The Sacred Desert: Religion, Literature, Art and Culture by David Jasper

By David Jasper

The Sacred wasteland is a mirrored image at the position of the wasteland in theology, background, literature, artwork and movie.

  • An unique mirrored image at the position of the wilderness in theology, heritage, literature, artwork and picture.
  • Discusses figures as various as Jesus, the early Christian wilderness Fathers, T.E. Lawrence, T.S. Eliot, Georgia O’Keeffe, Wim Wenders and Jim Crace.
  • Makes connections throughout millennia of barren region literature.
  • Deepens the reader’s knowing of the desolate tract as a true position, as an inside house, and as a textual web site,
  • Concludes with reviews at the contemporary conflicts in Iraq.
  • Written in a readable and fascinating variety.

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Sample text

It is a commonality found most deeply in the deserts of human experience and wanderings. Here Eckhart and Heidegger stand beside Schoenberg with Moses, and they are not alone. In the next chapter we shall turn to that odd assortment of men and women who followed Antony into the Egyptian desert in the fourth century CE who, in their solitariness and their communities, take their place among those who have lived on the edge of things worldly and comprehensible, “wasting” their time with God and thereby transforming both time and space.

In Exodus (19–31) and Numbers (15), statutes are given with a view to the time “when you come into the land” (Numbers 15:2), though the desert still remains a place of repeated rebellion and the necessary renewal of the covenant bond between Yahweh and his people. In Exodus 32, thinking that Moses has deserted them, the Israelites turn to his brother Aaron and together they construct and worship the Golden Calf, thus breaking the first commandment. The desert tests the people up to and beyond their limits.

Paul in Philippians 2:7 to describe the “emptying” of God, by himself, so that he takes on the form of humanity in Christ. 27 Edward W. Said, Reflections on Exile and Other Literary and Cultural Essays (London: Granta Books, 2001), p. 32. 28 Wassily Kandinsky, Concerning the Spiritual in Art (1914), translated by M. T. H. Sadler (New York: Dover Publications, 1977), p. 20. ” Merton’s title is born of an equally literary passion – his love of Dante’s Divine Comedy. 30 Palladius, The Lausiac History, translated by Robert T.

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