Literature and Religion

The first part of this paper examines the literary features of the original Lord’s Prayer as both a stand-alone aesthetic object, as a manifestation of the first-century Jewish rhetoric of prayer, and as prayer as biography. This paper relies on the best critical scholarship on the subject in the past 70 years as well as new insights from a range of primary Jewish and Christian texts. The versions of the Prayer under consideration in the first part are the Lucan version and the Aramaic version reconstructed by Bruce Chilton.

Prayer is a form of communication to a deity that exposes fundamental characteristics of the person who prays. The paper therefore posits the following aphorism "Whisper your prayer and I will tell you who you are."

The second part of the paper examines the Lord's Prayer in its primary manifestation among Mormons--- the American version of the Prayer given in the narrative of the resurrected Jesus in the Book of Mormon. The first conclusion in the context of first-century Jewish prayer-language is  that the Lord's Prayer evokes an implied narrative for Jesus' peasant followers: an Exodus through hunger, debt, and trial to a coming Kingdom. It is a case of proxmate pessimism and ultimate optimism. The Book of Mormon version of the Prayer transforms the imagery to fit a lower-class nineteenth-century Christian audience. The Book of Mormon transforms a throroughly Jewish prayer into a thoroughly Christian prayer. The metaphors of the American version of the Prayer  are subtley transformed in the Book of Mormon, revealing a nineteenth Christian understanding and defense of Jesus. Both the early followers of Jesus and of Joseph Smith added communtarian economic pracitises anticipated in both versions of the Prayer as a means of addressing the economic plight of the poor. The paper concludes that a more careful examination of the literary and economic challenges of both versions of the Prayer  are worthy of examination.

In his book Poeterne som kirkelærere (The Poets as Theologians)Jakob Balling compares Dante’s Divine Comedy with Milton’sParadise Lost. He discusses similarities and differences between the twopoems and places them in a literary tradition that combines theologyand poetry, a relationship that has had a decisive influence on the development of literature in Europe. The present article expands this perspective both backwards and forwards in time by including a discussionof the interrelationship between fi ction and religious message in Jewishapocalyptic, using the Apocalypse of Abraham and C.S. Lewis’ modernscience fiction novel Out of the Silent Planet as examples. The article’sdiscussion of the relationship between theology and fi ction raises thequestion of the apocalyptic as genre. Moreover, the demonstration ofthe fi ctional tendency in the apocalyptic is used to support and supplementthe traditional description of genre.

The study of religion and Mexican American literature has a strong tradition of theoretical inquiry. In 1982, Davíd Carrasco (312) argued that the novel -in particular, Rudolfo Anaya's Bless Me, Ultima (1972) -could be read as a representation of spiritual creativity, what he termed "the lyrics of Chicano spirituality." In 1998, Laura E. Pérez (50) observed that Chicana writing and visual art practices -including, among other texts, Gloria Anzaldúa's Borderlands/La Frontera (1987)could be understood as "spirit glyphs," a concept that brought contemporary Chicana works into conversation with post-conquest Nahua texts. In Carrasco and Pérez, we can track two significant theoretical moments: the emergence of race-based definitions of religion; and the articulation of spirituality as a form of decolonial thinking. This syllabus is an attempt to introduce a post-9/11 perspective into the study of religion and Mexican American literature. It takes into account an emerging body of work that has focused on studying race relationally (Goldberg 2009(Goldberg , 1277)). On these grounds, it considers how Mexican American literary texts represent religion and spirituality, and what those representations say about interracial politics and multiracial alliances. Divided into two periods, the course schedule is both chronological and thematic. The first period spans from 1972 to 1992 and is concerned with the so-called "post-civil rights" era. The second spans from 2007 to 2013 and continues with the former theme but also takes up the socio-political consequences of US neoliberalism and September 11. To take two examples from the first period: in Rudolfo Anaya's Bless Me, Ultima, the protagonist's maturation depends on his ability to negotiate multiple, conflicting religious and spiritual traditions. In Gloria Anzaldúa's Borderlands/La Frontera, the narrator's ability to exist in the "borderlands" is connected to her articulation of a "new mestiza" spirituality (Pérez 1998, 43). Both texts view spiritual hybridity as a central feature of Mexican American religious histories. At the same time, both make a claim to native religious histories. Is this a form of "spiritual creativity" 2001, 312)? Or is it an occasion to consider "accountability" to the cultures and traditions that are being appropriated (Carrasco and Lint Sagarena 2008, 238)? On the other hand, to take an example from the second period: in Darling (2013), Richard Rodriguez turns to the Abrahamic to critique Islamophobia but also positions Mexican Americans geopolitically as part of Western Christendom. Whereas the texts in the first period may draw largely on race-based nationalisms or hemispheric notions of indigeneity, post-9/11 texts must contend with the conflation of Islamophobia and anti-Mexican racism in immigration and counterterrorism policy. The critical issue here is: how do Arab Americans and Middle Eastern Muslims relate to Mexican Americans? Syllabus 5/2 (2016) Morales, "Religion and Mexican American Literature" In these texts, religion and spirituality can be read as representations of race and even more specifically as representations of cross-racial relations. As the concept of race changes, so too does the representation of religion and spirituality. New concepts of race give rise to new concepts of religion and spirituality. In examining how religion and spirituality are constructed through race, this course treats religion and spirituality in Mexican American literature as representations that speak to post-9/11 domestic and global cross-racial relations. This course explores different moments in the formation of Mexican American literature, with an emphasis on representations of religion and spirituality. Of primary concern will be race-based definitions of religiosity, religion/spirituality as a form of decolonial thinking, and the question of a religious heritage. We will also consider issues relating to hemispheric networks and divergent histories of Christianity. Texts will include selections from the social movements of the 1960s and 1970s, Chicana feminist thought, the Recovering the U.S. Hispanic Literary Heritage project, the NAFTA era, and the post-9/11 context. Instruction is face to face. The course will meet for two 90-minute sections per week. But it will also make use of various online management systems for assessment, communication, collaboration, and administration. By the end of this course, students will: • With weekly reflective writing exercises, be able to describe and explain rhetorical aspects of religion and spirituality. • By writing a midterm essay, be able to classify and analyze race-based concepts of religion and spirituality. • By writing a final exam essay, be able to compare, contrast, and categorize discrete moments in the formation of Mexican American literature.

Romanticism was particularly concerned to understand life and the vital powers involved, which govern mankind and culture. The Romantics sought to go beyond the understanding of inert nature into vital nature. This lead to a focus on medicine and also to a duality in the living power between a substantive and a generative power, the latter going beyond sexual reproduction to the creative imagination and evolution of mind and consciousness.

