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Follows the adventures of Paul Atreides, the son of a betrayed duke given up for dead on a treacherous desert planet and adopted by its fierce, nomadic people, who help him unravel his most unexpected destiny.

Antonio Bresciani’s notorious trilogy of novels about the revolutions of 1848, starting with L’Ebreo di Verona, first appeared in the earliest issues of the Jesuit periodical La Civiltà Cattolica from 1850. They constitute an intransigentist attack on the Risorgimento, and portray the events of 1848–1849 as the result of a satanically inspired conspiracy by secret societies. This article re-analyses those novels by placing Bresciani in the context of the ‘culture war’ between lay and religious world views across Europe from the middle of the nineteenth century. The article argues that Bresciani represents a significant case study in the intransigent Catholic response to the kind of patriotic motifs identified by the recent cultural historiography on the Risorgimento. The ‘paranoid style’ of Bresciani’s conspiracy myth is analysed, as is Bresciani’s portrayal of Garibaldi, female fighters, and Jews – in particular the tale of Christian conversion presented in L’Ebreo di Verona. The article argues that, despite its polarising, reactionary intentions, Bresciani’s fiction betrayed many influences from the Romantic culture of the Risorgimento that he claimed to despise. Con la pubblicazione sul primo numero de La Civiltà Cattolica della prima puntata de L’Ebreo di Verona nel 1850, Antonio Bresciani dà vita ad una trilogia di romanzi ambientata durante le rivoluzioni del 1848. La trilogia costituisce un attacco dell’intransigentismo cattolico contro il Risorgimento, e rappresenta gli eventi del biennio 1848–1849 come il risultato di una congiura satanica messa in atto dalle società segrete. L’articolo reinterpreta la trilogia inserendola nel contesto della ‘guerra culturale’ tra cattolicesimo e ideologie laiciste caratteristica dell’Europa dell’epoca. Il recente ‘cultural turn’ nella storiografia sul Risorgimento ha sottolineato l’appropriazione, nei discorsi del patriottismo risorgimentale, di alcune importanti tematiche religiose. Bresciani costituisce un esempio significativo della risposta del cattolicesimo intransigente a tale appropriazione. Vengono analizzati ‘lo stile paranoico’ del complottismo di Bresciani e la rappresentazione nella trilogia della figura di Garibaldi, della guerriera patriottica, e degli Ebrei – in particolare il mito della conversione al cristianesimo ne L’Ebreo di Verona. Nonostante le intenzioni reazionarie e polarizzanti, Bresciani mostra in molti punti di essere influenzato dalla stessa cultura romantica del Risorgimento che condanna.

\"A Jesuit and an English ambassador make a journey to Petrograd across a gloomy, often desolate eighteenth-century Eastern Europe in order to sight a rare transit of the sun by Venus. A Moldovan student coming of age at the end of the twentieth century, and in the aftermath of the Soviet Union's break-up, flees to the west in search of a less gloomy life, only to find more of the sordid, inhumane experience she had hoped to leave behind. A boy known only as the Writer, under the sway of Paul Auster's novels, searches for his theme and finally settles on an eighteenth-century Yugoslav Jesuit known for his fascination with rare astronomical events. In these subtly linked novellas, Muharem Bazdulj takes the reader across several centuries of Yugoslav history, finding in three very different sets of circumstances a common longing to escape the desperation and depression of life in the east\"-- Provided by publisher.

Entre 1492 y la década de los ochenta del siglo XVI, pasado casi un siglo desde el fenomenal suceso, no se había publicado ninguna obra poética de relevancia centrada en celebrar la gran gesta protagonizada por Colón. Es un hecho que en muchas ocasiones se ha señalado con extrañeza. A este llamado acudieron, en primer lugar, dos poetas italianos que escribieron sendos poemas épicos sobre Colón y, como humanistas que eran, lo hicieron en lengua latina, para mayor resonancia internacional de la gesta de su compatriota genovés. Aunque muy distintos, Lorenzo Gambara, un poeta ya maduro, y Giulio Cesare Stella, todavía un alumno del Colegio Romano de la Compañía de Jesús, juntos abrieron una senda que muy pronto fue transitada por una extensa nómina de poetas en vernáculo, además de otros autores neolatinos (Bocca, 2012; Hofmann, 1994). Pero en la apertura de esta nueva brecha literaria el joven Giulio Cesare Stella (15641624) alcanza la mayor importancia, puesto que, a diferencia del poema de Gambara una crónica en verso de los cuatro viajes de Colón que no tuvo epígonos–, su \"Columbeis\"(Londini, 1582, y muy revisada, Romae, 1585)1 se nutre principalmente de la fantasía épica de la Eneida –sin perder de vista la Gerusalemme liberata de Tasso– y, por ello, acaba erigiéndose en modelo, a su vez, de la épica neolatina de la escuela jesuítica.

