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Often called the musical equivalent of the Dead Sea Scrolls, the Trent codices have dramatically broadened our understanding of Renaissance music. Much has been written about this collection of fifteenth-century music manuscripts, most of which were discovered in the Cathedral at Trent, but none of the seven codices--generally called Trent 87 through Trent 93--has ever been published in its entirety. Thus Rebecca Gerber’s edition of Trent 88, which took more than a decade to prepare, will be the first to appear. As such, this volume is a landmark in the publication of early music. 

Trent 88 comprises an extensive anthology of 145 compositions tailored to the ceremonial and daily religious services of the period. The international scope of the collection is both impressive and significant: early English, French, German, and Spanish mass cycles appear alongside simple hymns and Magnificats. Music by renowned composers—including Guillaume Du Fay, Johannes Ockeghem, Johannes Cornago, and John Bedingham—is joined here by an even larger repertory of anonymous compositions with great aesthetic and historical value. Edited to accommodate both scholars and performers, and augmented with Gerber’s expert introduction, this volume will significantly deepen existing knowledge of a crucial period in the history of music.

A Gilded-Age Woman Who Devoted Her Life and Fortune to the American Dispossessed, Established Her Own Religious Order, and Was Ultimately Canonized
When Katharine Drexel was born in 1858, her grandfather, financier Francis Martin Drexel, had a fortune so vast he was able to provide a loan of sixty million dollars to the Union’s cause during the Civil War. Her uncle and mentor, Anthony, established Drexel University to provide instruction to the working class regardless of race, religion, or gender. Her stepmother was Emma Bouvier whose brother, John, became the great-grandfather of Jacqueline Bouvier Kennedy Onassis. Katharine Drexel’s family were American royalty. As a Philadelphia socialite, “Kitty,” as she was often called, adored formal balls and teas, rowing regattas, and sailing races. She was beautiful, intelligent, and high-spirited. But when her stepmother died in 1883, and her father two years later, a sense of desolation nearly overwhelmed her. She was twenty-seven and in possession of a staggering inheritance. Approached for aid by the Catholic Indian Missions, she surprised her family by giving generously of money and time. It was during this period of acute self-examination that she journeyed to Rome for a private audience with Pope Leo XIII. With characteristic energy and fervor, she detailed the plight of the Native Americans, and begged for additional missionaries to serve them. His reply astonished her. “Why not, my child, yourself become a missionary?”
In Saint Katharine: The Life of Katharine Drexel, Cordelia Frances Biddle recounts the extraordinary story of a Gilded Age luminary who became a selfless worker for the welfare and rights of America’s poorest persons. After years of supporting efforts on behalf of African Americans and American Indians, Katharine finally decided to follow her inner voice and profess vows. The act made headlines. Like her father and grandfather, she was a shrewd businessperson; she retained her financial autonomy and established her own order, the Sisters of the Blessed Sacrament. Until her death in 1955, she devoted herself and her inheritance to building much-needed schools in the South and Southwest, despite threats from the Ku Klux Klan and others. Pragmatic, sometimes willful, ardent, and a charismatic leader, Katharine Drexel was an indefatigable champion of justice and parity. When illness incapacitated her in later years, divine radiance was said to emanate from her, a radiance that led to her canonization on October 1, 2000.

Unlike most Mormon histories, Saints without Halos is a treatment of the human, rather than institutional side of Mormon history. Through the fascinating experiences of seventeen Latter-day Saints, Leonard J. Arrington and Davis Bitton sketch Mormonism from its earliest beginnings to modern times. These are Saints presented not as objects of veneration, but as "human beings who, like the rest of us, struggle to be worthy of the title Latter-day Saint." Two were apostles. One was an enthusiastic supporter and friend of Joseph Smith, who eventually left the main body of the Church to lead his own band to Texas. The other was a link in the chain of a renowned Mormon family whose positions in the leading councils of the Church span virtually the entire history of Mormonism. The other fifteen individuals, except for one colorful non-Mormon advocate, are "ordinary" Latter-day Saints-faithful members who helped realize the vision of their prophetic leaders: a personal friend of Joseph Smith, missionaries and converts, a plural wife, an Indian woman, a widowed immigrant, pioneers and philosophers, bishops and blacksmiths, and even a historian. In this book, the authors of The Mormon Experience draw on their vast knowledge of Mormon diaries and other first-hand accounts to disclose the rich diversity of Mormonism as well as its unity of purpose.

