Santo

The history of women's spirituality and Christian mysticism demonstrates that women have been influential religious leaders even without benefit of priestly ordination and theological training. St. Catherine of Siena and St. Teresa of Avila are examples of women with visionary gifts of tremendous power. A less well-known Spanish visionary is Sor María of Santo Domingo, a Dominican tertiary of peasant lineage who became so famous for her raptures, austerities, and prophecies that the king, a cardinal, and nobles considered her a living saint. In 1948 research in the archives of the University of Zaragoza uncovered The Book of Prayer of Sor María of Santo Domingo (originally published around 1518) which had gone unnoticed for centuries. The text includes some of Sor María's ecstatic utterances and representations, and is a first-hand look at a women who in many ways is as representative of the early years of sixteenth century Spain as St. Teresa was of the later years. Giles' book provides the first English translation of this text as well as a study of Sor María and the issues that pushed her into the limelight.

Introduces the Brazilian new religion and treats it in relation to ongoing developments influencing the status, nature and future of religion in the modern world.

Conhecendo o Espírito Santo, a personalidade, o poder e a atuação da terceira pessoa da trindade. Esse livro aborda com profundidade bíblica e teológica a personalidade, o poder e a atuação da terceira pessoa da Trindade no plano de Deus para com a humanidade. A começar desde o processo da criação e da restauração após a queda, da capacitação após a conversão até a santificação final do homem e sua apresentação a Deus.

Las Maravillas del Santo Nombre. Escrita por el Padre Paul O Sullivan. Hoy en día muy pocos Católicos saben el asombroso poder que el Santo nombre de Jesús tiene. Nos exhorta a invocar el nombre de Jesús a menudo. Por medio del uso reverente del Santo Nombre, podemos glorificar a Dios, pedir su ayuda, pagar nuestras deudas espirituales, ayudar a las almas del Purgatorio, etc.

Crossing Borders with the Santo Niño de Atocha journeys through the genesis, development, and various metamorphoses in the veneration of the Holy Child of Atocha, from its origins in Zacatecas in the late colonial period through its different transformations over the centuries, across lands and borders, and to the ultimate rising as a defining religious devotion for the Mexican/Chicano experience in the United States. It is a vivid account of the historical origins of the Santo Niño de Atocha and His transformations "Everywhere He ever walked," first in the nineteenth century, along the Camino de Tierra Adentro between Zacatecas and New Mexico, to His consolidation as a saint for the Borderlands, and finally, to His contemporary metamorphosis as a border-crossing religious symbol for the immigrant experience and the Mexican/Chicano communities in the United States. Using a wide variety of visual and written materials from archives in Spain, Mexico, and the United States, along with oral history interviews, participant observation, photography, popular art, thanksgiving paintings, and private letters addressed to the Holy Child, Juan Javier Pescador presents the fascinating and intimate history of this religious symbol native to the Borderlands, while dispelling some myths and inaccurate references. Including narrative vignettes with his own personal experiences and fragments of his family's interactions with the Holy Child of Atocha, Pescador presents the book "as a thanksgiving testimony of the prominent position the Santo Niño de Atocha has enjoyed in the altarcitos of my family and the dear place He has carved in the hearts of my ancestors." Visit the author's website at www.pescadorarte.com to learn more and to see images of the Santo Niño de Atocha included in the book.

Thanks in large part to an exploitation film producer and distributor named K. Gordon Murray, a unique collection of horror films from Mexico began to appear on American late-night television and drive-in screens in the 1960s. Ranging from monster movies clearly owing to the heyday of Universal Studios to the lucha libre horror films featuring El Santo and the "Wrestling Women," these low-budget "Mexploitation" films offer plenty of campy fun and still inspire cult devotion, yet they also reward close study in surprising ways. This work places Mexploitation films in their historical and cultural context and provides close textual readings of a representative sample, showing how they can be seen as important documents in the cultural debate over Mexico's past, present and future. Stills accompany the text, and a selected filmography and bibliography complete the volume.