This chapter covers regional loyalties and religious institutions, focusing on the Kulturkampf, the state’s attack on Catholicism.

Chapter 4 examines in detail a Christian crusade called Rwanda Shima Imana or Rwanda Thanksgiving Day. It explores the controversies that arose from it, in particular a conflict between a well-known Pentecostal pastor and the Catholic singer Kizito Mihigo. The conflict was in part about power: who has the right, ability, and authority to interpret the Bible and, by extension, Rwanda’s history and collective memory. This chapter also complicates the process of transformation, as some hearts were considered unable to transform, a situation which was often related to ethnic identity.

Take a broad look at American family and friendhip ntworks, examining marriage, child-rearing, and other family and personal relations among the consuls and members of the American community in the Mediterranean.

The work of modernist poet and visual artist David Jones provides a retrospective vantage of the central claims of Liturgy, Ritual, and Secularization in Nineteenth-Century British Literature. Jones saw the nineteenth century as a moment of breakage with the past. This rupture, according to Jones, threatens the work of the artist by depleting the sacramental meaning of reality – that is, the ability of concrete things to signify unseen spiritual depths. In both a dramatic biographical encounter with the Mass during his time on the front lines of World War I and in his subsequent art and poetry, Jones turns to liturgical forms to confront the breakage that began in the nineteenth century. Viewed from Jones’s perspective, the Romantic and Victorian interest in liturgy takes on new significance for the overarching genealogy of modernity and secularization. These liturgical fascinations intervene in – and resist – the long story of modernity’s separation of the material and spiritual, the natural and supernatural.

Walter Pater also anticipates Oscar Wilde’s liturgical moves. Pater depicts Marius the Epicurean as a liturgical subject – that is, Marius relishes the forms of liturgy and yet those forms do not become rigid structures but rather gateways into mystery. Wilde pushes this liturgical subjectivity still further. For him, the porosity of the liturgical subject leads to a full-blown liturgical constructivism: If the self remains open before the mystery of ever further aesthetic experience, then perhaps all things – not just the human self – are malleable. In his critical writings, Wilde denounces the mechanistically closed world of the realist novel, which he sees as slavishly imitating nature. By contrast, Wilde argues that art can reshape nature. Liturgical language and ritual action especially reveal how words remake reality: The priest’s Words of Institution and the drama of the Mass transform – even transubstantiate – the bread and wine. As it did for Wordsworth, liturgy helps Wilde imagine nature not as self-enclosed but rather as participating in a higher, transcendent reality.

This chapter explores Kerouac’s rich understanding of literary history as manifested in his Duluoz Legend, focusing in particular on two mechanisms by which this understanding turns up in his work. The first mechanism was his deep desire to seek and speak the truth, as he wrestled with his need to lead a godly life, a product of his Catholic upbringing, while simultaneously recognizing the almost requisite demand that a great novelist experience the darkness of the human soul. The second is the confession, which was not the legal confession of a court room or the spiritual confession of the church, but the broader truth of any human being who follows a path to forgiveness and wholeness by repeatedly purging themselves of sin, guilt, or embarrassment. Kerouac consistently worked truth and confession together – often to the dismay of some readers – twinning and twining them as he grappled with his spiritual and bodily identity as an American writer living in two conflicting Americas, the “the essential and everlasting America” of the ethereal beauty and mysticism, and the post–World War II triumphalist America of materialism and militarization.

Rhetoric was embedded in French Catholic education, and in revolutionary Paris rhetorical skills proved essential for any politician who wanted to command the assembly. Fabre d’Eglantine was an actor and director All expert in manipulating the political action behind-the-scenes. His play Philinte propounded Rousseau’s ideal that theatricality should be avoided in human life. Hérault de Séchelles by contrast drew on training by the classical actress Clairon to become a successful political orator, not ashamed to theorise the art of persuasion. The Marquis de Condorcet was a constitutional theorist who believed in truth, but lacked the performance skills to persuade others. The Comte de Mirabeau demonstrated outstanding skill as an orator and politician in the first years of the revolution, making no show of high personal morality, in contrast to Maximilien Robespierre who, partly in reaction, set himself up as a man of total sincerity. He bypassed the Assembly to control events through the more intimate forum of the Jacobin club. His sense of personal conviction owed much to Rousseau.

Chapter 4 highlights the way in which vegetarianism may be understood as an alternative (to) religion. The first part of the chapter suggests that after 1962 vegetarianism is central to the fiction of Isaac Bashevis Singer, and that no proper understanding of that fiction can be obtained without first understanding Singer’s vegetarian epistemology. This stands in contrast to the traditional view which is that Singer’s vegetarianism was only a kind of sublimation of Jewish dietary laws. The second part of the chapter focuses on Graham Greene’s The Comedians, arguing that the vegetarianism of Mr and Mrs Smith, which appears at first to be only comic relief, comes to take on much greater significance since it emerges as a powerful kind of surrogate faith – the kind of faith that Brown, the narrator, has lost.