In the 1840s, Charleston, South Carolina became the unlikely birthplace of American Reform Judaism. When Kahal Kadosh Beth Elohim rebuilt its synagogue after a fire, the congregation voted — by the razor-thin margin of 46 to 40 — to install a pipe organ. To many, the organ brought dignity and modern beauty to Jewish worship. To others, it was an outrage: the sound of the Christian church invading the synagogue. The dispute split Charleston’s Jewish community, led to the creation of a rival Orthodox congregation, and eventually landed in court.
The 1844–45 trial ended with a precedent-setting ruling: “the law knows no heresy.” From that point on, synagogue practice in America would be determined by majority vote, not rabbinic authority. What began as a quarrel over music reshaped Jewish life in America, giving birth to denominationalism — Reform, Orthodox, and later Conservative Judaism.

Аннотация. Цель данного исследования – выявление проблем становления феномена религиозного подвижничества в русской культуре. В статье рассмотрены этапы формирования феномена в историко-философском контексте. Научная новизна исследования в обращении к феноменологическому методу в сочетании с семиотическим. В исследовании выявлено пространство возможных смыслов в контексте традиции русской религиозной культуры, истории понятия религиозного подвига, его генезиса. Контекстуальная база исследования расширена за счет
обращения к идеям философии поступка, нравственного становления в рефлексии переживания.  Порождение в рефлексии феноменальных смыслов подвига есть результат опыта границы, предельного опыта. Значением подвига становятся с древнейших времен предельные практики «себя», выражающиеся в религиозной
культуре в идее охранения духа в умалении и борьбе со страстями, что является целью духовной работы по становлению личности. Рассматривая подвижничество в феноменологическом дискурсе, можно констатировать, что сущность человека в подвиге – это проявление специфических свойств души в совокупности интенций.
В подвижническом опыте осуществляется раскрытие и исполнение самой природы человека. Делается вывод о том, что в основе феномена религиозного подвижничества одна из форм религиозного опыта – опыт преодоления страстных состояний, позволяющий осмыслить духовные способности человека в христианской культурной парадигме. В современной культуре феномен религиозного подвижничества, соотносясь с культурно-ментальной матрицей и культурным кодом русской культуры, направлен на выявление аксиологического искажения в повсе
дневном поведении и бытовых практиках. Этот процесс находит свое выражение в социальном и языковом пространстве как религиозном, так и бытовом: в практиках, поведении, в тексте и образно-мотивной сфере.

This white paper establishes how the Divine communicates within Unified Theistic Naturalism (UTN). Contrary to traditions that imagine God or the Divine speaks through words, voices, or inner dictations, UTN affirms: the Divine has no voice. The Divine speaks only through silence-presence that reveals itself as Perfect Action.

本文以三種《觀世音應驗記》為材料，在後經典敘事學的影響下，探討經驗者、記錄者、編輯者與閱聽者藉由靈異經驗的追憶、編排與佈局，重新召回與神靈接觸的感動、交通與認同，形成一個「活」的信仰網絡，凸顯其在六朝文學與宗教的意義與價值。首先探討《觀世音應驗記》的傳承關係與篇章佈局，《繫觀世音應驗記》有清楚的經典意識，以七難二求為架構，《光世音應驗記》與《續光世音應驗記》的散漫結構與記憶特質相關。傅亮透過歷史化的記憶編碼，融合光世音信仰、個人政治動作、劉裕集團對北方的關注，連結集體與個人記憶；更利用傳播事件的副文本，強化其父傅瑗在會稽群體的話語權；又透過案語介入敘事，以「悅同信者」的建康品味，凌駕謝敷原書「化納」的目的。張演《續光世音應驗記》則與家族信仰記憶連結，既有與荊州官府僧侶的說話，也隱然與其父張茂度在孫盧之亂免官遭難有關，亦與陸杲《繫觀世音應驗記．張會稽使君》遙相呼應。其次結合傳統評點，模擬遭難敘事的時間句法與應驗敘事的時空變化，藉由時間的中際性，使人的現場與現在的敘事交織，賦予此一記憶新的身份；歷史場景彷彿鏡射出既是且非的對應空間，打破此界／彼界的限制，將感通經驗轉化為感應敘事，將主人翁的現實、心理和神聖時空交織在一起。
This article studies the narratives found in three types of prophetic fulfillment related to Guanshiyin. Based on theories of Postclassical Narratology, it discusses the experiencer, the recorder, the editor and the reader/listener in their mutual relation, who through the remembering, ordering, and emplotment of the numinous experience, recall the affection, communion and identification stirred by contact with the deity, thus creating a living network of belief experience. Ultimately, the article emphasizes the meaning and value of the text in relation to Six Dynasties literature and religion. First, the article analyses the interrelatedness and the emplotment of the chapters in three texts related to Guanshiyin. The Xi Guanshiyin ji uses the narrative frame of seeking help when encountering difficulties, while the scattered organization of Guangshiyin yingyan ji and Xu Guangshiyin yingyanji have to do with the specifics of memory. Fu Liang applies the codes of historicized memory in fusing his own understanding of the Guangshiyin faith with his personal political activities and the northern campaign of Liu Yu to express personal and collective memory. At the same time, by using the sub-text of the transmission of the event, Fu Liang emphasizes his father, Fu Yuan's, right to discourse at Kuaiji. He also applies the "sincere (religious) conviction of a community of believers" typical of Jiankang to override the goal of "influencing" people's minds in Xie Fu's original text. Zhang Yan's Xu Guangshiyin yingyanji is closely related to the family's memory of belief, in which we can discern the language of both officials and monks from Jingzhou. He intimates the difficulties which his father Zhang Maodu had to go through during the Sun En and Lu Xun upheaval. The content also echoes the story "Zhang Kuaiji shi jun" in Lu Gao's Xi Guanshiyin. Second, these works combine the traditional rules of commentaries, imitate the three different types of temporal syntax of predicament narratives, and the change in time and space in the narrative about prophetic fulfillment. In other words, they use the intermediacy of time, which allows for the interrelation between the story of the person onsite and the narration in the present, thus redefining memory. The apparent unfolding on the historical level mirrors a correlative time which is simultaneously present and absent, and which breaks the boundaries between this and the other world. This transforms the numinous experience into numinous narrative, and organizes into one whole the present and the psychology of the main character with sacred time and space.