Addressing such problems as how saints are made, the use of saints by political and secular orders, and how holiness is personified, Saints takes us on a photo tour of Graceland and the cult of Elvis and explores the changing political takes on Joan of Arc in France. It shows us the self-fashioning of culture through the reevaluation of saints in late-antique Judaism and Counter-Reformation Rome, and it questions the political intent of underlying claims to spiritual attainment of a Muslim sheikh in Morocco and of Sephardism in Israel. Populated with the likes of Francis of Assisi, Teresa of Avila, and Padre Pio, this book is a fascinating inquiry into the status of saints in the modern world.

Sallie Martin combined fame as a performer with a far-sighted business acumen that brought Black gospel music to a national audience and laid the foundation for the industry that followed. Kay Norton’s biography follows Martin’s parallel careers from her early plans to grow the genre through her celebrity in the 1960s–1970s and eventful retirement. “Same old Sallie Martin, same old Jesus,” she once told audiences, a reflection of both her musical style and unapologetic approach to life. Cofounder of the National Conference of Gospel Choirs and Choruses, Martin also co-established the pioneering Black music publisher Martin and Morris Music Studio. Her group the Sallie Martin Singers took Chicago gospel to all points of the compass and Martin mentored and employed dozens of aspiring vocalists and instrumentalists. Norton looks at Martin’s important relationships and the challenges she faced, while placing her accomplishments and legacy on the arc of gospel music history. In-depth and powerful, Sallie Martin, Mother of Gospel Music tells the story of one woman’s role in shaping the music and business of Black gospel.

Over nearly three centuries, Jesuit, Franciscan, and Dominican missionaries built a network of churches throughout the “new world” of New Spain. Since the early twentieth century, scholars have studied the colonial architecture of southern New Spain, but they have largely ignored the architecture of the north. However, as this book clearly demonstrates, the colonial architecture of Northern New Spain—an area that encompasses most of the southwestern United States and much of northern Mexico—is strikingly beautiful and rich with meaning. After more than two decades of research, both in the field and in archives around the world, Gloria Fraser Giffords has authored the definitive book on this architecture.

Giffords has a remarkable eye for detail and for images both grand and diminutive. Because so many of the buildings she examines have been destroyed, she sleuthed through historical records in several countries, and she discovered that the architecture and material culture of northern New Spain reveal the influences of five continents. As she examines objects as large as churches or as small as ornamental ceramic tile she illuminates the sometimes subtle, sometimes striking influences of the religious, social, and artistic traditions of Europe (from the beginning of the Christian era through the nineteenth century), of the Muslim countries ringing the Mediterranean (from the seventh through the fifteenth centuries), and of Northern New Spain’s indigenous peoples (whose art influenced the designs of occupying Europeans).

Sanctuaries of Earth, Stone, and Light is a pathbreaking book, featuring 200 stunning photographs and over 300 illustrations ranging from ceremonial garments to detailed floor plans of the churches.

The first analytical history of Sarnath, the place where the Buddha preached his first sermon and established the Buddhist monastic order.
 
Sarnath has long been regarded as the place where the Buddha preached his first sermon and established the Buddhist monastic order. Excavations at Sarnath have yielded the foundations of temples and monastic dwellings, two Buddhist reliquary mounds (stupas), and some of the most important sculptures in the history of Indian art. This volume offers the first critical examination of the historic site.
 
