Teresa de Ávila: Portrait of the saint as a young woman

ABSTRACT

Teresa de Jesús (known as Teresa de Ávila in the English-speaking world) began life in a comfortable, merchant-class family. The daughter and granddaughter of conversos, she was one of twelve children (two from the first marriage of Don Alonso de Cepeda, Teresa's father, and ten from the second). She received a good education for a girl of her period and class, probably learning to read and write from parents and tutors, and then studying at a convent boarding school. She undoubtedly learned the importance of letter writing from her father, as business in early modern Europe was conducted largely through correspondence. Although traditional biographers paint a romanticized view of Teresa's girlhood, a careful reading of her Vida, letters, and other documents reveals that there were many strains on the Cedepa-Ahumada household. Among the causes were the Cepedas' deteriorating financial situation, societal pressures on conversos, the death of Teresa's mother, tensions among the siblings, the departure of Teresa's brothers for the New World, and Teresa's illness.     

La virtud sospechosa: Teresa de Jesús y su condición femenina

ABSTRACT

Teresa de Jesús (1515–1582) lives in a patriarchal society opposed to the intellectual and spiritual development of women, something that she will not only not accept but also fight against, claiming a series of rights (the right to life, to expression, to autonomy, to the free development of her abilities, to have an active role in the Church, to relate to God through prayer, etc.) in spite of the restrictions of censorship and the cloud of suspicion that hung over her for being a mystic, the founder of convents, and the daughter and granddaughter of a converso. Furthermore, Teresa, with her reforms, would present an alternative life for women, as her convents would be spaces for freedom and women's solidarity.     

“The Most Hated Woman in America”: Madalyn Murray and the Crusade against School Prayer

Throughout her life, Madalyn Murray (O'Hair) tried to obliterate the concept of God and Christianity. She first burst onto the national stage in the early 1960s with a lawsuit against the religious exercises her son was subjected to in a Baltimore, Maryland, public school. A colorful woman who flouted convention, Murray despised religion: “If people want to go to church and be crazy fools, that's their business. But I don't want them praying in ball parks, legislatures, courts and schools. … They can believe in their virgin birth and the rest of their mumbo jumbo, as long as they don't interfere with me, my children, my home, my job, my money or my intellectual views.” At a time when religious conviction was often equated with patriotism, Murray's public statements were regarded as heretical. The media naturally sought her out and as the public learned more about her, Murray was demonized as a belligerent, loudmouthed crank—“the most hated woman in America.” She was not, in fact, the first person to challenge school prayer successfully. That distinction belonged to a fellow atheist, Lawrence Roth, in Engel v. Vitale (1962), a highly unpopular decision against a state-devised prayer in New York. But unlike the reclusive Roth, Murray gravitated to the limelight and became the leader of American atheism in the late twentieth century.     

“Vivo sin vivir en mí”: YouTube y la poesía de santa Teresa de Jesús

ABSTRACT

The poetry of Saint Teresa of Jesus has not aroused the same interest from the critics as has her prose. There are several reasons for this. However, her poetry has remained in the memory of anyone who has come in contact with it, as well as in public manifestations, one of which is the phenomenon of new media—in particular, YouTube. Consequently, this article presents an analysis of Teresa de Jesus's poem “Vivo sin vivir en mí” (“Live without living in me”) in the context of new media, specifically YouTube, in order to further analyze the oral-auditory impact of her work as a strategy of representation in the reception of her writing and, therefore, expand the communicative possibilities of her writing style close to the spoken language, beyond her time and context.     

Baudelaire's “Teacher”: Joseph de Maistre and Le Spleen de Paris

For a total of twenty years (1856–76), Gustave Flaubert corresponded with a woman whom he would never meet and who had first written to him to express her admiration for his novel, Madame Bovary. These forty-five letters are among the most fascinating and important that he was to write, reflecting on his life, on art and esthetics, and on his determined dedication to the practice of writing. The letters to Marie-Sophie Leroyer de Chantepie occupy a central role in Flaubert's Correspondence, between the long series of letters he wrote to two other women, Louise Colet and George Sand. They are all dominated by the idea of the centrality of art, literature, and the activity of writing, and of the subordinate status of all other experiences and interests.     

Sydney owenson's wild indian girl

In 1811, Sydney Owenson (Lady Morgan) published a novel set in India, The Missionary: An Indian Tale, arguably the first Irish Orientalist text. If, as Madeline Dobie has recently argued, the discourse of Orientalism in France was used to avoid moral questions about colonialism and slavery, Owenson used the genre in order to confront the brutalities of British colonialism. Owenson's intertextuality drew on not only other works about the east, but also her own literary productions and experience of authorship as an Irish woman of undistinguished background performing for an imperial audience. As she did in The Wild Irish Girl: A National Tale, her first publishing success, in The Missionary Owenson exploits just those equivalences imperialism posits among its peripheries. This essay examines The Missionary's intervallic position between the Irish novels The Wild Irish Girl and O’Donnel, and its possible role in the oft-noted shift in Owenson's practice of textualist history.     