Self has always persisted as one of the prominent facets of Sufism and Sufi poetry. The many tenets of Islamic Sufism, such as Wahdatul-Wajood (Unity of Being) and Wahdatul-Shahood (Unity of Witness), wilayat (spiritual authority), and maqams (spiritual positions), are centred around the concept of the self. All of these concepts also symbolise that the self or nafs have the potential to undergo transformation.The indispensable objective of Sufism is to achieve the spiritual self, also called Nafsul Mutmainah.The definition of Sufism also revolves around the self. Sufism can be defined as "a practical and devotional path that leads to the transformation of the self from its lowly instinctual nature to the ultimate state of subsistence in God-a state in which all blame-worthy traits fall away." This study aims to examine the notion and projection of self in the poetics of Wahab Khar, a Kashmiri Sufi poet. In his poetics, the self is constantly seeking for purification and yearning to meet its guide or Pir. Wahab Khar brings into play several ways to attain these two desires. This study aims to emphasise Wahab's attempts to achieve the purification of self.

espanolLa mujer extranjera es, dentro de la narracion biblica, una de las mayores amenazas para el orden y la identidad del pueblo de Israel. En las figuras de Rahab y Jezabel encontramos dos maneras distintas de hacer frente a la alteridad femenina: mientras que Rahab tiene un lugar dentro de la comunidad, Jezabel permanece como lo absoluto otro. Dos motivos iconograficos juegan un papel relevante en la construccion literaria de ambos personajes. Por una parte, la presencia de la ventana como lugar de accion desde el que las mujeres participan en la narracion y, por otra, el empleo de un detalle cromatico que parece sellar sus destinos: tanto en el lazo escarlata (ינ ש (que salva a Rahab durante la conquista de Jerico como en la sangre de Jezabel (ם ד (que salpica sobre los muros cuando es asesinada (2 Reyes 9,33), parecen senalar las sentencias de vida o de muerte que las aguarda. La lectura que aqui se propone pretende poner en relacion ambas historias a partir del uso de la vent...

This book offers a comprehensive interpretation of the literary and journalistic works of the poet J.V. Foix (1893-1987), one of the most original voices of the Iberian avant-gardes, focusing on his poetics and communication of knowledge. Early in his life, this active arbiter of taste and experimental writer of prose poems described his endeavor as a ‘poetry research’. He sought independence from all isms and wrote classicizing sonnets, oneiric oneiric poems, and fictional chronicles. He despised bourgeois art and rejected art’s subjection to passing aesthetic and political trends. His poetic and ethical commitment was to ‘living reality’, which he claimed to share with artists of all eras and with the best poets of his time. The monograph critically assesses Foix’s articulation of a realist poetology. This clarifies his position in the fragmentary panorama of the avant-garde and revises traditional surrealist readings of his works. Rather than establishing a separate poetic reality accessible via dualistic or idealistic modes of thought, his obscure metaphors and inconclusive narrations stage the impossibility of such a detachment. Instead, poetic objects, consistently considered as ‘likenesses’, are identified as constituent elements of a practice of accumulation of fragments. These likenesses lead him – and us – to an ever-renewing adventure toward the encounter with the common and the unbelievable alike. Foix’s research, in prose, verse, and essay, is a tireless exercise in the embracement of actual plurality with aesthetic pluralism, which informs his views on culture, politics, and religion. The book appeals to both students and researchers of the European avant-gardes, and especially to literary critics and aesthetics scholars interested in modern, artistic and essayistic poetics of knowledge.

Scholars have long acknowledged the significance of water in Woolf’s works. Yet few have examined Woolf’s specific representation of the deep sea and its inhabitants in The Voyage Out. Written during a boom in oceanographic studies and when the deep sea itself was being uncovered, The Voyage Out, I argue, is deeply engaged in an intellectual history of oceanography, which Woolf uses to inform her writing. Drawing on recent ecocritical, animal studies, and blue humanities readings of Woolf’s works, I first examine material mentions of the deep sea to show how Woolf historically engages with thalassic findings of this period and the late-Victorian era. I then examine how Woolf uses the deep-sea ecology of the novel to articulate a new ontology of female embodiment at the turn of the century. I show how Rachel navigates gendered relationships alongside and in relation to the novel’s deep seascape, an ecology that, like Rachel, is in the process of being discovered and determined. Together, this historical and metaphorical reading shows how deep-sea ecologies become an imaginative and creative space for Woolf to work out the complex system of pressures that act upon Rachel as she is initiated into patriarchal social systems.

Composizione tipografica e impaginazione Stem Mucchi editore (MO), stampa Modulgrafica (FC). 1 a edizione, pubblicata in Modena nel 2022. Citazioni, parodie, arte allusiva e allegoria nei romanzi medievali. Note sulla cultura ecclesiastica dei vulgares eloquentes (con una proposta per un locus deperditus: Flamenca, vv. 3711-3712) * Il romanzo di Flamenca non finisce di stupirmi. L'intelligenza e l'ironia di cui s'insaporano (il riferimento alla similitudine apistica del Paradiso dantesco non è casuale) gli 8000 e passa versi superstiti dell'Anonimo appaiono tanto più mirabili quanto più si confrontano con la sconfortante superficialità di tante interpretazioni moderne, fondate su categorie arbitrarie come l''amor cortese' o l'altrettanto inconsistente 'amore cavalleresco': tipiche idées reçues stancamente tràdite in una terre gaste dove di rado un'idea brillante floris e grana, per citare il noto tópos trobadorico. La perseveranza in queste fatue cicalate è quasi commovente, come l'impegno profuso da certi volenterosi catalogatori di 'emozioni' in pedisseque tassonomie che, ignorando distinzioni imprescindibili, anziché contribuire all'approfondimento ermeneutico fanno solo velo alla comprensione del testo. Ribadiamo qui (per i köhleriani residui e per gli irriducibili spregiatori dell'evidenza, ancora convinti che l'intento dell'Anonimo consista nel celebrare l'apoteosi e propugnare l'universale diffusione di una nebulosa ideologia della fin' amor) un dato che ormai dovrebbe essere acquisito: le grandi 'eccezioni narrative' occitane -Flamenca, appunto, e Jaufre -sono romans à clé ascrivibili alla stessa temperie storico-culturale, e s'illuminano a vicenda. Dalle diverse apparenze emerge nitidamente l'affinità, e direi quasi la gemellarità, delle due opere: così, se è subito chiaro che Jaufre non è un semplice trasferimento di temi arturiani in ambito occitano, che questo testo a prima vista tutto orientato al meraviglioso e alla féerie non nasce soltanto per delectare il lettore con i consueti racconti d'avventure, di mostri e di amori, ma è strettamente legato alla storia, o per meglio dire all'attualità, è altrettanto vero che un'attenta riflessione porta a conclusioni analoghe anche per Flamenca. Nel volume che raccoglie i saggi * La numerazione fa riferimento all'edizione critica a cura di R. Manetti, "Flamenca". Romanzo occitano del XIII secolo, Modena 2008, da cui (salvo indicazione contraria) sono tratte anche le citazioni. della compianta Charmaine Lee 1 si potranno agevolmente rintracciare gli argomenti che si oppongono alla proposta di datazione precoce del Jaufre e quelli che invece depongono a favore dell'identificazione del dedicatario con Giacomo I re d'Aragona, il mitico Conqueridor; che però è anche (e soprattutto) l'eroe-ombra celato sotto le sembianze del protagonista, Jaufre il liberatore, il difensore dei deboli, il valoroso cavaliere che sconfigge i malvagi e salva le loro vittime. Sappiamo bene quanto i romanzi arturiani in genere e il Jaufre in particolare debbano a Chrétien de Troyes. La rete dei riscontri è fitta e in gran parte già esplorata, ma vorremmo qui mettere in rilievo non tanto le singole reminiscenze (che, come osservava Giorgio Pasquali in un celebre saggio, «possono essere inconsapevoli; le imitazioni, il poeta può desiderare che sfuggano al pubblico; le allusioni non producono l'effetto voluto se non su un lettore che si ricordi chiaramente del testo cui si riferiscono», instaurando una complicità tra l'autore e almeno una parte del pubblico) 2 , quanto l'insieme degli elementi affini che configurano un sistema. L'indagine triangolare Chevalier de la charrette -Jaufre -Flamenca è essenziale ai fini dell'interpretazione: direi persino che l'analisi comparativa illumina, non meno dei due romanzi, lo stesso capolavoro di Chrétien, suggerendo indicazioni preziose sulla ricezione dell'opera da parte dei colti poeti posteriori. La progressiva emersione del significato -o meglio dei molteplici significati rintracciabili in questi testi che sempre più appaiono costruiti, con straordinario acume, seguendo il modello polisemico della Scrittura e dei suoi quattro sensi, pietra angolare dell'esegesi medievale 3 -chiarisce anche tecniche compositive e coordinate culturali: ottimo sussidio, questo, per ogni tentativo di restauro testuale in luoghi critici dati esplicitamente o tacitamente per deperditi, come si vedrà nel caso della crux di Flamenca che prenderemo in esame più avanti. Si tratti di citazioni scritturali che propongono ai bos entendors una duplice interpretazione del testo (mistico-simbolica da un lato, maliziosamente libertina dall'altro) oppure, come nel caso specifico che discuteremo,

