools used in this re-reading of Hopkins, relating the poet to the discursive tradition surrounding the Old Testament Song of Songs, the philosophical theology of the Greek Fathers, and, perhaps most intriguingly, the meditative and visual tradition of the baroque heart-emblem. On the centenary of the publication of Hopkins's poems, this book places the writer firmly within a mystical tradition, necessitating a fundamental reconsideration of the legacy of this major Victorian poet.

Yeats's relationships with Otherness and the Orient enabled him to develop his own creative abilities and spiritual understanding in expansive ways. Exotic versions of India, Celtic orientalism, the fervent psychological probings of the nineteenth century (which showed a deep interest in the paranormal), mystical studies aided by such figures as Mohini Chaterjee, Arabist ideas and images, the Japanese Noh, Zen Buddhism, Byzantium, Vedāntic philosophy – all helped the poet to examine and express human interactions with existence that were distinctive in their figuration and underpinnings. Facing Otherness with an extraordinary philosophical and spiritual intensity, he was able to uncover (though never fully or finally anatomize) aspects of the depths of his own being. The Orient also provided him with conceptual and intuitive means to broach humankind's relation to cosmic order; this resulted in an exploration of the Otherness which underpins existence on quite a remarkable scale, still not fully appreciated by Yeats's readers. This book seeks to help foster such appreciation.

Adopting an empirical and systematic approach, this interdisciplinary study of medieval Persian Sufi tradition and ʿAttār (1145-1221) opens up a new space of comparison for reading and understanding medieval Persian and European literatures. The book invites us on an intellectual journey that reveals exciting intersections that redefine the hierarchies and terms of comparison. While the primary focus of the book is on reassessing the significance of the concept of transgression and construction of subjectivity within select works of ʿAttār within Persian Sufi tradition, the author also creates a bridge between medieval and modern, literature and theory, and European and Middle Eastern cultures through reading these works alongside one another. Of significance to the author is ʿAttār's treatment of enlightenment with regard to class, religious, gender, and sexuality transgressions. In this book, the relation between transgression and the limit is not viewed as one of liberation from oppressive restrictions, but of undoing the structures that produce constraining binaries; it allows for alternatives and possibilities. In conjunction with the concepts of transgression and the limit, the presence of society's marginalized pariahs, outcasts, and untouchables are central to the book's main argument about construction of subjectivity, which the author believes is framed within ʿAttār's notion of mystical love and human diversity. The book addresses the question of whether concepts such as transgression, limit, and subjectivity are solely applicable to modern times, or they can shed light on our understanding of transgression and subjectivity from the past. The author's comparative inquiries aim to intensify our understanding of these notions advanced in both the medieval and the modern world. Through summoning works from various genres, disciplines, cultures, and times, the author posits that medieval literary works are living texts that can reveal as much about our present selves as they do about the past.

In her absorbing study of nineteenth-century mystical writings, Sarah Willburn formulates a new conception of individualism that offers a fresh look at Victorian subjectivity. Drawing upon extensive archival work in the British Library, Willburn analyzes séance accounts, novels about mediumship, and metaphysical treatises to make important connections between contemporary writings on mysticism and fictional works. Willburn presents the theories of compelling characters such as Newton Crosland and Lois Waisbrooker and provides exciting new readings of well-known texts by Charlotte Brontë, Eliot, Martineau, and Corelli. An understanding of the Victorian fascination with mysticism, Willburn argues, leads to a better appreciation of cultural constructions of the citizen in England and of the public sphere. She introduces two key concepts against the backdrop of popular mysticism:'possessed individualism,'a model for Victorian individualism based on spiritual possession, and'extra spheres,'which complicate the traditional binary opposition of public and private. Together, these formulations urge us to rethink our views of Victorian political economy and gender as they pertain to mystical and religious practices.

A Bloody and Barbarous God investigates the relationship between gnosticism, a system of thought that argues that the cosmos is evil and that the human spirit must strive for liberation from manifest existence, and the perennial philosophy, a study of the highest common factor in all esoteric religions, and how these traditions have influenced the later novels of Cormac McCarthy, namely, Blood Meridian, All the Pretty Horses, The Crossing, Cities of the Plain, No Country for Old Men, and The Road. Mundik argues that McCarthy continually strives to evolve an explanatory theodicy throughout his work, and that his novels are, to a lesser or greater extent, concerned with the meaning of human existence in relation to the presence of evil and the nature of the divine.