Challenging the Quimera (Sirena) Negra: Unamuno Reads Pardo Bazán

This article examines the literary relationship of Emilia Pardo Bazán and Miguel de Unamuno by analyzing Unamuno's 1905 review of La Quimera, as well as his tribute to Pardo Bazán on the occasion of her death in 1921. These two critical pieces, together with Unamuno's Dos madres and La tía Tula, reveal that while Unamuno dismisses Pardo Bazán's realism in his discussion of her works, he develops in his own fiction alter egos who struggle with dominant female figures, just as he competes with Pardo Bazán's model of authorship.     

Comic Incongruity in Medieval French Enfances

This article compares the use of nudity in the Carolingian romances Enrique Fi de Oliva and Carlos Maynes, which are both structured around the tale of a falsely accused woman. In Carlos Maynes, the protagonist Empress Sevilla is disrobed several times in her adventures and, at the end, strips of her own accord, along with her son Loui and their supporters, to reconcile with her husband Carlos Maynes. Enrique Fi de Oliva contains more scenes of nudity than Carlos Maynes does. In it, Pepino is reconciled with his sister Oliva, her son Enrique, and their supporters after they have disrobed multiple times. Both romances are about old, ineffective rulers who have perverse advisers. Only the innocence of the heroes and heroines, expressed through their nudity, can overcome the power of the aging leaders' evil allies. If, at the symbolic level, these scenes are about the political rebirth of the monarchy through generational change and new alliances, at the visual level they are quite risqué and often comic episodes that must have had great popular appeal. It is not surprising that Enrique Fi de Oliva, the more explicit of the two works in terms of nudity and humor, was praised by Miguel de Cervantes who, in Don Quixote de la Mancha, expressed admiration for the "exactness" with which it describes everything.     

After thought. Devotion,Teresa de Jesús,and Miguel de Cervantes

ABSTRACT

This article explores the complex landscape of devotion in sixteenth- and seventeenth-century Spain, comparing the legislated Christian-only history of Counter-Reformation with the various alternative strands of belief, faith, and devotion present in a variety of areas of cultural production. The article first examines representations of devotion—and methodologies of reading such representations—in areas of production such as architecture, dictionaries, literature, and the arts; at the end of this first section, it coins the concept of “After Thought” as a reading tool to better comprehend and possibly experience devotion in ways particular to early modern Spain, not merely en cristiano but in multiconfessional forms. “After Thought,” both the tool and the article, follow intellectual engagements with Andalusi (not merely Andalusian) past, present, and future environments in early modern Spain. They also engage alternative somatic dimensions of a different “entendimiento” of Christianity, as described by Teresa de Jesús and practiced by both her and Cervantes. Finally, in reviewing the six ducal chapters of the second part of Don Quijote as a rewriting of Castillo interior, the apocryphal condition of this segment of the novel mobilizes yet another wheel in the Trojan horse of fiction, one that exposes the way in which Cervantes refigures Teresa de Jesús, thus yielding two interactive models of “After Thought” in early modern Spain's arts, religion, and spirituality.     

Letters to the exiles

ABSTRACT

A slightly different separation of the text in Qoh 3,18 results in the reading ??? ??????? instead of ???? ??????, in which ??? is “apart of” based on the Aramaic, or ??? = ??? “alone” assuming a ?/? confusion. In each case an eminently reasonable text is obtained regarding man apart of God, or man without God. Qohelet seems to believe that without God man would be egocentric, just as a beast.     

Man,Woman and God in Judg 4

This paper attempts to explain the peculiarities of the Deborah narrative. In contrast to other savior- judges, Deborah is a prophetess, a judiciary, and a woman. Her role as a savior differs from other judges in that she is a high commander, but Barak carries out the actual task of battle. Deborah's rule conveys the lesson that God is responsible for victory. This is why she is presented as a prophet and a messenger of God and her personality is not portrayed in the story at all; rather, she is shown as a well-established judge and therefore an anti-charismatic figure. The emphasis on her status as a woman is meant to prevent her from becoming involved in an actual battle; this is left for Barak to carry out. When Barak demands the presence of Deborah on the battlefield, it might be thought that her presence is necessary to gain victory; then, as in the Ehud narrative, an unhealthy dependency between the people and Deborah might have been produced. Deborah responds with a prophecy that a woman will kill Sisera; in this way she reinforces her prophetic role rather than her personality, rectifying the damage caused by Barak's request.     

