Seduction And Sacrilege

Yet decreasing numbers of late twentieth-century and early twenty-first-century readers are familiar with the novel, due to many factors including its length (six volumes), subject matter (preaching), and a legacy of critical evaluation as a narrative lacking plot and psychological depth."--BOOK JACKET.

Miracles and Sacrilege is the story of the epochal conflict between censorship and freedom in film, recounted through an in-depth analysis of the U.S. Supreme Court’s decision striking down a government ban on Roberto Rossellini’s film The Miracle (1950). In this extraordinary case, the Court ultimately chose to abandon its own longstanding determination that film comprised a mere ‘business’ unworthy of free-speech rights, declaring for the first time that the First Amendment barred government from banning any film as ‘sacreligious.’ Using legal briefs, affidavits, and other court records, as well as letters, memoranda, and other archival materials to elucidate what was at issue in the case, William Bruce Johnson also analyzes the social, cultural, and religious elements that form the background of this complex and hard-fought controversy, focusing particularly on the fundamental role played by the Catholic Church in the history of film censorship. Tracing the development of the Church in the United States, Johnson discusses the reasons it found The Miracle sacrilegious and how it attained the power to persuade civil authorities to ban it. The Court’s decision was not only a milestone in the law of church-state relations, but it paved the way for a succession of later decisions which gradually established a firm legal basis for freedom of expression in the arts.

Nietzsche, Tension, and the Tragic Disposition exposes the role of tension in Nietzsche’s recovery, in his mature thought, of the Greek tragic disposition. Matthew Tones examines the ontological structure of the tragic disposition presented in Nietzsche's earliest work on the Greeks and then explores its presence in points of tension in the more mature concerns with nobility. In pursuing this ontological foundation, Tones builds upon the centrality of a naturalist argument derived from the influence of the pre-Platonic Greeks. He examines the ontological aspect of the tragic disposition, identified in Nietzsche’s earliest interpretations of Greek phusis and in the inherent tensions of the chthonic present in this hylemorphic foundation, to demonstrate the importance of tension to Nietzsche’s recovery of a new nobility. By bringing to light the functional importance of tension in the ontological for the Greeks, the book identifies varying points of tension present in different aspects of Nietzsche’s later work. Once these aspects are elaborated, the evolving influence of tension is shown to play a central role in the re-emergence of the noble who possesses the tragic disposition. With solid argumentation linking Nietzsche with the pre-Platonic Greek tradition, Nietzsche, Tension, and the Tragic Disposition brings new insights to studies of metaphysics, ontology, naturalism, and German, continental, and Greek philosophies.

Douglas Fairbanks and the American Century brings to life the most popular movie star of his day, the personification of the Golden Age of Hollywood. At his peak, in the teens and 1920s, the swashbuckling adventurer embodied the new American century of speed, opportunity, and aggressive optimism. The essays and interviews in this volume bring fresh perspectives to his life and work, including analyses of films never before examined. Also published here for the first time in English is a first-hand production account of the making of Fairbanks's last silent film, The Iron Mask. Fairbanks (1883–1939) was the most vivid and strenuous exponent of the American Century, whose dominant mode after 1900 was the mass marketing of a burgeoning democratic optimism, at home and abroad. During those first decades of the twentieth century, his satiric comedy adventures shadow-boxed with the illusions of class and custom. His characters managed to combine the American easterner's experience and pretension and the westerner's promise and expansion. As the masculine personification of the Old World aristocrat and the New World self-made man—tied to tradition yet emancipated from history—he constructed a uniquely American aristocrat striding into a new age and sensibility. This is the most complete account yet written of the film career of Douglas Fairbanks, one of the first great stars of the silent American cinema and one of the original United Artists (comprising Fairbanks, Mary Pickford, Charlie Chaplin, and D. W. Griffith). John C. Tibbetts and James M. Welsh's text is especially rich in its coverage of the early years of the star's career from 1915 to 1920 and covers in detail several films previously considered lost.

Despite some gaps in coverage, the Incomplete Commentary on Matthew has long been prized for its early and lengthy exposition of the Gospel of Matthew. Thomas Aquinas noted that he would rather have a complete copy of the Incomplete Commentary on Matthew than to be mayor of Paris. Offered here for the first time in English translation is a wonderful resource designed for pastors, teachers, students and lay people interested in the early church's interpretation of Matthew's Gospel.

The eighteenth century in New Spain witnessed major changes: among these, one of the most significant was the adoption of French customs among the upper groups of society in response to the spreading ideas of the Enlightenment. These new ideas, it has been assumed, brought a relaxation of social customs. But Viqueira Alban takes this assumption, and raises the question: Was it really a period of relaxation of social customs, in this age of growth without development? He discovered that the movement of rural workers and their families to urban centers created a concern within the church and government hierarchy about the threat of disorder, leading to the need for new social restraints. This new text is ideal for colonial Latin American survey courses, courses on the history of Mexico and Latin American literature, and courses on the popular culture and social history of Latin America.

Using the example of Eichstatt, this book challenges current witchcraft historiography by arguing that the gender of the witch-suspect was a product of the interrogation process and that the stable communities affected by persecution did not collude in its escalation.