Sheila J. Nayar Libros

The book explores the impact of three transformative technologies—printing, gunpowder, and the magnetic compass—on literature and society during the long sixteenth century. It highlights the tension between humanist ideals and the emerging print culture, examines the relationship between gunpowder warfare and chivalric romance, and discusses humanists' struggles to maintain classical traditions amid significant changes in navigation. Through this analysis, it reveals how literature adapted to and redefined itself in response to these technological upheavals, reshaping perspectives on knowledge and existence.

"Before Literature examines storytelling when, due to historical, technological or socio-economic circumstance, a narrative was neither shaped nor influenced by alphabetic literacy. How does a story unfold when carried solely in memory, when it could not be written down or externally stored? What structural and stylistic pressures were imposed when it had to travel through space and time exclusively by word of mouth? In Before Literature, Sheila J. Nayar addresses these very questions, guiding the reader in a lively and accessible manner through the key features of the storytelling that came before writing, print and digital communication. Nayar shows how narratives unaffected by these technologies, such as the Mahabharata and Homer's Odyssey, informed contemporary forms like Bollywood masala films, Hollywood spectaculars, comic books and beach reading. This clear and accessible guide is an ideal starting point for undergraduates approaching the study of orality. It offers a fundamentally different way of thinking about narrative, but also meaningfully and intelligibly discloses the "what" and "why" of literature, leading to a much deeper overall understanding and appreciation of its significance"--

Arguing that the consecrated body in the Eucharist is one of the central metaphors structuring The Divine Comedy, this book is the first comprehensive exploration of the theme of transubstantiation across Dante's epic poem. Drawing attention first to the historical and theological tensions inherent in ideas of transubstantiation that rippled through Western culture up to the early fourteenth century, Sheila Nayar engages in a Eucharistic reading of both the "flesh" allusions and "metamorphosis" motifs that thread through the entirety of Dante's poem. From the cannibalistic resonances of the Ugolino episode in the Inferno to the Corpus Christi-like procession seminal to Purgatory, Nayar demonstrates how these sacrifice- and Host-related metaphors, allusions, and tropes lead directly and intentionally to the Comedy's final vision, that of the Eucharist itself. Arguing that the final revelation in Paradise is analogically "the Bread of Life," Nayar brings to the fore Christ's centrality (as sacrament) to The Divine Comedy-a reading that is certain to alter current-day thinking about Dante's poem.

For more than half a century now, scholars have debated over what comprises a 'genuinely' religious film—one that evinces an 'authentic' manifestation of the sacred. Often these scholars do so by pitting the 'successful' films against those which propagate an inauthentic spiritual experience—with the biblical spectacular serving as their most notorious candidate. This book argues that what makes a filmic manifestation of the sacred true or authentic may say more about a spectator or critic's particular way of knowing, as influenced by alphabetic literacy, than it does about the aesthetic or philosophical—and sometimes even faith-based—dimensions of the sacred onscreen. Engaging with everything from Hollywood religious spectaculars, Hindu mythologicals, and an international array of films revered for their 'transcendental style,' The Sacred and the Cinema unveils the epistemic pressures at the heart of engaging with the sacred onscreen. The book also provides a valuable summation of the history of the sacred as a field of study, particularly as that field intersects with film.