Search results for ""Author Lilla""

The belief that the Virgin Mary was bodily assumed to be crowned as heaven’s Queen has been celebrated in the liturgy and literature of England since the fifth century. The upheaval of the Reformation brought radical changes in the beliefs surrounding the assumption and coronation, both of which were eliminated from state-approved liturgy. Queen of Heaven examines canonical as well as obscure images of the Blessed Mother that present fresh evidence of the incompleteness of the English Reformation. Through an analysis of works by writers such as Edmund Spenser, Henry Constable, Sir John Harington, and the writers of the early modern rosary books, which were contraband during the Reformation, Grindlay finds that these images did not simply disappear during this time as lost “Catholic” symbols, but instead became sources of resistance and controversy, reflecting the anxieties triggered by the religious changes of the era. Grindlay’s study of the Queen of Heaven affords an insight into England’s religious pluralism, revealing a porousness between medieval and early modern perspectives toward the Virgin and dispelling the notion that Catholic and Protestant attitudes on the subject were completely different. Grindlay reveals the extent to which the potent and treasured image of the Queen of Heaven was impossible to extinguish and remained of widespread cultural significance. Queen of Heaven will appeal to an academic audience, but its fresh, uncomplicated style will also engage intelligent, well-informed readers who have an interest in the Virgin Mary and in English Reformation history.

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The belief that the Virgin Mary was bodily assumed to be crowned as heaven’s Queen has been celebrated in the liturgy and literature of England since the fifth century. The upheaval of the Reformation brought radical changes in the beliefs surrounding the assumption and coronation, both of which were eliminated from state-approved liturgy. Queen of Heaven examines canonical as well as obscure images of the Blessed Mother that present fresh evidence of the incompleteness of the English Reformation. Through an analysis of works by writers such as Edmund Spenser, Henry Constable, Sir John Harington, and the writers of the early modern rosary books, which were contraband during the Reformation, Grindlay finds that these images did not simply disappear during this time as lost “Catholic” symbols, but instead became sources of resistance and controversy, reflecting the anxieties triggered by the religious changes of the era. Grindlay’s study of the Queen of Heaven affords an insight into England’s religious pluralism, revealing a porousness between medieval and early modern perspectives toward the Virgin and dispelling the notion that Catholic and Protestant attitudes on the subject were completely different. Grindlay reveals the extent to which the potent and treasured image of the Queen of Heaven was impossible to extinguish and remained of widespread cultural significance. Queen of Heaven will appeal to an academic audience, but its fresh, uncomplicated style will also engage intelligent, well-informed readers who have an interest in the Virgin Mary and in English Reformation history.

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In a 1985 series of “Lectures on one’s own country: Germany”, given at the Munich Kammerspiele, Joseph Beuys said that he developed his work “from language.” He regarded language as equal to visual art—a flexible material through which every individual could physically, intellectually, and communicatively participate in the process of re-ordering society. His exploration of language ranges from silence to hours of debate, from animal sounds to precise discussions of concepts and puzzling writings. Accordingly, the chapters are divided into the themes of “silence,” “sounds,” “concepts,” “writing,” “mystery,” “legends,” and “speech.” Both exhibition and catalogue assemble sculptures, drawings, installations, films, posters, and documents from the Nationalgalerie, the Sammlung Marx, the Kupferstichkabinett, and the Art Library of the Staatliche Museen zu Berlin. Texts by: Claudia Ehgartner, Barbara Gronau, Kolja Kohlhoff, Maja Naef, Stefan Ripplinger, Nina Schallenberg, Holger Schulze, Tobias Vogt, Matthias Weiß, and Wiese.

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In a 1985 series of “Lectures on one’s own country: Germany”, given at the Munich Kammerspiele, Joseph Beuys said that he developed his work “from language.” He regarded language as equal to visual art—a flexible material through which every individual could physically, intellectually, and communicatively participate in the process of re-ordering society. His exploration of language ranges from silence to hours of debate, from animal sounds to precise discussions of concepts and puzzling writings. Accordingly, the chapters are divided into the themes of “silence,” “sounds,” “concepts,” “writing,” “mystery,” “legends,” and “speech.” Both exhibition and catalogue assemble sculptures, drawings, installations, films, posters, and documents from the Nationalgalerie, the Sammlung Marx, the Kupferstichkabinett, and the Art Library of the Staatliche Museen zu Berlin.

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The inclusive LGBTQ+ fairytale collection that has grabbed headlines across the world! Powerful princesses that slay giants,and beautiful princes that find true love.Heroes come in all shapes and sizes in these tales of old and new. Celebrating a multitude of ethnicities, genders and sexualities, this sparkling collection of 17 short stories takes new and familiar fairy tales and reimagines them in contemporary and inclusive light. The collection was originally published in Hungary,where the inclusion of LGBTQ+ characters sparked political controversy. It quickly became an important symbol in the fight for equality and against discrimination in Hungary and enjoyed a vast wave of support both within and outside the country. “I wish I could have read this book when I was a child.” – Sir Ian McKellen A Fairytale For Everyone is the winner of an English PEN Translates Award.

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