The Wizard of Oz is possibly the best celebrated American children’s book written by Lyman Frank Baum. However, the book is not all fairy tales and little Munchkin Country bumpkin people; but the land of Oz is something of a monetary allegory, that focuses on the political and social aspects of the monetary debates during the William Jennings Bryan (1890s). Who was presented as “The Cowardly Lion” that he fell asleep in the poppy field; thus, symbolizing the end of American style populism standing up to the elite bankers of the East Coast and the West Coast (Rockoff, 1990). Therefore, use of ‘Bryan Dollars’ that was ‘struck off’ by the Comptroller of the Treasury, John Jay Knox, as this was passed by the Coinage Act of (1873). Additionally, the law of the land eliminated the standard silver dollar, which required gold to be deposited in exchange for silver subsidiary coins, as this then fashioned a gold standard monetary system that same year. While in the background the American financial structure began to decline as this was known as the Panic of (1873) (Heritage Editorial, 2018). This historical chain of unfortunate monetary events also activated a spiralling “international depression” that started from the financial system of America to that of the European banking peninsula, which started a two-decade economic “slump” known also known as the “Long Depression” thus creating an all-inclusive global recession. That lasted from (1873) to (1877) or (1879) mostly in the geographical region of “Continental France” and that of The United Kingdom amalgamated (Musson, 1959).

One of the most interesting phenomena of the turn of the century is the rise of the Harry Potter culture. Irrespective of their race, ethnicity, nationality and religion, children and adults around the world feel they belong to the Wizarding World. What is it about these stories that makes them so translatable to other cultures? In this paper, I argue that the universalism of the Harry Potter stories is a factor in the rise of the Harry Potter culture. Even though race, ethnicity, nationality and religion are a part of the Harry Potter world, in the novels and films, they are never discussed explicitly. Their function is to paint a ‘real world’ backdrop of Britain at the turn of the century. To support my claims related to the presence of religion in Harry Potter novels, I analysed keywords in a context using digital tools AVOBMAT and Voyant Tools. I hypothesised that if words that have religious origins appear in the novels, they do not refer to a specific religious practice, rite or ritual. The words I examined are pray, church, God, religion, Jesus and Christmas.

Context-aware is the ability of an application reacts to changes of the environment. Context-aware applications, like smart systems are rapidly developed recently.Unknowingly, context-aware applications are more common in one’s daily life.Traditional dry-erase whiteboard is an example of convention context-aware method in office environment to record staff activities. There are four (4) main problems of the usage of traditional whiteboard in displaying academic staffs’ status in the office: (1) Limited time to update the information. (2) Non-real time information. (3) Limited space to write. (4) No data storage. Therefore, a Context-aware Digital Whiteboard (CAW) is proposed to solve the problems of traditional dry-erase whiteboard in administrator office of Faculty of Computer and Mathematical Sciences (FSKM). The proposed system embeds context-aware elements that able users to be more conscious of what activities currently are going on in the workplace. In summary, the whiteboard ...

B. Some disaster rallies the forces, who oppose the revolution C. Some short-term event sparks a conflict D. Government is too divided and weak to suppress the revolt III. THE MODERATE PHASE OF THE REVOLUTION A. The moderates come to control and initiate changes B. Electorate expanded, constitution liberalized, reforms initiated. IV. REACTION ARISES TO THE MODERATES A. Moderates stop reforms at some point having achieved what they sought B. Radicals feel the moderates are not moving far or fast enough C. Radicals mobilize their supporters V. THE RADICALS SEIZE CONTROL A. The radicals take control of the state and revolution B. The radicals initiate sweeping changes eliminating old institutions completely VI. RADICAL REIGN OF TERROR (THE REVOLUTION EATS ITS CHILDREN) A. Opposition both foreign and domestic arises to challenge the radical control B. The radicals remove their opposition through violent methods C. Radicals seek to institutionalize and spread their ideologies VII. THE MODERATE REACTION A. Moderates overthrow the radicals and reestablish a moderate regime B. Moderates repress the more radical elements C. Moderates abandon many of the more radical reforms of the revolution D. Moderates return some of the privileges and policies of the old regime E. Moderates lose touch with the majority of the population VIII. THE RISE OF A STRONG LEADER A. A leader, usually from the military arises and focuses opposition to moderates B. The leader seizes control of the government, often ruling through the army C. The leader blends better conservative, moderate, and radical policies D. The leader establishes new, effective, stable, and general popular institutions E. The revolution ends

Resumo: Este artigo apresenta uma análise das configurações estéticas da poesia épica antiga e contemporânea, na perspectiva de compreender o estatuto da verdade presente no discurso da história e da literatura. Como o objetivo é verificar se o compromisso com a verdade histórica é condição essencial para o estilo épico, são ressaltadas algumas das finalidades da história e da poesia épica, a partir de abordagens teóricas de Aristóteles (s/d), ), Steiner (1978), entre outros. No desenvolvimento do estudo, são tomadas como representativas do épico antigo obras referendadas pela teoria literária, como a Ilíada, A Divina Comédia e a Bíblia, e, como ilustrativa do estilo épico contemporâneo, Invenção do mar, obra de Gerardo Mello Mourão (1997).