Frederick M. Asher provides a longue durée (long-term) analysis of Sarnath—including the plunder, excavation, and display of antiquities and the Archaeological Survey of India’s presentation—and considers what lies beyond the fenced-in excavated area. His analytical history of Sarnath’s architectural and sculptural remains contains a significant study of the site’s sculptures, their uneven production, and their global distribution. Asher also examines modern Sarnath, which is a living establishment replete with new temples and monasteries that constitute a Buddhist presence on the outskirts of Varanasi, the most sacred Hindu city.
 

Over the course of his twenty-five-year career, Jeffrey J. Kripal’s study of religion has had two major areas of focus: the erotic expression of mystical experience and the rise of the paranormal in American culture. This book brings these two halves together in surprising ways through a blend of memoir, manifesto, and anthology, drawing new connections between these two realms of human experience and revealing Kripal’s body of work to be a dynamic whole that has the potential to renew and reshape the study of religion.
            Kripal tells his story, biographically, historically and politically contextualizing each of the six books of his Chicago corpus, from Kali’s Child to Mutants and Mystics, all the while answering his censors and critics and exploring new implications of his thought. In the process, he begins to sketch out a speculative “new comparativism” in twenty theses. The result is a new vision for the study of religion, one that takes in the best of the past, engages with outside critiques from the sciences and the humanities, and begins to blaze a new positive path forward. A major work decades in the making, Secret Body will become a landmark in the study of religion.
 

Jerusalem currently stands at the center of a violent controversy that threatens the stability of both the Middle East and the world. This volatility, observes Annabel Jane Wharton, is only the most recent manifestation of a centuries-old obsession with the control of the Holy City—military occupation and pilgrimage being two familiar forms of “ownership.” Wharton makes the innovative argument here that the West has also sought to possess Jerusalem by acquiring its representations. 

From relics of the True Cross and Templar replicas of the Holy Sepulchre to Franciscan recreations of the Passion to nineteenth-century mass-produced prints and contemporary theme parks, Wharton describes the evolving forms by which the city has been possessed in the West. She also maps those changing embodiments of the Holy City against shifts in the western market. From the gift-and-barter economy of the early Middle Ages to contemporary globalization, both money and the representations of Jerusalem have become progressively incorporeal, abstract, illusionistic, and virtual. 

Selling Jerusalem offers a penetrating introduction to the explosive combination of piety and capital at work in religious objects and global politics. It is sure to interest students and scholars of art history, economic history, popular culture, religion, and architecture, as well as those who want to better understand Jerusalem’s problematic place in history.

A reflection on the role of suffering in human existence. 

It’s right there in the Book of Job: “Man is born unto trouble as the sparks fly upward.” Suffering is an inescapable part of the human condition—which leads to a question that has proved just as inescapable throughout the centuries: Why? Why do we suffer? Why do people die young? Is there any point to our pain, physical or emotional? Do horrors like hurricanes have meaning?
 
In Seven Ways of Looking at Pointless Suffering, Scott Samuelson tackles that hardest question of all. To do so, he travels through the history of philosophy and religion, but he also attends closely to the real world we live in. While always taking the question of suffering seriously, Samuelson is just as likely to draw lessons from Bugs Bunny as from Confucius, from his time teaching philosophy to prisoners as from Hannah Arendt’s attempts to come to terms with the Holocaust. He guides us through the arguments people have offered to answer this fundamental question, explores the many ways that we have tried to minimize or eliminate suffering, and examines people’s attempts to find ways to live with pointless suffering. Ultimately, Samuelson shows, to be fully human means to acknowledge a mysterious paradox: we must simultaneously accept suffering and oppose it. And understanding that is itself a step towards acceptance.
 
Wholly accessible, and thoroughly thought-provoking, Seven Ways of Looking at Pointless Suffering is a masterpiece of philosophy, returning the field to its roots—helping us see new ways to understand, explain, and live in our world, fully alive to both its light and its darkness.