Charlotte Sophia Burne: Shropshire Folklorist,First Woman President of the Folklore Society,and First Woman Editor of Folklore. Part 1: A Life and Appreciation

Charlotte Burne (1850–1923) served the Folklore Society (FLS) for forty years. She was editor of the massive Shropshire Folklore (1883–6), and the second revised edition of the FLS's only official guide, The Handbook of Folklore (1914). She authored over seventy folklore papers, notes and reviews in Folklore and its predecessors, as well as several articles in newspapers and magazines; she was the first woman editor of this journal (1900–08) and the first woman President of the FLS (1909–10). This appreciation is the first part of a two-part study of her life and works. The second part will be a provisional bibliography of her published works.     

Sources of Damasios Error A Reply to Damasio

Lina Stern (1878–1968), a neurophysiologist and biochemist, was born in Russia. She studied at the University of Geneva, Switzerland, where, after graduating, she conducted original research in physiology and biochemistry. In 1918, Stern was the first woman to be awarded a professional title at the University of Geneva and headed the department of Physiological Chemistry. She is deservedly considered to be one of the first scientists to entertain the concept of a blood-brain barrier. In 1929, Stern founded the Institute of Physiology in Moscow, of which she was director until 1948, when it was discontinued. Under her leadership, multidisciplinary groups of colleagues worked on the problems of the blood-brain and tissue-brain barriers and homeostasis of the brain. In 1939, Stern was elected full member of the Academy of Sciences and became its first female member ever.

Most scientists manage to conduct their research by adjusting to the political and social situations surrounding them. Lina Stern did not follow this path. This small woman of complete devotion to science took the drastic decisions that altered her life. Though destiny was not kind to her, Lina Stern did not compromise. Despite a threat of execution, prolonged imprisonment, and exile she was never broken as a scientist and always maintained her dignity.     

¿Hacia una literatura de compromiso? Cohesión social desde el individuo en La muerte de Kurt Cobain de Care Santos

Socially committed writing in contemporary Spanish narrative scene sometimes eliminates the possibilities of depicting individual realities. Care Santos's novel La muerte de Kurt Cobain (1997) develops the case of a unique young girl who goes through a life-changing experience during a summer when she has to overcome personal issues in order to form her persona. The novel is half crime-fiction since there is a mystery to solve and half bildungsroman due to the formation of the personality of the female lead character. Coming of age by becoming a human being, a friend, a sister, and a woman is the main focus of this text, which rejects generalizations regarding youth as a reckless period of life and embraces adulthood as a natural process of growth. Young Spanish girls represented in Santos's work are portrayed through the protagonist who contributes to build a human and cohesive society that stems from the level of commitment of the individual.     

The Emotions in Sixteenth‐Century Spanish Spirituality

This article examines discourses on emotion produced and circulated in the context of spiritual reform in sixteenth‐century Spain as teleological methods of self‐interpretation which nonetheless stressed the individuals’ responsibility in actively recognising, displaying, and directing their emotions to a spiritual purpose. Paying particular attention to key devotional books such as Ignatius of Loyola's Spiritual Exercises, Francisco de Osuna's Third Spiritual Alphabet, Bernardino de Laredo's Ascent of Mount Sion, and Teresa of Avila's Book of her Life and The Way of Perfection as a framework of beliefs and guidelines which helped to shape actual cultural practices such as self‐examination and meditation, it seeks to show the complexity of sixteenth‐century understandings of emotion, rationality and the role of the will. It thus aims to challenge the narrow approach taken by recent philosophers like Ronald de Sousa and Robert Solomon in their critique of the historical role of emotion within religion.     

Entre traditions et diffusions: Madagascar dans Comme un vol de papang' de Monique Agénor

In this article, I examine how Monique Agénor uses oral traditions and supernatural practices in her novel Comme un vol de papang' in order to bequeath Malagasy traditions not only to all the Malagasy people who are still living in the red island, Madagascar, but also to those who are now exiled. In her book, the writer tells the history of Madagascar in the wake of its decolonization and the story of Hermina, a young Malagasy descent woman who was born and lives in the island of Réunion, in the Indian Ocean. Thanks to her divine power, Herminia succeeds in spreading the history of an island that she does not know personally. By the agency of numerous rituals, symbolic visions, and the use of traditional rhetorical discourses borrowed from the Malagasy oral traditions, kabary, Agénor transmits the history of Madagascar and ensures its survival.     