The devastation of the First World War marked a decisive rupture in the moral, cultural, and spiritual frameworks that had shaped Western society for centuries. Once-assured systems of meaning, rooted in religious faith, shared traditions, and stable institutions, were shaken to their core by the war's unprecedented destruction and the political upheavals that followed. The millions of dead, the industrialized slaughter, and the collapse of empires left a generation

This thesis explores the cycles of existence as expressed through the doctrines of reincarnation in Tibetan Buddhism and Yoruba Ifá philosophy. Both traditions, though arising from distinct cultural and geographic contexts, articulate a vision of life as an unbroken continuum of births, deaths, and rebirths shaped by moral, spiritual, and ancestral forces. Tibetan Buddhism frames reincarnation within the doctrine of samsara, where karmic imprints and attachments condition the consciousness to re-emerge until liberation (nirvana) is attained. Yoruba cosmology, by contrast, situates reincarnation within the dynamic interplay of Orun (the spiritual realm) and Aiye (the material world), emphasizing the return of the soul through familial and ancestral lineages, often guided by the destiny (Ori) chosen before birth.

By comparing these frameworks, the study examines how each system situates human beings within larger cycles of cosmic order, ethical responsibility, and spiritual evolution. It argues that Tibetan and Yoruba perspectives converge in recognizing reincarnation as a process of learning and refinement, while diverging in emphasis: Tibetan thought directs the soul toward transcendence beyond cycles, whereas Yoruba thought underscores continuity and the reaffirmation of lineage and communal identity. Through textual analysis, oral traditions, and contemporary ethnographic accounts, this dissertation situates reincarnation as a cross-cultural metaphysical principle that informs identity, ethics, and humanity’s quest for transcendence. Ultimately, it demonstrates that both Tibetan and Yoruba traditions frame reincarnation not as a passive fate, but as an active participation in the cosmic rhythms of existence, revealing a shared metaphysical concern for evolution, responsibility, and the eternal return of life.

In Buddhism, it is often said that after death, if a person does not become a god, they usually turn into a spirit. To understand what happens to the soul, we need to examine the concept of the spirit more closely. Buddhism explains life after death through the idea of the spirit, or soul. Many believe that after death, individuals become ghosts and remain in this state forever. However, Buddhism rejects this view because it contradicts the idea of "deliverance." The religion teaches that living beings can be reborn into six different paths: heaven, human, Asura (a type of being), ghost, animal (such as cows, horses, ants, and mosquitoes), or hell. This cycle is known as reincarnation. Consequently, after death, there is a one-in-six chance of becoming a ghost. Buddhism aims to help people escape this cycle, often referred to as liberation or enlightenment. When someone dies, ruthless individuals go directly to hell, while extremely virtuous people go to heaven. Most ordinary people, lacking sufficient good deeds, are immediately reincarnated. A soul that has not yet been reincarnated is not a ghost. In Buddhism, it is referred to as "the body of friends" or "the body of the underworld." This is a state of waiting before reincarnation. Many mistakenly refer to these souls as ghosts, but they are a form of spiritual energy linked to a small amount of residual body essence, not ghosts.

1. Na pararele i powinowactwa między Gombrowiczem a Montaigne'em wskazywano już wielokrotnie; sam Gombrowicz zresztą chętnie powoływał: się na niego w Dziennikach. W tym kontekście jedną z kwestii wartych szczególnej uwagi wydaje się stosunek do własnego ciała, bardzo odmienny u obu pisarzy. O Michelu de Montaigne pisał Erich Auerbach w Mimesis, że: Opowiada wyczerpująco o swym ciele i oswej cielesnej istocie, ponieważ jest to ważna część jego samego; [...] co on im [systemom filozofiii moralnej, O. K.] zarzuca -abstrakcyjność metod przesłaniających życiową rzeczywistość, nadętą terminologię -w ostatecznym rachunku sprowadza się do tego, iż [...] rozdzielają one ducha, i ciało i nie dopuszczają do głosu tego ostatniego 1 . Tutaj tkwi jedna z podstawowych różnic między Gombrowiczem a jego wielkim wzorcem: Gombrowicz nie mówi wprost o swoim cielewyjąwszy dziennik prywatny, który posiada pani Rita Gombrowicza zwłaszcza Gombrowicz nie mówi otwarcie o jednej z najważniejszych sił, skojarzonej zwykle ze stroną cielesną człowieka -z pożądaniem erotycznym. l E. Auerbach Mimesis.

The primary focus of this article is on the deconstruction of language within the context of glossolalia and the Theatre of the Absurd. Following World War II, the expression of absurdity in the literature and theatre gave rise to the Theatre of the Absurd as an antiliterary movement. Glossolalia appears both in the first Christian communities and within the charismatic renewal movement in modern times and refers to the gift of speaking in tongues. The objective of comparing these two occurrences is to identify their similarities and differences in their treatment of the language. Both glossolalia and the Theatre of the Absurd contain destructive aspects as they disintegrate language, but they also contain creative elements; glossolalia is prayer, and the Theatre of the Absurd has artistic merit. To consider the extent to which language deconstruction might serve as a prelude to creative endeavours, this analogy appears to be significant.

Most African writers have been brought up as Christians. But some of them publicly rebelled against Christianity by dropping their Christian names: Chinua Achebe (formerly Albert C. Achebe), Kofi Awoonor of Ghana (formerly George Awoonor-Williams), Ama Ata Aidoo of Ghana (formerly Christiana Aidoo), Ngugi Wa Thiong'o of Kenya (formerly James Ngugi), and Okogbule Wonodi of Nigeria (formerly Glory Wonodi). The dropping of Christian names does not mean that their literatures discredit Christianity in favour of African traditional religions. This paper shows that against all expectations, most African writers who read Western Christian-oriented literature (Okere, 2009, p. 303) during their education, especially Chinua Achebe with Things fall apart, Kenjo Jumbam with The white man of God and Chimamanda Ngozi Adichie with Purple hibiscus tried to coin their own styles, mixing orality and literacy when they started their literary career, presenting in this way inculturation as an innovation in literary style and a solution to religious conflict. This paper focuses on the three novels by the three African writers in a comparative approach around suggested aspects of inculturation and shows the evolution of inculturation of Christianity as a novelty throughout these literatures.

