Protestant nuns and mixed-confessional convents are an unexpected anomaly in early modern Germany. According to sixteenth-century evangelical reformers' theological positions outlined in their publications and reform-minded rulers' institutional efforts, monastic life in Protestant regions should have ended by the mid-sixteenth century. Instead, many convent congregations exhibiting elements of traditional and evangelical practices in Protestant regions survived into the seventeenth century and beyond. How did these convents survive? What is a Protestant nun? How many convent congregations came to house nuns with diverse belief systems and devotional practices, and how did they live and worship together? These questions lead to surprising answers. Stripping the Veil explores the daily existence, ritual practices, and individual actions of nuns in surviving convents over time against the backdrop of changing political and confessional circumstances in Protestant regions. It also demonstrates how incremental shifts in practice and belief led to the emergence of a complex, often locally constructed, devotional life. This continued presence of nuns and the survival of convents in Protestant cities and territories of the German-speaking parts of the Holy Roman Empire is evidence of a more complex lived experience of religious reform, devotional practice, and confessional accommodation than traditional histories of early modern Christianity would indicate. The internal differences and the emerging confessional hybridity, blending, and fluidity also serve as a caution about designating a nun or groups of nuns as Lutheran, Catholic, or Reformed, or even more broadly as Protestant or Catholic during the sixteenth century.

"In this new biography of Gypsy Rose Lee, Noralee Frankel draws on archival sources to strip bare the myths created by Gypsy herself and to tell the real story. Although Lee published an autobiography that has sold steadily, this will be the first biography of her. Frankel combines politics with twentieth century popular culture"--Provided by publisher.

DeepLight: A Memoir of the Soul is a rich narrative of a contemporary woman's spiritual quest. Within the context of her extensive study of religious and mystical traditions, and her experiences as a woman, a monastic, and an Episcopal priest, Susan Creighton weaves a spiral tapestry of memories, journal entries, and poetry. Her search for an authentic practice of contemplative prayer led across cultural, historical, and religious boundaries, but is most significantly shaped and enriched by the teachings of mystics like St. John of the Cross and the ancient tradition of Orthodox ascetical theology and spiritual practice. Now living under vows as an anchorite, her memoir shares with the reader ways in which the Jesus Prayer and other spiritual practices lead to deeper contemplative prayer as well as helping us develop greater discrimination and compassion for ourselves and others.

An extraordinary exploration into the mutual validity of the Jewish and Christian covenants. The contributors gathered here address such topics as shared texts, the rabbinical response to emerging Christianity, and apocalyptic and mystical texts.

What is the current state of the field known as biblical studies? How will biblical studies continue to develop in this diverse, globalized, and digital age? In this book, a diverse group of scholars who are known for their innovative practice of biblical interpretation come together to celebrate the 25th anniversary of the critically acclaimed journal, Biblical Interpretation, by sharing their thoughts on and questions about the assumptions, practices, and parameters of biblical studies as well as their desires and fears about its disciplinary future. Covering a wide range of topics, geographical regions, resources, understandings, and viewpoints, this exceptional collection of essays will make you and help you rethink the conventions and convictions of biblical studies as an academic discipline.

Originally presented as the author's thesis (doctorate--University College, London, 2001).

The insightful studies contained in this book will be of significant value to anyone interested in experiencing more deeply the intersections between materiality and spirituality. Part 1 introduces readers into Egyptian, Israelite, Christian, and Hindu temples, shrines, or sanctuaries. Part 2 helps readers understand how items of colored fabrics, clothing, robes, and veils, convey ritual meanings. Part 3 reports two panel discussions that exemplify the pathway of fruitful conversation. Matter and spirit might seem to some to be polar opposites. But as these studies by distinguished and diverse scholars demonstrate, spiritual experiences are constructively defined and refined within the coordinates of place and time. Sacred space, as well as sacred cloth, define borders, but not necessarily boundaries, between the sacred and the profane. These material coordinates physically enclose and also spiritually disclose. They both symbolize and synergize, as they encompass and expansively inspire. These original and enjoyable presentations will help all readers to hold tenaciously to the tenets and also the tensions inherent in physical spiritual experiences.

Robert Morris, a leading figure in postwar American art, is best known as a pioneer of minimalist sculpture, process art, and earthworks. Yet Morris has resisted affiliation with any one movement or style. An extraordinarily versatile artist, he has produced dances, performance pieces, prints, paintings, drawings, and installations, working with materials including plywood, felt, dirt, aluminum, steel mesh, fiberglass, and encaustic. Throughout his career, Morris has written influential critical essays, commenting on his own work as well as that of other artists, and exploring through text many of the theoretical concerns addressed in his artwork—about perception, materiality, space, and the process of artmaking. Have I Reasons presents seventeen of Morris’s essays, six of which have never been published before. Written over the past fifteen years, the essays, along with the volume’s many illustrations, provide an invaluable record of the recent thought of a major American artist. The writings are arranged chronologically, beginning with “Indiana Street,” a vivid autobiographical account of the artist’s early years in Kansas City, Missouri. Have I Reasons includes reflections on Morris’s own site-specific installations; transcripts of seminars he conducted in conjunction with exhibitions; and the textual element of The Birthday Boy, the two-screen video-and-sound piece he installed at the Galleria dell’Accademia in Florence, Italy, on the occasion of the five hundredth anniversary of Michelangelo’s David. Essays range from original interpretations of Cézanne’s Mont Sainte-Victoire paintings and Jasper Johns’ early work to engagements with one of Morris’s most significant interlocutors, the philosopher Donald Davidson. Have I Reasons conveys not only Morris’s enduring deep interest in philosophy and issues of resemblance and representation but also his more recent turn toward directly addressing contemporary social and political issues such as corporate excess and preemptive belligerence.