Gnosticism, Transformation, and the Role of the Feminine in the Gnostic Mass of the Ecclesia Gnostica Catholica (E.G.C.)

The Gnostic Mass of the Ecclesia Gnostica Catholica (E.G.C.) suggests a heterosexual gender binary in which the female Priestess seated on the altar as the sexual and fertile image of the divine feminine is directed by the male Priest’s activity, desire and speech. The apparent contradiction between the empowered individual and the polarized gender role was examined by comparing the ritual symbolism of the feminine with the interpretations of four Priestesses and three Priests (three pairs plus one). Findings suggest that the Priestess’ role in the Gnostic Mass is associated with channeling, receptivity, womb, cup, and fertility, while the Priest’s role is associated with enthusiasm, activity, phallus, lance, and virility. Despite this strong gender duality, the Priestesses asserted that their role was personally and spiritually empowering, and they maintained heterosexual and polarized gendered roles are necessary in a transformative ritual which ultimately reveals the godlike unified individual.

Defining Īśvara: A New Perspective in the Hermeneutics of Classical Yoga

The mere presence of the term īśvara in Patañjali’s Yogasūtra has come to affect the meaning of both the path and the goal of Classical Yoga as well as the meaning of the term Yoga itself. The frequent translation of the term īśvara as God leads to the system of Classical Yoga to be labeled as theistic, particularly obscuring the interpretation of īśvarapraṇidhāna, a functional component of the system, as well as perpetuating a syncretic trend that has led to the popular understanding of Yoga as ‘union with the divine’. From identifying problematic hermeneutical trends and their underlying causes, as well as understanding the term within the constraints of the original text in its original Sanskrit, the term īśvara emerges as the archetype of an ultimate reality functioning as a practical and experiential tool providing the yogi with a direct glimpse of its true nature.

Inmanencia mistica en la obra de Federico Garcia Lorca

The purpose of this dissertation was to analyze the works of Federico García Lorca within the mystic context that dominates their very genesis. The problematic definition of mysticism was explored lest it be confused with traditional mysticism, which implies union with the divine. The historiography of literature speaks of the Mystic Genre, yet it does not address the mystic mode of artistic creation due to its inability to adhere to rational measure. This mode of conception was explored through Lorca's poetic discourse: ‘Lorquian mysticism’ is the result of the poet's cultivation of an innate spiritual potential enhanced by external influences and technical mastery. ^ There is visible influence of Fray Luis of León in Lorca's early Libro de poemas and El maleficio de la mariposa, as well as of Saint John of the Cross in the later Diván del Tamarit, Sonetos de amor and Yerma. However, definitive echoes of poets from the Sufi and other Eastern mystic traditions were also illustrated in these late works. A persistent longing to elide the physical condition, the greatest obstacle of the transcendental quest, is the essence of Lorca's poetic voice. ^ The object of this analysis was Lorca's language, which reaches levels removed from conventional thought. His dazzling metaphors and his particular use of symbols and of paradox compare equitably with those of great mystic poets. Like them, Lorca was faced with the same limitations of language to describe an ineffable experience; he embraced what Octavio Paz describes as ‘sacred language’: there is a linguistic frugality as well as an ambiguity in Lorca's poetic art that result from his realization of supercognitive states. Yet such an interpretation is rejected by the rationalist approach, invoking the age-old debate between faith and reason and signaling the application of psychoanalytical theory. This limited approach was disputed on the basis of reader-response theory. Lorca was truly an eclectic and a modification of the conventional reader's preestablished horizon of expectations is essential in order to seal the gaps in his late works. This innovative perspective placed Lorca within the framework of a new mysticism in the modern world. ^

The Efficacy of San Lazaro and His Manifestations: Divine Mediators of Health Within Miami's Cuban-American Santeria Community.

This study explored the origins, evolution and influence of the tradition of San Lázaro as it currently pertains to the Cuban-American Santeria community in Miami. The main argument of the study is that in the context of the contemporary religious culture of Santeria in Miami, San Lázaro is a hybrid spirit. Many manifestations of healing entities have come to merge in the person of this spirit. Though practitioners identify with specific manifestations of this spirit, the processes of transmigration have blurred the lines of deep-rooted faiths and created a fusion of meanings from disparate traditions, making San Lázaro an ambivalent personality. San Lázaro’s ambivalence is the very quality that makes him such an important Orisha. As a deity whose personalities demonstrates the combination of a diversity of qualities, including those that contradict each other, San Lázaro is deployed in a very broad range of healing context, making him a versatile Orisha. This study clarified the contrasting qualities this deity embodies and traces the socio-historical context in which the deity acquires the layers of meanings it is currently associated with. Drawing on interviews with Lázaranian worshipers [Lázarenos] in Miami and engaging in Bourdieu’s concept of Habitus, the study provided a window into the nature of the tradition of San Lázaro and how its usage is linked with the African heritage of the worshipers.

Reconcilable differences, a dark comedy

Reconcilable Differences is the story of Miami radio host Adam Painter. Confused about relationships, Adam cancels his wedding and, under the guidance of his bad-boy best friend, delves into the demi-monde inhabited by strippers and hookers. On the air he begins to examine how men and women interact. Adam explores the night world, moving from a connection with its denizens through his talk show to direct experience of its license and loneliness. He fails miserably in his clumsy efforts with women and is fired, sued and arrested. An unlikely, unwilling rebel, Adam confronts change and stumbles almost truculently toward self-discovery. This picaresque novel is told in the third person closely attached to the protagonist. The time scheme covers a thirteen-week radio ratings period. The story encompasses the worlds of radio and the sex industry, using South Florida settings to re-inforce character, plot and theme.