This essay proposes to return to Viktor Zhivov's (1945-2013) thesis about the apocalyptic nature of Radishchev's ode "Liberty" (Volnost, 1783) by asking three questions: First, how does this apocalypticism correlate with the notorious "revolutionary" and deeply populist character of the poem; second, how should both of these features (apocalypse and revolution) be linked with the imagined disintegration of the empire in Radishchev's ode; and third, to what extent does the apocalyptic politics and centrifugal dynamics of "Liberty" correspond to any artistic innovation? Zhivov considers the first question in his article, while he brackets the second and the third is beyond his scope. Entering a dialog with Zhivov's thesis, this essay looks at the complex of problems (populism, empire, apocalypse) in close connection with the precariousness or instability of Radishchev's very poetic language.

Studies of Dante's numerology have focused on the obvious significance of such single numbers as 3, 9, and 10, or have proposed schemes of bewildering complexity. However, a neglected aspect of Dante's obsession with numbers is his juxtapositions of 3 and 1, as well as with factorizations of 3 plus 1. Patterns of "tre e uno" that fully embody the Christian concept of the Godhead are found in the Commedia's words, lines of verse, cantos, canticles, and overall structure.

Cross es una de las poetas de mayor trayectoria1 en el país, pues entre otros aspectos, forma parte de la tradición intelectual más prolífica de literatura en México, debido a que, este grupo llamado en palabras de Asunción Horno Delgado: "La segunda generación poética del siglo XX" que conforman los nacidos entre 1943-19562 no sólo son escritores de literatura, sino que su actividad se

Thank you kindly for your patience with this project as it developed. Furthermore, thank you for letting me make liberal use of your uncanny ability to deconstruct an argument and then seemingly effortlessly reconstruct it again. Without your guidance this project would have not been completed. Professor Lammerts, your ability to contextualize history, your humor and wit, and scholarly precision have been an inspirational force and a large part of my academic development here at Rutgers. I hope you see some of yourself shine through in this. Professor Wakabayashi, I am truly fortunate to have had you for a guide and deeply grateful for all of the personal attention you gave me as this project developed. Not only did you teach me Japanese, but more importantly, you taught me how to do scholarship in Japanese. This project would not have been possible without you. I am a better student, scholar and teacher because of you. I also would like to thank Professor Ian Reader, first for his enormous contributions to the academic study of pilgrimage in Japan and secondly, even though enjoying retirement, for always responding to my questions via v email. In addition to Professor Reader, I would like to thank Professor Jacqueline Stone. It was a privilege getting to know you and have the benefit of your scholarly expertise first hand. Your approach to Japanese Buddhism and intellectual history has influenced and shaped my own academic development significantly. Thank you, I am in your debt. I would also like to extend my gratitude to

etwccn the versions of "Cathedral" that Atlantic Monthly published in 1981 and that Knopf published in Cathedral in 1983 (the same version that appears in the Vintage 1984 release), Raymond Carver made more than two hundred revisions.' These amendments range from simple hyphenation -say from "social service department" (1981, 23) to "socialservice department" (1984, 210) -to entire new sentences and deletions of

Insecurity has affected the effort of Nigeria toward nationhood. It has posed unimaginable threats to citizens as they live in constant fear of uncertainties. Literary writers are not occluded from depicting the ills of insecurity in the country. Such voicing intends to reveal the instances of insecurity and create awareness of the tragic situation, thereby accrediting the writer as the antenna of his society. Through the eyes of an Almajiri, Elnathan John's Born on a Tuesday reveals the intensity of rift in the country, which he attributes to religious violence. The novel is a horrific tale of religious fanatism which imposes discomfort and peril. This paper raises such questions as: What is the place of the 'almajiris' in national security? Does religion play a part in national insecurity? Therefore, this paper, using the theory of realism discusses security challenges, and their causes, and concludes on how Elnathan John challenges the stereotyped single-story about Northern Nigeria by revealing how the Almajiris' exposure to social vices is a threat to national security. Also, the presence of religious sects and violence which impose insecurity to nationhood.

Human beings living on this planet are facing a global environmental crisis which is ravaging the ecological balance of the planet making its inhabitants undergo severe calamities. Now, environmental aspects have gained more importance in literature. Consequently, the study of literature and the study of ecology are of great significance in today's world. Eco-critical perspective thus explores and scrutinizes the hidden facts about the relationship between human beings and nature. This paper attempts to analyze Rabindranath Tagore's most celebrated poem Sonar Tori (The Golden Boat) through eco-critical lenses. The Poem can be stated as the most celebrated one among many of the works of Tagore that stands alone as a complete world in itself containing the richness of Tagore's philosophy and his poetic excellence. So, using the principles of eco-criticism, the paper interprets this particular poem with sufficient proof and arguments that nature and human beings are interdependent meaning that both of them influence each other to a great extent. Besides, it points out that Rabindranath Tagore has made a vivid prophecy in the poem about the current issues like climate change, global warming and all other behavioural changes in nature causing catastrophe which is making the scientists push their limits to put an end to wrongdoings of human beings and to pacify nature's untamable wrath bearing sufferings on mankind. Moreover, this research paper postulates from the poem that human greed should be controlled and nature must be treated as a conscious being, not as an abstract idea having zero potential to influence human life. Following a qualitative approach and using MLA 9th citation guidelines, this study extracts eco-critical essence and Tagore's philosophy from the poem and illustrates awaiting catastrophe for mankind leading to mass extinction they may encounter in the face of global ecological turbulence if their unwise actions are not put in check on time.