The Shakers are known for self-denial and austerity in everyday living and their material world, as embodied by the heavenly simplicity and purity of their chairs and blanket chests. Yet the believers also enjoyed a diversity of visual pleasures, from flowers, sunsets, rainbows, and the northern lights as seen at home to waterfalls, ocean waves, and dramatic cliffs viewed while traveling across America.

In Shaker Vision, Joseph Manca explores original texts, especially diaries and travel journals, and material culture to demonstrate that Shakers enjoyed a remarkably deep experience of the visual world. Shakers shared tastes with mainstream Americans and often employed a similar aesthetic vocabulary, but all within a belief system that made them distinct. In addition to their well-known ascetic architecture, furniture, and handicraft styles, they expressed themselves through ornate and detailed spiritual art and in vivid, visionary experiences. Based on firsthand accounts of the believers themselves, this richly illustrated volume will dramatically change how we assess the visual world of this uniquely American religious sect.

Brayton Polka takes both a textual and theoretical approach to seven plays of Shakespeare: Macbeth, Othello, Twelfth Night, All’s Well That Ends Well, Julius Caesar, Troilus and Cressida, and Hamlet. He calls upon the Bible and the ideas of major European thinkers, above all, Kierkegaard and Spinoza, to argue that the concept of interpretation that underlies both Shakespeare’s plays and our own lives as moderns is the golden rule of the Bible: the command to love your neighbor as yourself. What you will (the alternative title of Twelfth Night ) thus captures the idea that interpretation is the very act by which we constitute our lives. For it is only in willing what others will—in loving relationships—that we enact a concept of interpretation that is adequate to our lives.

Polka argues that it is the aim of Shakespeare, when representing the ancient world in plays like Julius Caesar and Troilus and Cressida, and also in his long narrative poem “The Rape of Lucrece,” to dramatize the fundamental differences between ancient (pagan) values and modern (biblical) values or between what he articulates as contradiction and paradox. The ancients are fatally destroyed by the contradictions of their lives of which they remain ignorant. In contrast, we moderns in the biblical tradition, like those who figure in Shakespeare’s other works, are responsible for addressing and overcoming the contradictions of our lives through living the interpretive paradox of “what you will,” of treating all human beings as our neighbor. Shakespeare’s comedies and tragedies, notwithstanding their dramatically different form, share this interpretive framework of paradox. As the author shows in his book, texts without interpretation are blind and interpretation without texts is empty.

Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
 

In the late 1820s a fiery young minister in western Ohio converted nearly 1,000 proselytes to the Reformed Baptist Movement. As these schismatics organized themselves into the new Disciples of Christ church, the Reverend Sidney Rigdon was already aligning himself with another, more radical movement, the Latter-day Saints, where he quickly became the LDS prophet’s principal advisor and spokesman. He served Joseph Smith loyally for the next fourteen years, even through a brief spat over the prophet’s romantic interest in his teenage daughter.

Next to Smith, Rigdon was the most influential early Mormon. He imported Reformed Baptist teachings into Latter-day Saint theology, wrote the canonized Lectures on Faith, championed communalism and isolationism, and delivered many of the most significant early sermons, including the famous Salt Sermon and the Ohio temple dedicatory address.

Following Smith’s death, Rigdon parted company with Brigham Young to lead his own group of some 500 secessionists Mormons in Pennsylvania. Rigdon’s following gradually dwindled, as the one-time orator took to wandering the streets, taunting indifferent passersby with God’s word. He was later recruited by another Mormon faction. Although he refused to meet with them, he agreed to be their prophet and send revelations by mail. Before long he had directed them to settle far-off Iowa and Manitoba, among other things. At his death, his followers numbered in the hundreds, and today they number about 10,000, mostly in Pennsylvania.

“Rigdon is a biographer’s dream,” writes Richard Van Wagoner. Intellectually gifted, manic-depressive, an eloquent orator and social innovator but a chronic indigent, Rigdon aspired to altruism but demanded advantage and deference. When he lost prominence, his early attainments were virtually written out of the historical record.

