Saints and Spectacle examines the origins and reception of the Middle Byzantine program of mosaic decoration. This complex and colorful system of images covers the walls and vaults of churches with figures and compositions seen against a dazzling gold ground. The surviving eleventh-century churches with their wall and vault mosaics largely intact, Hosios Loukas, Nea Moni and Daphni in Greece, pose the challenge of how, when and where this complex and gloriously conceived system was created. Using an interdisciplinary approach, Connor explores the urban culture and context of church-building in Constantinople, capital of the Byzantine Empire, during the century following the end of Iconoclasm, of around 843 to 950. The application of an innovative frame of reference, through ritual studies, helps recreate the likely scenario in which the medium of mosaics attained its highest potential, in the mosaiced Byzantine church. For mosaics were enlisted to convey a religious and political message that was too nuanced to be expressed in any other way. At a time of revival of learning and the arts, and development of ceremonial practices, the Byzantine emperor and patriarch were united in creating a solution to the problem of consolidating the Greek Orthodox Byzantine Empire. It was through promoting a vision of the unchallengeable authority residing in God and his earthly representative, the emperor. The beliefs and processional practices affirming the protective role of the saints in which the entire city participated, were critical to the reception of this vision by the populace as well as the court. Mosaics were a luxury medium that was ideally situated aesthetically to convey a message at a particularly important historical moment--a brilliant solution to a problem that was to subtly unite an empire for centuries to come. Supported by a wealth of testimony from literary sources, Saints and Spectacle brings the Middle Byzantine church to life as the witness to a compelling and fascinating drama.

A new investigation that shows how conversionary preaching to Jews was essential to the early modern Catholic Church and the Roman religious landscape Starting in the sixteenth century, Jews in Rome were forced, every Saturday, to attend a hostile sermon aimed at their conversion. Harshly policed, they were made to march en masse toward the sermon and sit through it, all the while scrutinized by local Christians, foreign visitors, and potential converts. In Catholic Spectacle and Rome’s Jews, Emily Michelson demonstrates how this display was vital to the development of early modern Catholicism. Drawing from a trove of overlooked manuscripts, Michelson reconstructs the dynamics of weekly forced preaching in Rome. As the Catholic Church began to embark on worldwide missions, sermons to Jews offered a unique opportunity to define and defend its new triumphalist, global outlook. They became a point of prestige in Rome. The city’s most important organizations invested in maintaining these spectacles, and foreign tourists eagerly attended them. The title of “Preacher to the Jews” could make a man’s career. The presence of Christian spectators, Roman and foreign, was integral to these sermons, and preachers played to the gallery. Conversionary sermons also provided an intellectual veneer to mask ongoing anti-Jewish aggressions. In response, Jews mounted a campaign of resistance, using any means available. Examining the history and content of sermons to Jews over two and a half centuries, Catholic Spectacle and Rome’s Jews argues that conversionary preaching to Jews played a fundamental role in forming early modern Catholic identity.

Stephen Hamrick demonstrates how poets writing in the first part of Elizabeth I's reign proved instrumental in transferring Catholic worldviews and paradigms to the cults and early anti-cults of Elizabeth. Stephen Hamrick provides a detailed analysis of poets who used Petrarchan poetry to transform many forms of Catholic piety, ranging from confession and transubstantiation to sacred scriptures and liturgical singing, into a multivocal discourse used to fashion, refashion, and contest strategic political, religious, and courtly identities for the Queen and for other Court patrons. These poets, writers previously overlooked in many studies of Tudor culture, include Barnabe Googe, George Gascoigne, and Thomas Watson. Stephen Hamrick here shows that the nature of the religious reformations in Tudor England provided the necessary contexts required for Petrarchanism to achieve its cultural centrality and artistic complexity. This study makes a strong contribution to our understanding of the complex interaction among Catholicism, Petrachanism, and the second English Reformation.

