Examining the vivid, often apocalyptic church murals of Peru from the early colonial period through the nineteenth century, Heaven, Hell, and Everything in Between explores the sociopolitical situation represented by the artists who generated these murals for rural parishes. Arguing that the murals were embedded in complex networks of trade, commerce, and the exchange of ideas between the Andes and Europe, Ananda Cohen-Aponte also considers the ways in which artists and viewers worked through difficult questions of envisioning sacredness.
This study brings to light the fact that, unlike the murals of New Spain, the murals of the Andes possess few direct visual connections to a pre-Columbian painting tradition; the Incas’ preference for abstracted motifs created a problem for visually translating Catholic doctrine to indigenous congregations, as the Spaniards were unable to read Inca visual culture. Nevertheless, as Cohen Suarez demonstrates, colonial murals of the Andes can be seen as a reformulation of a long-standing artistic practice of adorning architectural spaces with images that command power and contemplation. Drawing on extensive secondary and archival sources, including account books from the churches, as well as on colonial Spanish texts, Cohen Suarez urges us to see the murals not merely as decoration or as tools of missionaries but as visual archives of the complex negotiations among empire, communities, and individuals.
In The New Flatlanders, teacher, scientist, and chaplain Eric Middleton challenges traditional ways of looking at reality by engaging readers in a "voyage of discovery starting with questions." The book engagingly begins with a discussion group embarking on an exploratory conversation about the nature of the universe and the place of human beings in it. Daunting questions emerge, such as "How can there possibly be a tear or hole in three-dimensional space? And if there is a hole, can something fall through it? Where would it fall to?" In short order, students and teacher are on a quest to develop a "working theory of everything" that takes them from stone circles to quarks, superstrings, quantum theory, the anthropic principle, evolution, consciousness, miracles, chaos, and the spiritual universe.
The key to exploring these questions is finding a language with which to talk about the awe and wonder of today's science alongside the joy of experiencing the spiritual. This is done by interweaving into the discussions the philosophy of "Flatland," a nonreligious entry point to Jesus posited by nineteenth-century clergyman and educator Edwin A. Abbott in his classic parable Flatland: A Romance of Many Dimensions.
One Kind of Everything elucidates the uses of autobiography and constructions of personhood in American poetry since World War II, with helpful reference to American literature in general since Emerson. Taking on one of the most crucial issues in American poetry of the last fifty years, celebrated poet Dan Chiasson explores what is lost or gained when real-life experiences are made part of the subject matter and source material for poetry. In five extended, scholarly essays—on Robert Lowell, Elizabeth Bishop, Frank Bidart, Frank O’Hara, and Louise Glück—Chiasson looks specifically to bridge the chasm between formal and experimental poetry in the United States. Regardless of form, Chiasson argues that recent American poetry is most thoughtful when it engages most forcefully with autobiographical material, either in an effort to embrace it or denounce it.
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