Debiutował w roku 1999 tomem wierszy Do światła . W jednym z pierwszych omówień jego poezji napisano, że "organizuje swój wiersz, opierając się na wyczuciu muzycznej frazy" . Recenzent podkreślał "dużą skalę modulacji poetyckiego głosu, wynikającą z gruntownej znajomości wersyfikacji i poetyki", na koniec stwierdził zaś, że trzydziestopięcioletni debiutant "dojrzale snuje nić poetyckiego wywodu, nie popadając w dydaktyzm i unikając nadmiernego intelektualnego rezonerstwa . Czasami ma się wrażenie, że pozostawiłby świat samemu sobie, zadowalając się smakiem niemej kontemplacji" 2 . Za tomy Do światła i Jeleń Thorwaldsena otrzymał poznańską nagrodę im . Kazimiery Iłłakowiczówny . Zbigniew Chojnowski zauważył na łamach "Nowych Książek", że patronem tej poezji jest Czesław Miłosz, z którym Kass "dzieli smakowanie rzeczywistości najbliższej" i świadomość rangi poetyckiego słowa, służącego "także do tego, aby zadomowić się w przestrzeni egzystencji, rozświetlić ją bogactwem form, blasków słońca, kolorami jasnymi, a wreszcie nadzieją, pocieszeniem, wiarą w trwałość naturalnego piękna" 3 . Poeta z Prania został uznany za twórcę "wysokiej próby liryki krajobrazu, w której rośliny, zwierzęta i miejsca nazywane są po imieniu" 4 . Zarówno Chojnowski, jak i omawiający Jelenia Thorwaldsena Leszek Szulc stwierdzali, iż jednym z zasadniczych elementów konstytuujących wizję świata w twórczości Wojciecha Kassa jest poczucie zakorzenienia, konsekwencja wewnętrznej decyzji o zamieszkiwaniu w rzeczywistości,

ale ponieważ nikt nie słucha, trzeba zawsze zaczynać od nowa. W Metamorfozach Owidiusza został przedstawiony jako syn Cefiza (Kefisosa) i Liriope . Kiedy przyszedł na świat, rodzice zapytali Tejrezjasza o jego przyszłość . Wieszczek miał im odpowiedzieć, że nowo narodzony dożyje późnych lat, "jeżeli sam siebie nie pozna" 2 . Gdy dorósł, był tak urodziwy, że kochało się w nim wiele kobiet i nimf, lecz on, powiada antyczny poeta, "zimny był na miłość, głuchy na westchnienia" . Uczuciem zapałała doń również nimfa Echo, która "ni pierwsza mówić, ni milczeć nie umie" . Spostrzegła go w lesie, błądzącego między drzewami i dopóty powtarzała jego słowa, dopóki -zaintrygowany -nie zawołał: "Tu się zejdźmy" . Kiedy ujrzał ją twarzą w twarz, wykrzyknął: "Śmierć raczej […] niż Twoje uściski! Nigdy cię nie pokocham" . "Kocham" -odrzekła Echo, ale widząc jego wzgardę, zraniona i nieszczęśliwa "w las ucieka, twarz spłonioną kryje" . Nimfy zanoszą do bogów korną prośbę: niech on także zazna wzgardy i męki bezwzajemności . Ich modły docierają do uszu Afrodyty (lub Nemezis), ta zaś sprawia, że podczas polowania utrudzony młodzian nachyla się nad źródłem i zakochuje we własnym odbiciu . Czytamy u Owidiusza: Pijąc, własnej piękności odbiciem się łudzi, Kocha obraz bez ciała, w czczym się kocha cieniu . Niewzruszony jak posąg, cały w zadumieniu, Patrzy się, nachylony nad przejrzystą wodą . Niebaczny, sam się swoją zachwyca urodą . […] Podziwia wszystko, w czym sam godzien podziwienia, Sam jest celem swych pochwał i swego pragnienia . W jednej osobie razem i pali, i płonie . Ileż razy wyciąga ku krynicy dłonie! Widząc w wodnym zwierciadle cel swych życzeń bliski, Czcze tylko zimnej wodzie przesyła uściski . Nie pojmuje, co widzi, lecz widok go wzrusza, Czarowną oczu złudą zapala się dusza . Nieszczęsny, złudną marę gonisz w złej godzinie! To, co widzisz, jest niczym . Odwróć się, a zginie . Obraz, widziany w wodzie, twoim jest obrazem . Nic własnego on nie ma, ożył z tobą razem, Z tobą razem by zniknął, gdybyś odejść zdołał . Ów młodzian, o którym opowiada autor Tristiów, to Νάρκισσοσ, Narcissus, Narcyz . Ten, który umarł z tęsknoty za samym sobą i nawet w styksowych wodach szukał własnego odbicia . W miejscu, gdzie rozstał się z życiem, w pobliżu krynicy, która nie mogła ugasić jego pragnienia, wyrósł niewielki "kwiat złoty, liśćmi uwieńczon białemi" . Linneusz nazwie go Narcissus poeticus ("narcyz poetów", "narcyz poetycki"), albowiem od czasów Owidiusza kwiat ów na trwałe zagości w literaturze europejskiej, podobnie jak nieszczęsny syn Kefisosa i Liriope z mitologicznej opowieści . Mit o Narcyzie szczególnie intensywnie będzie wyzyskiwany na przełomie wieków XIX i XX, upodobają go sobie parnasiści i symboliści . Odwołania do starożytnej opowieści i jej twórcze przetworzenia pojawią się m .in . w twórczości Paula Valéry, André Gide'a i Rainera Marii Rilkego . Jeszcze popularniejszy okaże się motyw odbić, przeglą-

To read Pauline Hopkins’ novel Of One Blood in the context of its original location within the pages of the Colored American Magazine makes the concept of vision and visual representation appear in a whole new light. The novel’s exploration of visuality reverberates in interesting ways with the rich visual environment of the magazine that believed in the virtue of asserting the visual presence African Americans. Such a heavy investment in the optics of racial identity speaks to Hopkins’ novel in a number of ways. Of One Blood elaborates on the phenomenon of passing as well as several supernatural visual scenarios that speak back to the magazine’s broader understanding of visual representation. The marked ambivalence with regard to visual self-presentation and perspectival looking in Hopkins’ novel cast a shadow over both the idea of the visual image and the politics of looking.

In this literary study essay, I ask what might be revealed to us when rereading Frankenstein from a reconceptualized perspective of curriculum, a perspective sensitive to the educational lived experience of the human person. To do this, I provide commentary on key passages along the novel, focusing on three salient features that emerge from that hermeneutical reading: the existential aspect of becoming (and its inherent sense of solitude, alienation, but also hope), the need for transcending mere being and becoming, aspiring to not only fulfilment but also goodness, and the caution that however carefully planned, the educational process of becoming can go wrong, including tragic consequences. Positioned within a reconceptualist tradition of curriculum, the analysis presented here presents a cautionary tale about overemphasizing a single aspect in educational experience, such as cognitive competencies, skills or political stances, while neglecting a relation to ethics, morals, attunement to self and other, and what makes us more fully human. Methodologically, the essay shows a concrete example of a literary study as educational research.