Modernismo, Latin America's first homegrown literary movement, has garnered critical attention for its political and social import during a time of intense nation building and efforts to propel the region into modernity. LaGreca's Erotic Mysticism explores two dominant discourses of the period, Catholicism and positivism, which sought to categorize and delimit the desires and behaviors of the ideal citizen. These discourses, LaGreca argues, were powerful because each promised to allay the individual's existential fears. Yet the coexistence of these two competing ideologies, one atheist and one religious, sowed doubt and unease in the modern intellectual who sought an alternative mode of understanding the human condition. From these uncertainties sprang a seductively liberating mode of writing: non-theistic erotic mysticism. Through analysis of key essays and fiction of Carlos Diaz Dufoo (Mexico), Manuel Diaz Rodriguez (Venezuela), Jose Maria Rivas Groot (Colombia), Aurora Caceres (Peru), and Enrique Gomez Carrillo (Guatemala), LaGreca establishes erotic mysticism as a central philosophical substratum of the movement that anticipated the work of twentieth-century theorists such as William James and Georges Bataille. In modernista texts, the mystic's ecstatic state is achieved through a sublime erotic or sensual experience. The noetic mystical state expands one's consciousness, opening his or her mind to embrace diverse ways of loving and engaging. While science and religion sought to mold heteronormal and pragmatically useful citizens, modernista writers employed mystical discourse to transcend boundaries, opening readers'minds to alternative notions of sexuality, gender, desire, acceptance, and, ultimately, art.

O carte ce tratează dintr-o perspectivă inedită istoria literaturii, critica (criticii), filosofia oculta și esoterismul occidental (masonismul); o abordare polisemică a literaturii române care evidențiază importanța circulației simbolurilor și arhetipurilor crescute în marginea societăților oculte de tip occidental. Cititorul interesat are ocazia să afle că, din acest punct de confluență a Orientului cu Occidentul care este cultura română, o tratare comparatistă a literaturii române cu instrumentarul unei hermeneutici aplicate conduce orice demers critic la ideea unei parități de substanță a culturii române cu marea cultură occidentală.

Written from a literary critic's perspective, Mysticism in Postmodernist Long Poems borrows insights from Religious Studies and critical theory to examine the role of spirituality in contemporary poetry, specifically the genre of the long poem. Descending from Whitman's Song of Myself, the long poem is often considered the American twentieth-century equivalent of the epic poem, but unlike the epic, it carries few generic expectations aside from the fact that it simply must be long. This makes the form particularly pliable as a tool for spiritual inquiry. The period following World War II is often described as a secular age, but spirituality continued as a concern for poets, as evidenced by this study. These writers look beyond conventional faith systems and instead seek individual paths of understanding; they engage in mysticism, in other words. With chapters on H.D. and Brenda Hillman, Robert Duncan, James Merrill, Charles Wright, and Galway Kinnell and Gary Snyder, this study demonstrates how these poets engage the culture of consumption in the postwar years at the same time they search for opportunities for transcendence. Not content to throw over the earthly in favor of the otherworldly, these poets reject the familiar binary of the worldly and metaphysical to produce distinctive paths of spiritual understanding that fuel what Wright calls a “contemplation of the divine.”

In the volume Kabbalah, Mysticism and Poetry: A Journey to the End of Vision, top researchers from a variety of disciplines generate a thrilling encounter between Jewish, Christian and Islamic texts, drawing on poetic, religious and mystical interpretation tools in an interdisciplinary feast of aesthetics, literature and poetics on the one hand, and mysticism and theology on the other. In this fascinating, complex, and entangled journey to the end of vision we meet some of the leading authors who made a crucial contribution to human world culture, and who were deeply interested in Kabbalah and mysticism, such as the Zohar Kabbalists, Israel Najara, Shmuel Yosef Agnon, Paul Celan, Jorge Luis Borges, Julia Kristeva, Al-Hallaj, Ibn Arabi, Dante, Cervantes, John Donne, and Marcel Proust.

