By Ann W. Astell
"The enigmatic hyperlink among the usual and inventive good looks that's to be pondered yet no longer eaten, at the one hand, and the eucharistic attractiveness that's either obvious (with the eyes of religion) and eaten, at the different, intrigues me and evokes this booklet. One can't ask theo-aesthetic questions about the Eucharist with no attractive basic questions on the connection among good looks, artwork (broadly defined), and eating."―from Eating Beauty
In a outstanding e-book that's immediately realized, startlingly unique, and hugely own, Ann W. Astell explores the paradox of the word "eating beauty." The word conjures up the destruction of attractiveness, the devouring mouth of the grave, the mouth of hell. To consume good looks is to smash it. but in terms of the Eucharist the individual of religion who eats the Host is remodeled into attractiveness itself, actually integrated into Christ. during this experience, Astell explains, the Eucharist used to be "productive of a complete 'way' of existence, a virtuous life-form, an paintings, with Christ himself because the significant artist." The Eucharist demonstrated for the folk of the center a while specific faculties of sanctity―Cistercian, Franciscan, Dominican, and Ignatian―whose participants have been united via the eucharistic sacrament that they received.
Reading the lives of the saints no longer essentially as historic records yet as iconic expressions of unique artistic endeavors shaped by way of the eucharistic Christ, Astell places the "faceless" Host in a dynamic courting with those icons. With the arrival of every new spirituality, the Christian concept of attractiveness multiplied to incorporate, first, the marred great thing about the saint and, eventually, that of the church torn by way of division―an anti-aesthetic good looks embracing procedure, pain, deformity, and disappearance, in addition to the radiant lightness of the resurrected physique. This mind-blowing paintings of highbrow and spiritual heritage is illustrated with telling inventive examples starting from medieval manuscript illuminations to sculptures through Michelangelo and work by way of Salvador Dalí. Astell places the lives of medieval saints in dialog with smooth philosophers as disparate as Simone Weil and G. W. F. Hegel.
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