By Hilaire Kallendorf
Winner of the 2011 Bainton Prize for Reference Works The "canon" of Hispanic mysticism is increasing. now not is our photo of this precise model of early glossy devotional perform restricted to a handful of venerable saints. in its place, we realize a variety of "marginal" figures as practitioners of mysticism, extensively outlined. Neither will we restrict the learn of mysticism unavoidably to the Christian faith, nor even to the area of literature. Representations of mysticism also are present in the visible, plastic and musical arts. The terminology and theoretical framework of mysticism permeate early sleek Hispanic cultures. sarcastically, by way of taking a extra inclusive method of learning mysticism in its "marginal" manifestations, we draw mysticism--in all its advanced iterations--back towards its rightful position on the middle of early sleek non secular event. members comprise: Colin Thompson, Alastair Hamilton, Christina Lee, Clara E. Herrera, Darcy Donahue, Elena del Rio Parra, Evelyn Toft, Fernando Duran Lopez, Francisco Morales, Freddy Dominguez, Glyn Redworth, Jane Ackerman, Jessica Boon, Jose Adriano de Freitas Carvalho, Luce Lopez-Baralt, Maria Carrion, Maryrica Lottman, and Tess Knighton.
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Extra resources for A New Companion to Hispanic Mysticism
124–25). 21 Poutrin, La voile et la plume, pp. 100–06. religious autobiography 27 texts than the Bishop of Hippo perceived Him to be, for He manifests Himself through supernatural experiences. To the Spanish mystics of the early modern period, God speaks at all hours (not only God, but also the Virgin Mary, the saints, the virtuous departed, and the demons); for these women aim to be something that Augustine never was: prophets. God uses them as intermediaries to speak to men, but at the same time there are many other intermediaries between them and the men.
As Poutrin has studied,21 this confusion of powers generates an uncertainty and tension in the nuns which is reflected in the rhetoric that is so characteristic of this genre. On the one hand, these women are encouraged to practice a supernatural and mystical spirituality; but at the same time, perceived threats seem to multiply in response to possible “deviations”. These women are never sure whether they will be considered saints or charlatans. This dynamic is translated into fear, mental disorder, or flight toward an interior universe, emotions which are detectible in their works through frequent allusions to the Inquisition, to possible false visions, to their horror of falling into heresy, or to the process of submitting whatever they write to the higher authorities.
In this sense, spiritual directors participate fully in the creative process. 19 The relationships of power and obedience are still present in the prefatory command to write the autobiography. An infinite number of sources of authority can also intervene, among them convents, orders and dioceses; judges and examiners of the Inquisition; and ultimately Rome. Frequently these authorities maintain opposing criteria and fight among themselves. Another of the principal functions of the autobiography written from obedience is so-called “spiritual discernment”, that is to say, control exerted over the orthodoxy of visionary 18 “Ne serait-il pas abusif, là où le couple auteur-confesseur est stable, de considérer ce dernier comme co-auteur du texte” (Poutrin, Le voile et la plume, p.