This book is the next volume in Levering’s Engaging Doctrine series. The prior volume of the series examined the doctrine of creation. The present volume examines the purpose of creation: the marriage of God and humans. God created the cosmos for the purpose of the marriage of God and his people—and through his people, the marriage of God and the entire creation. Given that the central meaning or “prime analogate” of marriage is the marriage of God and humankind, the study of human marriage needs to be shaped by this eschatological goal and foregrounded as a dogmatic theme. After a first chapter defending and explaining the biblical witness to the marriage of God and his people, the book explores various themes: marriage as an image of God, original sin as the fall of the primordial marriage, the cross of Jesus Christ and marital self-sacrificial love, the procreative and unitive ends of marriage, marriage as a sacrament, and marriage’s importance for social justice and for the upbuilding of the kingdom of God. Along the way, the book provides an introduction to the key biblical, patristic, medieval, modern, and contemporary thinkers and controversies regarding the doctrine of marriage.
In a study that is both scholarly and highly entertaining, Matthew Brown explores pop culture's appropriations of Debussy's music in everything from '30s swing tunes, '40s movie scores, '50s lounge/exotica, '70s rock and animation, '80s action films, and Muzak. The book, however, is far more than a compendium of fascinating borrowings. The author uses these musical transfers to tackle some of the most fundamental aesthetic issues relevant to the music of all composers, not just Debussy." David Grayson -- Book jacket.
This book recounts the author’s spiritual transformation resulting from his encounter with new languages and cultures. This encounter allowed the author to transcend the boundaries imposed on him by the circumstances of his birth (born and raised behind the Iron Curtain during the Cold War). The fresh outlook on the world that emerged for him is the kind of radical shift that lies at the heart of all intense spiritual experiences, regardless of faith affiliation. His journey moves beyond the self to explore the domain of otherness in language, literature, and the arts. Ultimately, the author arrives at a spiritual place in which disparate, culture-bound realms blend—an expanse of acceptance, harmony, and peace.
This study constitutes the first-ever definitive account of the life and work of Irish modernist poets Thomas MacGreevy, Brian Coffey, and Denis Devlin. Apprenticed to the likes of W.B. Yeats, T.S. Eliot, James Joyce, and Samuel Beckett, all three writers worked at the center of modernist letters in England, France, and the United States, but did so from a distinctive perspective. All three writers wrote with a deep commitment to the intellectual life of Catholicism and saw the new movement in the arts as making possible for the first time a rich sacramental expression of the divine beauty in aesthetic form. MacGreevy spent his life trying to voice the Augustinian vision he found in The City of God. Coffey, a student of neo-Thomist philosopher Jacques Maritain, married scholastic thought and a densely wrought poetics to give form and solution to the alienation of modern life. Devlin contemplated the world with the eyes of Montaigne and the heart of Pascal as he searched for a poetry that could realize the divine presence in the experience of the modern person. Taken together, MacGreevy, Coffey, and Devlin exemplify the modern Catholic intellectual seeking to engage the modern world on its own terms while drawing the age toward fulfillment within the mystery and splendor of the Church. They stand apart from their Irish contemporaries for their religious seriousness and cosmopolitan openness to European modernism. They lay bare the theological potencies of modern art and do so with a sophistication and insight distinctive to themselves. Although MacGreevy, Coffey, and Devlin have received considerable critical attention in the past, this is the first book to study their work comprehensively, from MacGreevy's early poems and essays on Joyce and Eliot to Coffey's essays in the neo-scholastic philosophy of science, and on to Devlin's late poetic attempts to realize Dante's divine vision in a Europe shattered by war and modern doubt.
The Metaphysics of Night acknowledges a post-secular philosophy, one that puts philosophy into serious dialogue with religion, rather than considering religion a thing of the past. Matthew Del Nevo deals with the cultural unconscious, inseparable from religious consciousness, and draws on psychoanalysis and literature as well as philosophy. The metaphysics of the night is Del Nevo's metaphor for the deep and mysterious expanse of the soul. Philosophically, the book is critical of Enlightenment presumptions about knowledge and truth and overly spiritualizing tendencies in religion. Its critical edge cuts against materialist and historicist tendencies in the humanities and abstract intellectualism in philosophy. Arguing for strong aesthetic values, Del Nevo defends and explains soul and soulful experience, the creation of depth, the ineffable, real presence, beauty, and saving words, noting that the sources of all these are in us, but often are blocked. Each of the five parts of this book testify to what the author notes may be forgotten, but which ought not to be forgotten. It is necessary for life as socially, religiously, and educationally instituted within culture and as constitutive for culture. Del Nevo deals with sensibility as a form of wisdom and instinct that is not cognitive or knowledge/information based. He argues for a shift of emphasis in culture from intellect to intuition. This well-written work, filled with Catholic, philosophic, and artistic thought will be of interest to all philosophers, theologians, and students of culture.