\"Seventeenth-century Japan: Two Portuguese Jesuit priests travel to a country hostile to their religion, where feudal lords force the faithful to publicly renounce their beliefs. Eventually captured and forced to watch their Japanese Christian brothers lay down their lives for their faith, the priests bear witness to unimaginable cruelties that test their own beliefs\"-- Provided by publisher.

This chapter places Finnish nineteenth- and twentieth-century anti-Jesuit stereotypes in their European historical context. The stereotype is tracked down in a thematically diverse source material consisting of fiction, non-fiction, and political propaganda, in comparison with antisemitic and anti-Socialist enemy images. Originally rooted in a Protestant national narrative, the 'Jesuit' was increasingly employed in other political contexts, and often as invective with a specific meaning. Several writers connected the history of the Society of Jesus, and specifically the accusation of holding the belief that 'the end justifies the means' (so-called 'Jesuit morality'), with the history of the Communist movement or with Finnish history in general. The new enemies of the nation influenced the development of a metaphorical 'Jesuit', detached from its origins in anti-Catholic propaganda, but still retaining its negative meaning, and thus indirectly perpetuating anti-Catholic attitudes. [PUBLICATION ABSTRACT]

\"History reveals itself when, in the seventeenth century, a Jesuit missionary ventures into the Canadian wilderness in search of converts-the defining moment of first contact between radically different worlds. What unfolds over the next several years is truly epic, constantly illuminating and surprising, sometimes comic, always entrancing and ultimately all too human in its tragic grandeur. Christophe has been in the New World only a year when his native guides abandon him to flee their Iroquois pursuers. A Huron warrior and elder named Bird soon takes him prisoner, along with a young Iroquois girl, Snow Falls, whose family he has just killed, and holds them captive in his massive village. Champlain's Iron People have only recently begun trading with the Huron, who mistrust them as well as this Crow who has now trespassed onto their land; and her people, of course, have become the Huron's greatest enemy. Putting both to death would resolve the issue, but Bird sees Christophe as a potential envoy to those in New France, and Snow Falls as a replacement for his two daughters who were murdered by the Iroquois. The relationships between these three are reshaped again and again as life comes at them relentlessly: a dangerous trading mission, friendly exchanges with allied tribes, shocking victories and defeats in battle, and sicknesses the likes of which no one has ever witnessed. The Orenda traces a story of blood and hope, suspicion and trust, hatred and love, that comes to a head when Jesuit and Huron join together against the stupendous wrath of the Iroquois, when everything that any of them has ever known or believed faces nothing less than annihilation. A saga nearly four hundred years old, it is also timeless and eternal\"-- Provided by publisher.

What is often called the first Japanese embassy to Europe was actually a publicity stunt conceived in 1582 by Alexandro Valignano, the inspector of the Portuguese-sponsored Asian missions of the Society of Jesus. Four teenagers from Kyushu were paraded through Portugal, Spain, and Italy-performers and audience at the same time in a theatrical production designed to display the capabilities of the Japanese before influential circles of Catholic Europe while imbuing the Japanese with the idea of the superiority of European civilization under the aegis of the Catholic Church. After returning to their native country in 1590, all four joined the Jesuit order. Three served the cause of Christianity faithfully. The fourth, Miguel Chijiwa, apostatized and derided all that he had been taught to hold sacred. He is the narrator of the scurrilous piece of anti-Christian fiction Kirishitan kanagaki, a fantasy novel avant-la-lettre that deserves much greater attention than it has received. Its multifaceted deployment of European legendary materials makes it a challenge to students of comparative culture.

Several works of fiction are reviewed, including Archangels: Rise of the Jesuits written and illustrated by Janet M. Tavakoli, A Killer's Grace by Ronald Chapman, A Season in Carcosa by Joseph S. Pulver Sr and The Sixth Station by Linda Stasi.

An amnesiac tries to figure out who he is by writing his thoughts in a diary and explaining who he hates. It is 1897, and he is Captain Sim on ini, an accomplished forger with a talent for espionage, and he hates nearly everyone: Germans, Italians, Freemasons, Jesuits, women, but especially Jews. But what has caused him to lose his memory?