The Caroline Era in early modern England was characterized by political instability and theological revolution. In response, there were ideological attempts to regulate desire and a distinct focus on the creation of a public persona. These crises led to anxieties about gender, performance, and the body. Literary production at this time was founded in political conflict and was both a response to and an escape from these events. In this article, I argue that early modern writers literarily regulate gender and bodies through the personal, political and theological happenings that they respond to within their work. John Donne's metaphysical poetry and George Herbert's The Temple express the anxiety of desire involved in the process of seeking God. These texts translate this through the language of eros, bodily sacrificial connection to the Divine Logos, and communion that focuses on digestion and inclusion in the corporeal universe as a means to achieve the divine moment. Similarly, John Ford's The Broken Heart portrays anxieties about desire and appetite through female anatomization. The portrayals of desire, anxiety, and appetite in these texts (all first published in 1633) are representative of the historical, political, and religious ideological structures that informed their creation.

The Magician's Book is Laura Miller's unique and intriguing extended essay about her experience as a lifelong reader of C. S. Lewis' The Chronicles of Narnia. The idea for the work began with a publisher's assignment to write about the single book that had most influenced her, and, for Miller, that book was The Lion, the Witch and the Wardrobe, which she first read as a second grader. As one who makes her living writing about books (for Salon.com, of which she is cofounder, and The New York Times Book Review), Miller sets out to explore what she calls her "love affair" with the Chronicles. What makes this book unique and more than just another appreciation of Lewis as an author is the nature of that love affair. As Shakespeare told us, "the course of true love never did run smooth;' and this is certainly true of Miller's experience with Lewis' children's fantasy. Miller's title, of course, refers to the scene in The Voyage of the Dawn Treader where Lucy encounters the wonderful Magician's Book, and, from that point on, measures every book she reads against that standard. While Miller compares her first experience with The Lion, the Witch and the Wardrobe to Lucy's, much of the book deals with her struggle as a young adult when she discovers the Christian symbolism of Lewis' work. Miller, though raised as a Catholic, is not, by her own admission, a Christian. Strangely, however, Miller found that when she returned to Narnia years later, it had not lost its power

Citizens of the World At the end of Chimamanda Ngozi Adichie's short story "The Headstrong Historian," a young woman named Grace travels home from boarding school to visit her dying grandmother, Nwamgba. Grace has been reading "The Pacification of the Primitive Tribes of Southern Nigeria," a chapter in her history textbook, penned by an English colonial administrator. Intended to be an authoritative document, Grace instead finds the descriptions amusing and foreign: "It was Grace who would read about these savages, titillated by their curious and meaningless customs, not connecting them to herself." (1) Decades later, as a historian herself, Grace publishes a book entitled Pacifying with Bullets: A Reclaimed History of Southern Nigeria. Readers familiar with Things Fall Apart will instantly grasp Adichie's resonant allusion to the final sentence of Chinua Achebe's iconic novel, in which a District Commissioner, collecting material for his re...

Mancava fino ad oggi una raccolta organica degli scrittori ita liani di agricoltura. A questa lacuna si è inteso rimediare col pa trocinio di un'opera in tre volumi. Il primo, qui presentato, contiene una silloge di quel filone, unico nelle letterature europee, di antichi testi di 'res rustica' dal Quattrocento alla fine del Seicento, per la maggior parte regio nali, che formano un repertorio di eccezione sulla più profonda cultura del popolo italiano, quella attinente alla trasformazione e all'incivilimento del paesaggio rurale attraverso i secoli, e alle sue fa ti che indirizzate a trarre dalla terra il necessario sostenta mento. Il secondo, pubblicato nel I989, è dedicato a una raccolta di testi che, nel!' età dei Lumi e fino alla metà del!' Ottocento, costi tuiscono gli inizi sia della ricerca di una fruttuosa applicazione delle diverse scienze all'agricoltura, sia dello studio dei rapporti tra l'agricoltura stessa e l'economia. Il terzo, uscito nel I992, espone i risultati raggiunti, dalla me tà dell'Ottocento ai primi decenni del Novecento, non soltanto con l'applicazione, via via sperimentalmente arricchita, di nuovi attrezzi e di nuove macchine, ma altresì con l'apporto di scienze in grande sviluppo, quali la botanica, la chimica e la zoologia. L'ambizione è di fornire un quadro esemplificativo, nel suo sviluppo storico, del formarsi ed estrinsecarsi di quella cultura nazionale, che da regione a regwne, da epoca a epoca, si fonda anche sulla 'coltura' della terraquasi a rendere emblematico il comune étimo -; col fine ultimo di indirizzare il proprio messag gio non soltanto agli imprenditori agricoli che vogliono acquisire un'approfondita coscienza della propria storia particolare, ma pure agli studiosi della materia. Correda l'opera un ricco apparato di introduzioni generali e parziali, di illustrazioni, di note ai testi e di notizie biografiche, oltre alle ampie ed esaurienti bibliografie e a glossari specialistici di estremo interesse linguistico.

In the present paper, a series of results and examples that explore the structural features of H-commutative semigroups are provided. We also generalize a result of Isbell from commutative semigroups to H-commutative semigroups by showing that the dominion of an H-commutative semigroup is H-commutative. We then use this to generalize Howie and Isbell's result that any H-commutative semigroup satisfying the minimum condition on principal ideals is saturated.

Bekommt man Laurenz Lüttekens Zauberflöten-Buch in die Hände, ist man sogleich mit mehreren Thesen des Mozartexperten konfrontiert, ohne nur ein einziges Wort des Bandes gelesen zu haben. Schon das Coverbild nämlich macht stutzig, zählt es doch keineswegs zu den ikonisch gewordenen Bildnissen, die man üblicherweise mit der Zauberflöte verbindet. Mit diesem klug gewählten Beispiel aus der Transparentmalerei von Andreas Nesselthaler, den Lütteken als möglichen Bühnenbildner für die Uraufführung der Zauberflöte ins Spiel bringt (75), versetzt der Autor den Leser bzw. die Leserin in ein von Melancholie gezeichnetes Setting. Die Uferlandschaft mit Mondszenerie schlägt sogleich eine Brücke zu Lüttekens Annahme, dass die Zauberflöte erst vor dem Hintergrund einer Zeit zu verstehen sei, die den aufklärerischen Zukunftsoptimismus verloren habe. Die Phase nach dem Tod Josephs II. stellt die zeitgeschichtliche und politische Achse dar, die die Koordinaten liefert, auf deren Basis der Autor das so häufig (auch miss-)interpretierte Werk neu vermisst. Zentral ist es für ihn, in der Einleitung hervorzuheben, dass die Widersprüche in der Zauberflöte keineswegs Rätsel darstellten, sondern diese »vor dem Hintergrund des 18. Jahrhunderts und anhand zahlreicher, mitunter entlegener, immer aber aussagekräftiger Quellen« (15) dechiffriert werden müssten. Die Entschlüsselung erfolgt dann in sieben Kapiteln, die keine stringente Neuinterpretation von Mozarts »großer Oper« liefern.