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The last inquisition tribunal established in the Spanish empire was founded in Cartagena de las Indias, in Colombia, in 1610. It appears that Spanish inquisitors in Cartagena prosecuted and executed far fewer people than their counterparts in Mexico City and Lima, though in contrast to those cities’ archives Cartagena’s records have been curtailed by adverse weather conditions, termites (comejénes), and the destruction of the city in 1697 by the French corsair, Baron of Pointis. As a result, few inquisition trials have survived in their entirety; we primarily know about Cartagena’s prosecutions through the case summaries that inquisitors periodically sent to the inquisition leadership in Madrid. This chapter presents an overview of the crimes, victims, and power dynamics that characterized Cartagena’s Inquisition. It highlights the ways in which the pageantry of public celebrations, the secrecy of the tribunal’s inner workings, and local and metropolitan politics affected rivalries and alliances in the region, and thereby influenced inquisitorial decisions.
Visual and textual evidence from the Mediterranean region indicates the continued significance, complexity, opacity, and versatility of veiling practices among the late ancients. For women of this era (including Christians and Jews), veiling was entwined with performances of social status, honor, shame, deference, and obligations to others and the gods. Veiling was part and parcel of the formation of religious and liturgical subjects in the late ancient imaginary.
The trope that nature is a woman who hides or reveals herself has been around at least since the time of the presocratic philosopher, Heraclitus, who remarked: “Nature loves to hide.” This chapter introduces the allegorical representation of nature and truth as a veiled woman in diverse texts from Platonic philosophy and late ancient biblical interpretation to medieval literature and post-Enlightenment visual arts. This introduction also includes an examination of twenty-first century political contexts of veiling, and it presents an outline of the plan of the book.
For centuries, Christians believed that the biblical letters of 1, 2, and 3 John were penned by a disciple of Jesus. Today, scholars speculate that the three are artifacts of a lost 'Johannine Community.' In this groundbreaking study, however, Hugo Méndez challenges both paradigms, meticulously laying out the evidence that the Epistles are, instead, a series of falsely authored works. The texts position themselves as works by a single author. In reality, they were penned by three different writers in a chain of imitation, creative adaptation, and invention. Through incisive, close readings of the Epistles, Méndez clarifies their meaning and purpose, demystifying their most challenging sections. And by placing these works in dialogue with Greco-Roman pseudo-historical writing, he uncovers surprising links between Classical and early Christian literature. Bold, comprehensive, and deeply original, this book dismantles older scholarly views while proposing new and exciting approaches to these enigmatic texts.
In late antiquity as in the present age, death left its mark on the lives of families, communities, and societies. Syriac funerary hymns provide important insights into the social, emotional, funerary ritual histories of early Christian communities. Maria Doerfler here explores this body of largely ignored literature that has been attributed to Ephrem the Syrian. Different parts of the collection focus on individuals from a variety of social and ecclesiastical backgrounds: women and children, clergy and ascetics, as well as those who fell victim to natural disasters. The hymns provide insights not only into Syriac Christian ideas about death and the afterlife, but also into their existence, beliefs, and practices more broadly. Through engagement with different theoretical lenses, Doerfler uses instances of personal and communal crisis to elucidate historical and philosophical patterns among late antique Christians, addressing, inter alia, their responses to pandemics, understanding of wealth, and forging communal bonds that transcended death.
Divine simplicity is plausibly seen as a biblical doctrine, given a standard account of the way doctrine is derived from Scripture. The polemic of Jeremiah 10 against ancient Near Eastern mis pî or ‘mouth opening’ rituals involves a commitment to a radical account of divine aseity. In dialogue with Thomas Aquinas and a number of contemporary figures, I suggest this view of divine aseity might plausibly be thought to lead to the inference to divine simplicity.
Although new religious movements (NRMs) are characterized as diverse and unique, this Element analyzes the cultural logic underlying this apparent diversity from a sociological approach. Section 1 demonstrates that NRMs are substantially shaped by the Romantic counterculture emerging around the 1960s and its critique of churched religion, modern industries, science, and capitalism. Section 2 shows how these Romantic NRMs shaped the Western mainstream in the twenty-first century. Subsequent sections discuss the institutionalization of New Age spirituality in health care and business; the mediatization of modern paganism in film, television series, and online games; and the emergence of new NRMs in Silicon Valley that are formed around technologies of salvation (virtual reality, artificial intelligence, and biotechnology). The Element concludes that the Romantic spirit of the NRMs – once distinctly countercultural – has paradoxically developed into a driving ideological force that now consolidates and strengthens the machineries of late-modern institutions.
This Element reassesses narratives of intercultural transmission in medieval European magic, highlighting complex processes of compilation and attribution often obscured by broad labels. Following an Introduction that lays out the methodological framework, Section 1 ('The Wise Saracens') explores a medieval Christian magician's depiction of Islam and the figure of the Arab magician, illustrating how authors blended genuine intercultural exchanges with imaginative attributions. Section 2 ('The Seven Names') reconsiders a Latin magical text traditionally labeled 'Arabic magic,' demonstrating that its complex, multicultural components resist any simple claims of a lost Arabic original. Section 3 ('The Almandel Problem') presents another contested text, showing how philological evidence often complicates a linear model of transmission. Finally, this volume offers a complete edition and translation of The Book of Seven Names, discussed in Section 2.