Some reflections on religion and nationalism

The metamorphosis undergone by Jewish women in the nineteenth and twentieth centuries was the result of modernization, secularization, and education. Similarly, the offspring of the new Jewish woman, the “new Hebrew woman” was the embodiment of various schools of thought, in particular the liberal and the socialist, which were prevalent at that time. The new Hebrew woman offered a feminist interpretation of the malaise of the Jewish people in general, and of Jewish women in particular, challenging the roles designated to her by her male peers and offering her own alternative interpretation. She chose Eretz Yisrael and Zionism, to “auto-emancipate” herself rather than waiting passively for her emancipation by others. In this sense, the new Hebrew woman collaborated with and reflected the hegemonic Zionist ideals and priorities. This article aims to analyze the discourse of the new Hebrew woman, as manifested in Palestine-Eretz Yisrael in the first half of the twentieth century in order to shed light on the link between gender and nationalism in the Zionist context. In particular, it considers how men and women envisioned the new Hebrew woman; how class, political affiliation, and gender shaped their interpretation; and how the new Hebrew woman differed from her counterpart, the new Jewish woman.     

The Wiley-Blackwell companion to cultural geography

The Western film genre fosters the mythic view of America as a feminized Eden where one can regenerate or recreate oneself. Westerns typically depict the American countryside as though it were simply a gorgeous framing device for the film's male protagonist whose primary function is to introduce the rough wilderness to the pioneers (or cinematic viewers) who will follow him. In contrast, in the rural femalecentered films of American life— such as Daughters of the Dust, Places in the Heart, Bagdad Cafe, and The Spitfire Grill—the landscape plays a central role. Nature, in fact, generally replaces the powerful male protagonist of the Western. Unlike European movies that also highlight nature's regenerative power, the American films discussed here center on the transformation of the woman. They highlight the Jeffersonian ideal of America as a garden community—one where the female protagonist is regenerated by her ties to the land and by her relationship with those labeled “Other.” She does not conquer or traipse through the cowboy's wild Eden. Rather, she inhabits a nurturing cinematic place that celebrates community and embraces difference.     

Book Reviews

Letters from the Dust Bowl by Caroline Henderson Alvin O. Turner (Ed.), 2001 Norman, OK, University of Oklahoma Press 320 pp., $34.90 hardback ISBN 0-8061-33-3 hardback The American ‘Dust Bowl’ landscape of the 1930s has been etched into the global imagination through powerful narratives: Farm Security Administration photography (1935-43), Per Loretz's film, The Plow that Broke the Plains (1936), and John Steinbeck's Grapes of Wrath (1939). In the last quarter of the twentieth century, historians such as Donald Worster (1979) have constructed their own narratives of this time and place. Caroline Henderson's Letters from the Dust Bowl, edited by Alvin O. Turner, provides a counterpoint, in the form of a first-hand account and a woman's voice, to the news stories, government propaganda, and historians' analyses that construct our understanding of the Dust Bowl. Henderson's letters reveal not only the ‘real’ experience of living in that place during a particularly difficult time, but also the ‘before’ and ‘after’–what led these individuals to the Great Plains and what became of them afterward. Educated at Mt Holyoke, Caroline Henderson ventured out onto the panhandle of Oklahoma to homestead in 1907 as a single woman, who ‘hungered and thirsted for something away from it all and for the out-of-doors’ (p. 33). She met her future husband Will when she hired a crew to dig a well on her land. Letters from the Dust Bowl captures Caroline's transformation from an idealistic young woman to a woman ‘worn by years of struggle with land and life’. Caroline's ‘letters’ are an amalgamation of letters to family and friends, and letters and essays written for publications such as the Atlantic Monthly. Letters begins with Henderson's optimism and delight in both life and landscape. Caroline's early writings capture the excitement of homesteading, of marriage, of being a young mother. Her writings eventually shift from purely personal letters to family and friends to being a source of additional income. Drought and failed crops led Caroline to begin writing for publication in 1913; her first published article was on her first years homesteading. She became a regular contributor to Ladies' World magazine, as their ‘Homestead Lady’, until its demise in 1918.     

Moses' Cushite Wife echoes Hosea's Woman of Harlotries: Exposure of Unfaithfulness in the Wilderness

ABSTRACT

This paper suggests that Numbers 12 implies that the Cushite woman whom Moses marries is an immoral woman and that Moses' marriage with her is based on an implicit divine command which echoes the one God gives Hosea when exhorting him to marry a woman of harlotries. In both cases God wants the prophetic protagonist to experience infidelity, thus enabling him to experience what God feels like when Israel acts unfaithfully to Him. However, after experiencing the unfaithfulness of the Israelites in the narrative of the scouts Moses himself demonstrates unfaithfulness in Meribah. Moses' inability to respond appropriately to Israel's unfaithfulness at Baal-peor, an incident mentioned in Hos 9,10, reflects his inability to contend with the Israelites in the manner of Hosea.