How could Robert Lowell, a blue-blooded New England Brahmin, make the counterintuitive claim “I’m Southern” (as he did in a letter)? The chapter focuses on Lowell’s early apprenticeship to the Southern Agrarians and particularly Allen Tate, the author of a tense, neo-Metaphysical poetry that powerfully influenced Lowell. The traditionalist-modernist precepts of the Agrarians both gave Lowell a way of understanding his Puritan inheritance as an abstract Platonism and allowed him to counter it through the Catholic worldview of Tate. The chapter explains how the Civil War was central to Lowell’s verse, but how his interpretation of the conflict was partly skewed toward Southern readings of it. This especially emerges in “For the Union Dead,” Lowell’s answer to Tate’s “Ode to the Confederate Dead.” Later, the literary South became less important to Lowell when he moved toward the more disconnected, personalistic style found in Life Studies.

Denominational identity, though poorly understood in theological terms, was socially decisive to postwar Americans. Lowell’s lifelong preoccupation with religion took the form of an ostentatious Catholicism in the 1940s, influenced his conscientious objection to World War II, and helps explain his poems about Jonathan Edwards. Paul Mariani discussed Lowell as a “Lost Puritan,” while Kay Jamison investigated the proximity of madness and faith as “states of possession,” and Elisa New sees a “visionary” impulse in the poet. Milton and Hopkins stimulated Lowell’s poetry as much as questions of ethics troubled it. Lowell’s religious temperament remained permanently alert, calling into questions fossilized distinctions between early and late Lowell. Its recognition and contextualization provides interpretive access to his monologues and family portraits from Mills of the Kavanaughs to Life Studies, resurfacing wistfully in Day by Day.

Leonard Bernstein stated in 1977, ‘The work I have been writing all my life is about … the crisis of our century, a crisis of faith’. In the decade between 1961 and 1971, he completed just three works, all choral-orchestral: ‘Kaddish’ (Symphony No. 3), Chichester Psalms, and Mass. This chapter views these works through the lens of Bernstein’s intense concern with a crisis of faith, at once societal and personal, philosophical and musical. In its reading of the scores, it seeks a deeper understanding of the music (including for practical performance), and of Bernstein’s propositions in theological as well as musical terms – concluding that his process is not merely one of presenting crises, but also one working to revise and reinvigorate larger faith and musical structures, as we see most spectacularly in Mass’s ritual of crisis and reaffirmation.

This chapter deals with another group of modernistas, mostly from the Catholic cities of Western Mexico, who are quite different from those examined in Chapter 6. Although they often met with the other group in Mexico City or shared the pages of the Revista Moderna, their approach to modernity is so different that it deserves a separate analysis. Modernismo can be defined by its able incorporation of Romanticism, Symbolism, and Parnassianism, but in the case of this group, there is a scepticism towards several aspects of these aesthetic movements, which always acts as a path that leads back to provincial life, landscape, and a national (and again Catholic) decorum. The authors studied in this chapter include Luis G. Urbina, Enrique González Martínez, Francisco González León, Manuel José Othón, and, in pride of place, Ramón López Velarde.

This chapter discusses the conceptual foundations of the notion of social justice during the Enlightenment before surveying the volume’s achievement in historicizing twentieth-century European proposals. Social justice presupposed the invention of the “social,” in and through the insight into informal cultural and institutional ordering. And while social justice was coined earlier in the nineteenth century, the concept became unavoidable later in the century as both left liberals and Roman Catholics responded to individuals and laissez-faire, in part by innovating a new ‘social science’. This chapter concludes by speculating about the future trajectory of claims on the notion of social justice.

This chapter explores two competing Catholic conceptions of social justice. The first strand of Catholic social justice, rooted in Pope Leo XIII’s 1891 encyclical Rerum Novarum and subsequent papal interventions, promoted a social order based upon traditional familial structures. This ‘organicist’ ideal of social justice originally aimed at combatting Marxism, the ills of industrialization, and the erosion of the Church’s influence in European public life. Although the Vatican-endorsed model of social justice predominated within the Church, not all Catholics embraced the anti-Communism and emphasis on the patriarchal family that ‘organicist’ social justice ideas promoted. The second, more decentralised strand of Catholic social justice – the ‘radical’ model – sprang from disagreements within the Church on how to respond to socialism, workers’ rights, dechristianisation, and decolonisation. ‘Radical’ social justice enjoyed support from grassroots activists, theologians, reformers, and other Church leaders who endeavoured to empower the powerless in their societies and, from the 1950s and 1960s, around the world. Both strands of social justice upend conventional distinctions between the political left and right, while also bridging the national and the transnational. By problematizing the political and spatial categories commonly used to discuss social justice, this chapter offers a useful corrective to existing social-justice narratives.