Bridal mysticism

The idea of Jesus as a hybrid of God and human forms the basis of Dyophysite Christology. The various forms and shapes Jesus takes on-their polymorphism-has been less studied, and never from a queer theoretical perspective.

In this article, we study the polymorphism of Jesus in two different marginalized sources. In the first section, we examine an early Christian source called the Acts of John, an extra-canonical text that as such has received little research. In the second section, we analyse a previously little-known seventeenth-century obituary notice describing the mystical experiences of Etiennette Guyot, a young French Ursuline nun. Guyot is part of a tradition of visionary women whose spiritual experiences earned her admiration within the Order and that can be termed as lived religion.

First, we argue that Jesus’ polymorphism makes them queer. In both sources the central manifestations of Jesus’ polymorphism include variation in age (an adult and a child), in stature (small and large), and from a material being to an immaterial being (including light and voice). In our view, this fits the description of queer and should be acknowledged as such.

Second, we argue that Jesus can be queered in the earliest Christian writings, and even more so in later Christian lived religion, where Jesus’ polymorphism held substantial potential for women mystics seeking spiritual authority.

„No one will ever know what experience – dreamed, imagined, read, lived – Simone Weil went through in order to write the prose poem called ‚ Prologue ‘. […] How much came from the daily bread of dream, imagination, reading, and itself all combined?“
Fanny Howe

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A blog post for the "Logia" series at "Blogos", the official blog of the Logos Institute for Analytic and Exegetical Theology at the University of St. Andrews.

http://blogos.wp.st-andrews.ac.uk/2019/04/18/logia-for-april-2019-undressing-philosophical-theology-lessons-from-mechthild-of-magdeburg-by-amber-l-griffioen/

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(soon to be published) This paper analyses the multilayered meaning of the most popular ṭhumrī composition.
Starting from the unusual bridal theme in a romantic genre such as ṭhumrī, I address its different semantic layers including the one related to the historical figure of nawab Wajid Ali Shah. The nawab, commonly associated with this ṭhumrī, is credited for penning the lyrics at the time of his exile from Lucknow in the mid Nineteenth century.
Drawing on my extensive research on the genre, I discuss the strong Sufi component of this composition in the symbolism of the bridal image as a metaphor for death, and how it is understood by modern performers.
After the already acknowledged meanings of the lyrical content I will consider an additional significance relating to the genre's most typical performers in history; courtesans.
I argue how the metaphor of death and the bridal theme of this farewell song represent an example of covert resistance of courtesans' expression. I consider how the association of these hereditary female musicians with Sufism, regardless of their creed or religious identity, and the creative use of Sufi themes of love and death in their music was a reflection of their social fluidity and claim of agency.

The study aims to examine the cultural background of a poetry collection published in 2010 by Anna Ondrejková, a renowned Slovak poetess. The stated book, entitled Iseult : dreams, letters to Tristan, combines selected topoi of courtly culture with Christian bridal mysticism, and appears to be, for this precise reason, both semantically and semiotically complex. The study concludes with a critical evaluation of the reception of the book in Slovak literary circles, with emphasis placed on the degree to which the individual cultures underlying the poetess' writing have been taken into account.