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Saints in the Limelight: 
Representations of the Religious Quest
on the Post-1945 Operatic Stage

From the Table of Contents

Personification Allegory and the Embodied Christ (Christian Souls in Battles Between Good and Evil; Martinu’s Play About a Play)

National Heroes (God’s Country—God’s Victories?; St. Joan of Arc, called “the Maid”: Freedom Fighter or Heretic?; St. Thomas, Bishop and Martyr: Tough Politician or Good Shepherd?; Two Dreamers of Nordic Nations Pious and Just)

Antiheroes (God’s Unlikely Torchbearers ; Through the Dark Night to Love: Thérèse’s Little Way; Blanche “de la Force”: The Strength of Conquered Fear; “Who by God’s Love is Wounded”: A Saint in Manhattan; Womanizer Turned Angel of the Poor: Miguel Mañara; Mary of Egypt and the Wisdom of Non-judgment)

Messengers of Christ’s Saving Grace (God’s Heralds; Chosen to Warn: John of Patmos; Two Early Christian Missionaries; Two Conflicted Reformers)

Teachers of the Compassionate Path (God’s Creatures—Our Suffering Siblings; Poverty, Humility, and Glorification of the Lord; Liberation Through Self-control: The Buddha and the Mahatma)

Charismatics and Mystics (God’s Intimates; Three Foundresses and Peacemakers; The Lonely Voices of Hadewijch and Maria Maddalena)

Victims and Martyrs (God’s Witnesses unto Death; Saint Paul in Nero’s Rome; Arrow, Fire, and Gridiron in Third-century Rome; A Pacifist Among Bellicose Knights: Magnus of Orkney; Tyrannicide and Conscience under Hitler: Dietrich Bonhoeffer)

Music-dramatic Representations of the Numinous and Exemplary in Post-WWII Opera.