This book studies how poetic structure transforms verbal imitations of religious experience into concepts. The book investigates how such a conceptual language can convey such non-conceptual experiences as meditation, ecstasy or mystic insights. Briefly, it explores how the poet, by using words, can express the'ineffable'. It submits to close reading English, French, German, Spanish, Italian, Armenian and Hebrew texts, from the Bible, through medieval, renaissance, metaphysical, and baroque poetry, to romantic and symbolistic poetry.

This book traces how iconic writers - including Arthur Conan Doyle, J.M. Barrie, Rudyard Kipling, Virginia Woolf, Wilfred Owen, and Aldous Huxley - shaped their response to the loss of loved ones in the First World War through their embrace of mysticism.

In this book, Sarah Rolfe Prodan examines the spiritual poetry of Michelangelo in light of three contexts: the Catholic Reformation movement, Renaissance Augustinianism, and the tradition of Italian religious devotion. Prodan combines a literary, historical, and biographical approach to analyze the mystical constructs and conceits in Michelangelo's poems, thereby deepening our understanding of the artist's spiritual life in the context of Catholic Reform in the mid-sixteenth century. Prodan also demonstrates how Michelangelo's poetry is part of an Augustinian tradition that emphasizes mystical and moral evolution of the self. Examining such elements of early modern devotion as prayer, lauda singing, and the contemplation of religious images, Prodan provides a unique perspective on the subtleties of Michelangelo's approach to life and to art. Throughout, Prodan argues that Michelangelo's art can be more deeply understood when considered together with his poetry, which points to a spirituality that deeply informed all of his production.

This book reveals the rich, but generally unknown, influence of Sufism on nineteenth- and early twentieth-century American literature. The translation of Persian poets such as Hafiz and Sa'di into English and the ongoing popularity of Omar Khayyam offered intriguing new spiritual perspectives to some of the major American literary figures. As editor Mehdi Aminrazavi notes, these Sufi influences have often been subsumed into a notion of'Eastern,'chiefly Indian, thought and not acknowledged as having Islamic roots. This work pays considerable attention to two giants of American literature, Ralph Waldo Emerson and Walt Whitman, who found much inspiration from the Sufi ideas they encountered. Other canonical figures are also discussed, including Mark Twain, Herman Melville, Henry David Thoreau, and Henry Wadsworth Longfellow, along with literary contemporaries who are lesser known today, such as Paschal Beverly Randolph, Thomas Lake Harris, and Lawrence Oliphant.

Bei dieser Monographie handelt es sich um eine umfassende Darstellung von imaginären Phänomenen wie Träumen, Visionen und Ekstasen innerhalb der frühbyzantinischen monastischen Literatur. Auf einer breiten Quellenbasis wird das Phänomen nach seiner literarischen Verarbeitung und den sich darin widerspiegelnden kulturgeschichtlichen Hintergründen untersucht. In vier Kapiteln (1.'Aspekte von imaginären Erfahrungen in der monastischen Literatur'; 2.'Bewusstseinszustände und imaginäre Erfahrungen'; 3.'Terminologische und formale Aspekte der imaginären Erfahrungen'; 4.'Vom heidnischen Mantiker zum christlichen Charismatiker') wird die weitreichende Bedeutung imaginärer Erfahrungen innerhalb und außerhalb des monastischen Umfelds sowie der Umgang mit der Thematik vonseiten der sich in der behandelten Zeit etablierenden christlichen Kirche aufgezeigt. Dabei werden verschiedene überkommene Meinungen in der Wissenschaft modifiziert (z.B. Definitionen von Begriffen wie'Vision','Erscheinung'oder'Traum') und neue Gesichtspunkte erschlossen (z. B. Die Bedeutung der imaginären Erfahrung für die Entwicklung von der ortsgebundenen [inkubatorischen] hin zur ortsungebundenen Traumheilung).

Jorge Luis Borges was profoundly interested in the ill-defined and shape-shifting traditions of mysticism. However, previous studies of Borges have not focused on the writer's close interest in mysticism and mystical texts, especially in the Swedish mystic Emanuel Swedenborg (1688-1772). This book examines the relationship between Borges'own recorded mystical experiences and his appraisal of Swedenborg and other mystics. It asks the essential question of whether Borges was a mystic by analysing his writings, including short stories, essays, poems and interviews, alongside scholarly writings on mysticism by figures such as William James. The book locates Borges within the scholarship of mysticism by evaluating his many assertions and suggestions as to what is or is not a mystic and, in so doing, analyses the influence of James and Ralph Waldo Emerson on Borges'reading of Swedenborg and mysticism. The author argues further that Swedenborg constitutes a far richer presence in Borges'work than scholarship has hitherto acknowledged, and assesses the presence of Swedenborg in Borges'aesthetics, ethics and poetics.

