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Globally known as Amma, meaning \"Mother,\" Mata Amritanandamayi has developed a massive transnational humanitarian organization based in hugs. She is familiar to millions as the “hugging saint,” a moniker that derives from her elaborate darshan programs wherein nearly every day ten thousand people are embraced by the guru one at a time, events that routinely last ten to twenty hours without any rest for her. Although she was born in 1953 as a low-caste girl in a South Indian fishing village, today millions revere her as guru and goddess, a living embodiment of the divine on earth. Reflections of Amma focuses on communities of Amma's devotees in the United States, showing how they endeavor to mirror their guru’s behaviors and transform themselves to emulate the ethos of the movement. This study argues that “inheritors” and “adopters” of Hindu traditions differently interpret Hindu goddesses, Amma, and her relation to feminism and women's empowerment because of their inherited religious, cultural, and political dispositions. In this insightful ethnographic analysis, Amanda J. Lucia discovers how the politics of American multiculturalism reifies these cultural differences in “de facto congregations,” despite the fact that Amma's embrace attempts to erase communal boundaries in favor of global unity.

La présente étude se donne pour but de répondre aux questions que soulève l'oeuvre magistrale d'Auguste Rodin, La Porte de l'Enfer. Celle-ci puise dans les sources historiques et littéraires parmi lesquelles il faut mentionner, en premier lieu, la Divine Comédie de Dante. En réalité, en dehors des références que fournit le chantre florentin, l'oeuvre d'Auguste Rodin serait impensable. Rodin lui-même avait une prédilection pour les cathédrales, les édifices qui reconstruisent le sentiment de verticalité en recompensant le porte-à-faux. Celui-ci pris dans le sens analogique fournit une explication à la structure de La Porte, surtout lorsqu'on la compare à capolavoro di Ghiberti La Porta del Paradiso qui est censé servir de modèle à Rodin. La conclusion du présent article serait que La Porte de l'Enfer est impensable en dehors du contexte philosophique du Moyen-Age.

This article attempts to document why the Virgin Mary is symbolically designated by the biblical figure “Ark of the Covenant” (Foederis Arca), as reflected in one of the invocations of the Litany of Loreto (Litaniae Lauretanae). To justify such a designation, the author refers to the systematic analysis of the patristic, theological, and hymnic sources of the Eastern and Western Churches, in which the Virgin Mary is labeled as the “Ark of the Covenant” for her virginal divine motherhood, her supreme holiness, and her supernatural privileges. The perfect coincidence, with which for more than a millennium the Fathers, theologians, and liturgical hymnographers of the Greek-Eastern and Latin Churches alluded to the Virgin Mary through this biblical symbol, demonstrates the strong coherence of the Mariological theses of the Christian doctrinal tradition on the person and spiritual attributes of the Virgin Mary. These coincident interpretations of the Fathers, theologians, and hymnographers of the Eastern and Western Churches will allow us to justify our iconographic interpretations of 10 European pictorial annunciations of the fourteenth and fifteenth centuries in whose scenes a container appears, almost always with books inside: such circumstance allows us to conjecture that the intellectual authors of these paintings of the Annunciation included in them this container to illustrate, as a visual metaphor, the textual metaphor with which the Fathers, theologians, and hymnographers symbolized the Virgin Mary as the Ark of the Covenant containing the Legislator of the new covenant.

Scholars have paid much attention to the attribute of hesed in the book of Ruth, pinpointing it as a pivotal feature and the main message of the book. However, the protagonists in the tale do not seem to exhibit hesed out of free will or as part of their natural conduct. They rather resort to such a maneuver in order to survive and extricate themselves from dire predicaments. This article argues that the virtue of hesed attributed to the protagonists in the book of Ruth reflects a mechanism for surviving in the confining communal structure of the Judean patriarchal society, which allowed limited social mobility. While the actions exhibited in the story can be argued to be an amendment of the previous generations’ perversions, the story effectively accepts and preserves the common inflexible social system.

In the field of research on the Jewish background of NT Christology, exalted patriarchs (famous OT figures endowed with transcendent characteristics) play a prominent role. One key figure has been almost overlooked in such comparative work: Job as portrayed in the Testament of Job. As a king with a glorious heavenly throne, a position at the right hand of God, and an eternal kingdom, this Job bears a profile on par with—if not exceeding—that of other important figures in post-biblical Jewish literature (Adam, Abel, Enoch, Melchizedek, Joseph, and Moses). This study argues that Job should be added to the roster of such Jewish figures for future work on early Christology.