Correcting this void, Van Wagoner has woven the psychology of religious incontinence into the larger fabric of social history. In doing so, he reminds readers of the significance of this nearly-forgotten founding member of the LDS First Presidency. Nearly ten million members in over one hundred churches trace their heritage to Joseph Smith. Many are unaware of the importance of Rigdon’s contributions to their inherited theology.

Hymns and hymnbooks as American historical and cultural icons.

This work is a study of the importance of Protestant hymns in defining America and American religion. It explores the underappreciated influence of hymns in shaping many spheres of personal and corporate life as well as the value of hymns for studying religious life. Distinguishing features of this volume are studies of the most popular hymns (“Amazing Grace,” “O, For a Thousand Tongues to Sing,” “All Hail the Power of Jesus’ Name”), with attention to the ability of such hymns to reveal, as they are altered and adapted, shifts in American popular religion. The book also focuses attention on the role hymns play in changing attitudes about race, class, gender, economic life, politics, and society.

Spinoza’s Ethics, and its project of proving ethical truths through the geometric method, have attracted and challenged readers for more than three hundred years. In Spinoza and the Cunning of Imagination, Eugene Garver uses the imagination as a guiding thread to this work. Other readers have looked at the imagination to account for Spinoza’s understanding of politics and religion, but this is the first inquiry to see it as central to the Ethics as a whole—imagination as a quality to be cultivated, and not simply overcome.

​Spinoza initially presents imagination as an inadequate and confused way of thinking, always inferior to ideas that adequately represent things as they are. It would seem to follow that one ought to purge the mind of imaginative ideas and replace them with rational ideas as soon as possible, but as Garver shows, the Ethics don’t allow for this ultimate ethical act until one has cultivated a powerful imagination. This is, for Garver, “the cunning of imagination.” The simple plot of progress becomes, because of the imagination, a complex journey full of reversals and discoveries. For Garver, the “cunning” of the imagination resides in our ability to use imagination to rise above it.

Spirituals performed by jubilee troupes became a sensation in post-Civil War America. First brought to the stage by choral ensembles like the Fisk Jubilee Singers, spirituals anchored a wide range of late nineteenth-century entertainments, including minstrelsy, variety, and plays by both black and white companies. In the first book-length treatment of postbellum spirituals in theatrical entertainments, Sandra Jean Graham mines a trove of resources to chart the spiritual's journey from the private lives of slaves to the concert stage. Graham navigates the conflicting agendas of those who, in adapting spirituals for their own ends, sold conceptions of racial identity to their patrons. In so doing they lay the foundation for a black entertainment industry whose artistic, financial, and cultural practices extended into the twentieth century. A companion website contains jubilee troupe personnel, recordings, and profiles of 85 jubilee groups. Please go to: http://www.press.uillinois.edu/books/graham/spirituals/

During the Middle Ages, philosophers and theologians argued over the extramental reality of universal forms or essences. In the early modern period, the relation between subjectivity and objectivity, the individual self and knowledge of the outside world, was a rich subject of debate. Today, there is considerable argument about the relation between spontaneity and determinism within the evolutionary process, whether a principle of spontaneous self-organization as well as natural selection is at work in the aggregation of molecules into cells and the development of primitive forms of life into complex organisms. In Subjectivity, Objectivity and Intersubjectivity, Joseph A. Bracken proposes that what is ultimately at stake here is the age-old problem of the relationship between the One and the Many, universality and particularity on different levels of existence and activity within nature.

 

This is the 2016 paperback printing of the 2008 edition of the popular text, translation, and commentary by S. A. Farmer. (The 2008 edition was a revised edition of the 1998 original publication).

Published by ACMRS (Arizona Center for Medieval and Renaissance Studies) in Tempe, Arizona as part of the MRTS (Medieval and Renaissance Texts and Studies) Series, this book -- previously available only in hardcover and otherwise out-of-print since 2014 -- is now available in its entirety in paperback format.