The Christian Holy Land is defined by and through representation. Images of Christ’s life, death and resurrection draw on scriptural details to set sacred events in a Palestinian landscape. A desire to witness locations marked by divine presence propels Christian travellers towards monuments built to enshrine the terrestrial traces of the faith’s central mysteries. Shortly after the fourth-century construction of Jerusalem’s Church of the Holy Sepulchre, Bishop Eusebius of Caesarea declared that the sight of Christ’s empty tomb in the structure testified to the truth of the Gospels ‘by facts louder than any voice’.1 Textual descriptions, visual depictions and monumental designs soon began to reference the church’s characteristic architectural features. This intentional layering of structure and Scripture enabled readers, viewers and users to activate these associations from afar.
Why were sixteenth-century Europeans willing to risk their lives to attack 'mere matter' - images, lamps, altars, vestments? The most influential medieval liturgical commentary, William Durand's Rationale divinorum officiorum, offers an answer. Reading Durand to excavate the meaning of churches, altars, vestments, this book reveals the stunning scope of Reformation reconceptualization of worship, time, and matter. For Durand, liturgy was an ongoing praxis in which Scripture and Creation were in constant dialogue, leading to an ever-richer understanding of divine revelation. In attacking the made world - what human beings had fashioned from prime matter - Protestants sundered Creation from the liturgy and fundamentally changed how liturgy was understood, and what both Protestants and Catholics held the relationship between divine revelation and matter to be. Altars and vestments became 'objects' to which human beings gave meaning. As the sixteenth century redefined liturgy as a verbal practice, time, matter, and worship were realigned.
This groundbreaking Companion explores how Counter-Reformation sanctity reshaped religious identities, sacred traditions, and devotional practices that transformed Catholicism into the first global religion. Offering a fresh perspective on early modern Catholicism, it moves beyond traditional debates about Reformation and Reform and presents sanctity as the defining lens through which to view the period's transformative changes. By examining the lives, representations, and global impact of saints, the Companion demonstrates how sanctity countered the Protestant challenge and also transformed the very fabric of Catholicism between 1500 and 1750. Organized into four thematic sections – models of sanctity, the creation and contestation of sanctity, the representation of saints, and everyday interactions with saints – the volume also provides insight into the role of holiness during this pivotal period in Church history. Connecting history, theology, art history, and material culture, this interdisciplinary Companion serves as an indispensable resource for scholars and students seeking a comprehensive understanding of early modern Catholicism's influence on European and global history.
Afrodescendant religious music in the Caribbean and Latin America typically foregrounds drumming and centuries-old songs of praise to spirit deities. In recent years, a new form of worship, known as a violín or toque de violín, which features the violin alongside the guitar, electronic piano, and/or other instruments commonly associated with popular music, has gained popularity in Cuba. Violines can be understood as loosely defined spaces for performance that developed in a context of cultural oppression and dominance. They can be viewed as a concession to Eurocentric and secular tastes, or as a blackening/creolizing of those same practices, or both. They express religious faith in pluralistic ways, incorporating repertoire from various Black religions alongside influences from folk Catholicism, and classical, commercial, and folkloric music. Drawing from an encyclopedic knowledge of Cuban music, ethnographic work, and interviews, Robin D. Moore's groundbreaking book is the first to explore the compelling violín ceremony in detail.
This Element explores emerging forms of religiosity among Japanese young adults. It argues that existing frameworks are insufficient to capture the nuances of youth religiosity in the Era of Virtuality. It introduces the concepts of “2.5-dimensional religion” and “subjective ritualization” to explain how young people engage with digital, fictional, and embodied practices that blur the boundaries between reality and imagination. Drawing from examples such as oshi-katsu (fandom-based devotional practices), 2.5-D musicals, tulpa creation, and anime pilgrimage, it identifies a shift from narrative-based subjective myths to embodied and participatory subjective rituals. It demonstrates the ways that contemporary Japanese youth express their religiosity through affective ties, performative engagements, and layered identities in both physical and digital environments. The Element contributes a new theoretical lens for understanding religion across cultures in an age defined by fragmented identities, technological mediation, and the search for connection through affectively charged, often playful, quasi-religious practices.
Scholarship on ancient Greek prayer has almost always focused on its public instantiations: in sacrifice, oratory, sanctuary contexts, etc. This chapter explores the evidence for ancient Greek prayer in the liminal space where public and private clash, coalesce, and collapse. I argue that the prayers of ancient polytheists, though rarely – if ever – strictly private, routinely operated across and between different spheres such as the public and the private, the polis and the oikos, the intimate and the communal. I approach the study of ancient prayer afresh, not as a site of opposition between the individual and the polis, nor as a space in which the distinctions between these realms of praxis are erased or effaced. Rather, prayer here features as an occasion to reflect on the spectrum of possible intersections between personal piety (individual feelings towards and actions in service of the divine) and the wider superstructures of religion, politics, society, and culture within which its practitioners were imbricated and to which they sought to respond.
Herodotus’ Historiesare filled with instances of personal engagement with the supernatural. If we consider that phenomenon in the specific terms of ‘personal religion’, new patterns and questions emerge. This chapter demonstrates not only that personal religion in Herodotus tends to resolve itself in the political, but that this reinforces the point that there was no strict boundary between personal and polis religion. Most of the people whose experiences Herodotus relates remain ‘public figures’, and Herodotus’ historical narrative, by its nature, devotes significant attention to political affairs. Many episodes from the Histories involve atypical individuals. But their experiences with the divine nevertheless fit into common categories, and the concerns which lead these individuals to approach the divine are mostly nothing out of the ordinary. Herodotus’ stories reveal elements of personal religious practice which might otherwise be difficult to find in surviving sources. By considering both personal and civic aspects of Greek religious thought and practice in Herodotus’ work, we see the continuous presence of the gods in the lived experience of individuals.