The medieval monster is a slippery construct, and its referents include a range of religious, racial, and corporeal aberrations. In this study, Miller argues that one incarnation of monstrosity in the Middle Ages—the female body—exists in special relation to medieval teratology insofar as it resists the customary marginalization that defined most other monstrous groups in the Middle Ages. Though medieval maps located the monstrous races on the distant margins of the civilized world, the monstrous female body took the form of mother, sister, wife, and daughter. It was, therefore, pervasive, proximate, and necessary on social, sexual, and reproductive grounds. Miller considers several significant texts representing authoritative discourses on female monstrosity in the Middle Ages: the Pseudo-Ovidian poem, De vetula (The Old Woman) ; a treatise on human generation erroneously attributed to Albert the Great, De secretis mulierum (On the Secrets of Women) , and Julian of Norwich’s Showings . Through comparative analysis, Miller grapples with the monster’s semantic flexibility while simultaneously working towards a composite image of late-medieval female monstrosity whose features are stable enough to define. Whether this body is discursively constructed as an Ovidian body, a medicalized body, or a mystical body, its corporeal boundaries fail to form properly: it is a body out of bounds. Acknowledgments Introduction: The Monstrous Borders of the Female Body 1: Ovidian Poetry, Virgins, Mothers, and Monsters: Ovidian and Pseudo-Ovidian Bodies 2: Gynecology, Gynecological Secrets: Blood, Seed, and Monstrous Births in De secretis mulierum 3: Mystical Theology, Monstrous Love: The Permeable Body of Christ in Julian of Norwich’s Showings Conclusion: The Monstrous Borders of the Self Notes Bibliography Index Sarah Alison Miller is as assistant professor of Classics at Duquesne University.

The Druze are an offshoot of Islam, historically situated in Lebanon, Syria, Jordan, and Israel/Palestine. Among the most distinguished religious figures that emerged from this community was al-Amīr ‘Abdullāh at-Tanūkhī (d. 1479 CE), who was very well known among the Druze for reviving their religious doctrine. His guidance was also sought to resolve disagreements and conflicts that emerged among the Christian, Jewish, Sunni, and Shī‘ī communities in the region of Mount Lebanon. This article investigates the religious revival and socio-political reforms introduced by al-Tanūkhī, especially since in Islamic studies there is little reference to him or his works, despite the importance of his religious, social, and political contributions.

Scholars have long recognized the relevance to Christianity of the many stories surrounding the life of Alexander the Great, who claimed to be the son of Zeus. But until now, no comprehensive effort has been made to connect the mythic life and career of Alexander to the stories about Jesus and to the earliest theology of the nascent Christian churches. Ory Amitay delves into a wide range of primary texts in Greek, Latin, and Hebrew to trace Alexander as a mythological figure, from his relationship to his ancestor and rival, Herakles, to the idea of his divinity as the son of a god. In compelling detail, Amitay illuminates both Alexander’s links to Herakles and to two important and enduring ideas: that of divine sonship and that of reconciliation among peoples.

In a sense Maimonides identifies his views on the subject of divine providence with those of Epicurus. He does so by implying an analogy between this Greek philosopher’s atheistic opinions and those put forth by Elihu in the Book of Job. Despite the fact that commentators have discussed Maimonides’ views on providence for eight hundred years the only one to refer to the connection between Elihu and Epicurus was Joseph Ibn Kaspi in the fourteenth century. One of the consequences of this analogy is a modification of our understanding of Maimonides’ concept of “providence according to the intellect.” Whereas Moshe Narboni and other commentators have understood Maimonides’ concept of providence to involve a unification of the human intellect with the Active Intellect, the association with Epicurus suggests an emphasis on the human individual’s material faculties such as the imagination. Indeed, it is possible that, following Al-Fārābī, Maimonides rejected the possibility of conjunction with the Active Intellect altogether, and that “providence according to the intellect” consists of nothing more than the activity of the human individual’s material faculties.

Why do painters sometimes wish they were poets--and why do poets sometimes wish they were painters? What happens when Rembrandt spells out Hebrew in the sky or Poussin spells out Latin on a tombstone? What happens when Virgil, Ovid, or Shakespeare suspend their plots to describe a fictitious painting? In Mute Poetry, Speaking Pictures, Leonard Barkan explores such questions as he examines the deliciously ambiguous history of the relationship between words and pictures, focusing on the period from antiquity to the Renaissance but offering insights that also have much to say about modern art and literature. The idea that a poem is like a picture has been a commonplace since at least ancient Greece, and writers and artists have frequently discussed poetry by discussing painting, and vice versa, but their efforts raise more questions than they answer. From Plutarch (\"painting is mute poetry, poetry a speaking picture\") to Horace (\"as a picture, so a poem\"), apparent clarity quickly leads to confusion about, for example, what qualities of pictures are being urged upon poets or how pictorial properties can be converted into poetical ones. The history of comparing and contrasting painting and poetry turns out to be partly a story of attempts to promote one medium at the expense of the other. At the same time, analogies between word and image have enabled writers and painters to think about and practice their craft. Ultimately, Barkan argues, this dialogue is an expression of desire: the painter longs for the rich signification of language while the poet yearns for the direct sensuousness of painting.