Since the Arab Spring in 2011 and ISIS’s rise in 2014, Egypt’s Copts have attracted attention worldwide as the collateral damage of revolution and as victims of sectarian strife. Countering the din of persecution rhetoric and Islamophobia, The Political Lives of Saints journeys into the quieter corners of divine intercession to consider what martyrs, miracles, and mysteries have to do with the routine challenges faced by Christians and Muslims living together under the modern nation-state. Drawing on years of extensive fieldwork, Angie Heo argues for understanding popular saints as material media that organize social relations between Christians and Muslims in Egypt toward varying political ends. With an ethnographer’s eye for traces of antiquity, she deciphers how long-cherished imaginaries of holiness broker bonds of revolutionary sacrifice, reconfigure national sites of sacred territory, and pose sectarian threats to security and order. A study of tradition and nationhood at their limits, The Political Lives of Saints shows that Coptic Orthodoxy is a core domain of minoritarian regulation and authoritarian rule, powerfully reversing the recurrent thesis of its impending extinction in the Arab Muslim world.

Turning to the potent idea of political theology to recover the strange mix of political and religious thinking during the Renaissance, this bracing study reveals in the works of Shakespeare and his sources the figure of the citizen-saint, who represents at once divine messenger and civil servant, both norm and exception. Embodied by such diverse personages as Antigone, Paul, Barabbas, Shylock, Othello, Caliban, Isabella, and Samson, the citizen-saint is a sacrificial figure: a model of moral and aesthetic extremity who inspires new regimes of citizenship with his or her death and martyrdom. Among the many questions Julia Reinhard Lupton attempts to answer under the rubric of the citizen-saint are: how did states of emergency, acts of sovereign exception, and Messianic anticipations lead to new forms of religious and political law? What styles of universality were implied by the abject state of the pure creature, at sea in a creation abandoned by its creator? And how did circumcision operate as both a marker of ethnicity and a means of conversion and civic naturalization? Written with clarity and grace, Citizen-Saints will be of enormous interest to students of English literature, religion, and early modern culture.

Winner of a 2019 Catholic Press Association Award: Backlist Beauty (First Place). Being a Catholic Hipster is all about an attitude—an attitude grounded in being part of a countercultural community of believers dedicated to something bigger than themselves in a world dominated by self-centeredness. It’s about yearning to learn more about the faith by seeking out “Catholic cool”—overlooked saints, forgotten prayers and feast days, and traditional practices long set aside by mainstream believers. The Catholic Hipster podcaster Tommy Tighe will help readers rediscover everything awesome about the Catholic faith. The Catholic Hipster started out in 2014 with a little bit of fun—the Catholic Hipster of the Year contest—on Tighe’s blog. But Twitter is where—in all its 140-character glory—that Tighe’s “The Catholic Hipster” movement really took root. That’s where a group of cool and funky countercultural Catholics gather to swap one-liners, hilarious hipster memes, and all things authentically Catholic. Tighe even met comedienne Jeannie Gaffigan, who wrote the foreword for The Catholic Hipster Handbook, on Twitter. She said what drew her to the feed was that Tighe was “an embarrassingly Catholic dude who knew he was embarrassingly Catholic and was not embarrassed by it” and that he was “not preachy or judgey or divisive.” Catholic hipsters in a nutshell. Tighe and a group of hipster friends—including Sarah Vabulas, Anna Mitchell, Fr. Kyle Schnippel, and Lisa M. Hendey—explore the beautiful weirdness of the Catholic Church and invite others along for the journey. They share their love for extraordinary saints, offer up obscure prayers, provide short reflections on something quirky and Catholic they’ve rediscovered, and dare readers to put their faith into action with some cool and challenging practices they can do on their own. Discover what’s awesome about: Wearing a scapular Applying Laudato Si’ at your local farmer’s market Hanging with priests, monks, and nuns Learning to see Christ in making beer Praying the Rosary everywhere you go Loving the Latin Mass Making the Liturgy of the Hours a daily part of your routine The Catholic Hipster Handbook will help readers realize the only way to go against what’s normal and accepted in the culture is to be authentically Catholic.

Urban ceremonial in the Middle Ages took various forms and served a number of different ends--private, collegial, political, and religious. Broadly construed, urban ceremonial included public functions of multiple sorts. From private, but public, celebrations of births, marriages, and deaths to the grand entries of rulers into cities, the spectacles were designed to impress events on collective memory. - from the Introduction.