This book dedicates whole chapters to five Australian Christian mystical poets: Ada Cambridge (1864–1926), John Shaw Neilson (1872–1943), Francis Webb (1925–1973), Judith Wright (1915–2000) and Kevin Hart (1954 -), with additional contextual chapters on their contemporaries and new approaches by Aboriginal poets since the early 1990s.

Mysticism, Myth and Celtic Identity explores how the mythical and mystical past informs national imaginations. Building on notions of invented tradition and myths of the nation, it looks at the power of narrative and fiction to shape identity, with particular reference to the British and Celtic contexts. The authors consider how aspects of the past are reinterpreted or reimagined in a variety of ways to give coherence to desired national groupings, or groups aspiring to nationhood and its ‘defence'. The coverage is unusually broad in its historical sweep, dealing with work from prehistory to the contemporary, with a particular emphasis on the period from the eighteenth century to the present. The subject matter includes notions of ancient deities, Druids, Celticity, the archaeological remains of pagan religions, traditional folk tales, racial and religious myths and ethnic politics, and the different types of returns and hauntings that can recycle these ideas in culture. Innovative and interdisciplinary, the scholarship in Mysticism, Myth and Celtic Identity is mainly literary but also geographical and historical and draws on religious studies, politics and the social sciences. Thus the collection offers a stimulatingly broad number of new viewpoints on a matter of great topical relevance: national identity and the politicization of its myths.

Der Einfluss der Aufklärung auf die säkularisierenden Tendenzen des 19. und 20. Jahrhunderts ist integraler Bestandteil heutiger Selbstvergewisserung. Welche Bedeutung aber hat das 18. Jahrhundert für die Entstehung moderner Esoterik, und welche Rolle spielte die Aufklärung dabei? Kann das vielschichtige Verhältnis von Aufklärung und Esoterik im 18. Jahrhundert vielleicht ebenfalls als konstitutiv für die Moderne begriffen werden?Die Beiträge dieses Bandes untersuchen, wie sich die Aufklärung mit esoterischen Traditionen der Frühen Neuzeit auseinandersetzte und durch welche Transformationsprozesse Hermetik, Magie, Alchemie oder Kabbala in die Wissensbestände von Spiritismus, Okkultismus und Theosophie gelangten. Sie fragen nach Überschneidungen von Aufklärung und Esoterik und identifizieren Probleme und Themen, die den Übergang zur modernen Esoterik möglich machten. Dabei wird deutlich, wie sehr sich die esoterischen Bewegungen nach 1800 selbst als treibende Kräfte von Verwissenschaftlichung und Säkularisierung verstanden. Mehr als 30 Autorinnen und Autoren unterschiedlicher Disziplinen verfolgen diese „Wege in die Moderne“ auf den Feldern von Philosophie und Erkenntniskritik, von Literatur und bildender Kunst, von Wissenschaft und Gesellschaft.

Why do Israelis dislike fantasy? Put so bluntly, the question appears frivolous. But in fact, it goes to the deepest sources of Israeli historical identity and literary tradition. Uniquely among developed nations, Israel's origin is in a utopian novel, Theodor Herzl's Altneuland (1902), which predicted the future Jewish state. Jewish writing in the Diaspora has always tended toward the fantastic, the mystical, and the magical. And yet, from its very inception, Israeli literature has been stubbornly realistic. The present volume challenges this stance. Originally published in Hebrew in 2009, it is the first serious, wide-ranging, and theoretically sophisticated exploration of fantasy in Israeli literature and culture. Its contributors jointly attempt to contest the question posed at the beginning: why do Israelis, living in a country whose very existence is predicated on the fulfillment of a utopian dream, distrust fantasy?

An interdisciplinary study of the supernatural and the occult in fin-de-siècle France (1870-1914), the present volume examines the explosion of interest in devil-worship, magic and mysticism both from an historical perspective and through analysis of key literary works of the period.