It is rare for a thinker of Charles Péguy's considerable stature and influence to be so neglected in Anglophone scholarship. The neglect may be in part because so much about Péguy is contestable and paradoxical. He strongly opposed the modern historicist drive to reduce writers to their times, yet he was very much a product of philosophical currents swirling through French intellectual life at the turn of the twentieth century. He was a passionate Dreyfusard who converted to Catholicism but was a consistent anticlerical. He was a socialist and an anti-Marxist, and at once a poet, journalist, and philosopher. Péguy (1873-1914) rose from a modest childhood in provincial France to a position of remarkable prominence in European intellectual life. Before his death in battle in World War I, he founded his own journal in order to publish what he thought most honestly, and urgently, needed to be said about politics, history, philosophy, literature, art, and religion. His writing and life were animated by such questions as: Is it possible to affirm universal human rights and individual freedom and find meaning in a national identity? How should different philosophies and religions relate to one another? What does it mean to be modern? A voice like Péguy's, according to Matthew Maguire, reveals the power of the individual to work creatively with the diverse possibilities of a given historical moment. Carnal Spirit expertly delineates the historical origins of Péguy's thinking, its unique trajectory, and its unusual position in his own time, and shows the ways in which Péguy anticipated the divisions that continue to trouble us.
History is a love story: a tale of desire and jealousy, abandonment and fidelity, abduction and theft, rupture and reconciliation. This contention is central to Grafting Helen, Matthew Gumpert's original and dazzling meditation on Helen of Troy as a crucial anchor for much of Western thought and literature. Grafting Helen looks at "classicism"—the privileged rhetorical language for describing cultural origins in the West—as a protracted form of cultural embezzlement. No coin in the realm has been more valuable, more circulated, more coveted, or more counterfeited than the one that bears the face of Helen of Troy. Gumpert uncovers Helen as the emblem for the past as something to be stolen, appropriated, imitated, extorted, and coveted once again. Tracing the figure of Helen from its classical origins through the Middle Ages, the French Renaissance, and the modern era, Gumpert suggests that the relation of current Western culture to the past is not like the act of coveting; it is the act of coveting, he argues, for it relies on the same strategies, the same defenses, the same denials, and the same delusions.
Cover -- Half Title -- Title -- Copyright -- Contents -- PART I: THE CITY OF TOMORROW (AND TODAY) -- 1 Futurecraft -- 2 Bits and Atoms -- 3 Wiki City -- PART II: METROPOLITAN INFORMATION FLOWS -- 4 Big (Urban) Data -- 5 Cyborg Society -- 6 Living Architecture -- PART III: SENSEABLE CITY -- 7 Mobility -- 8 Energy -- 9 Knowledge -- PART IV: LOOKING FORWARD -- 10 Hack the City -- 11 Epilogue -- Notes -- Acknowledgments -- Credits -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Y -- Z
Writing his Habilitationsschrift as a young man in the late 1950s, future Pontiff Joseph Ratzinger argues that, when St. Bonaventure composed his Collationes in Hexaëmeron in the spring of 1273, not since St. Augustine’s De Civitate Dei contra Paganos had the world seen such a ground-breaking work on the logos of history. Indeed, for Ratzinger’s Bonaventure, history is “first philosophy.” The thirteenth-century Franciscan rails against the widespread assumption, rooted the newly “rediscovered” Aristotle, of history’s unintelligibility. For Bonaventure, mythos mediates the difference between science and history, yielding a non-positivistic approach to the latter. Building on the dynamics of Plato’s Line, Boulter show that the days of creation, narrated by Bonaventure, structure both history and thought. Because, like a story, it has beginning and end, history as a whole can be grasped. Hence, eschatological knowledge of the end of the world is possible. Yet this work also shows how the false “progress myths” of modernity are counterfeit versions of true, spiritual advancement of the kind embodied by saints such as Francis and Bonaventure himself. What is the logos of history? It turns out that it is mythos.
Beginning with a personal recollection of the achievements of Fr. Joseph Fessio, S.J., by David L. Schinder, this work includes twelve essays by theologians who acknowledge a debt to Father Fessio and Ignatius Press. These twelve essays treat topics such as the Church as the mystical body, the liturgy, Christian apologetics in post-modern culture, public theology, analogy, Scriptural interpretation, marriage and the Trinity, theological dramatics, Pope Benedict XVI's sources, Tradition, and development of doctrine. Among the major 20th century figures treated in these essays are Hans Urs von Balthasar, Louis Bouyer, Henri de Lubac, Joseph Ratzinger, and Josef Pieper. The contributors hope that the topics of the essays represent a large swath of the interests of Father Fessio, from his early scholarly work on the Church, his commitment to liturgical renewal and Catholic catechesis, through his devotion to Ignatian spirituality and his appreciation for Thomistic philosophy, and his lifelong engagement with the theology of von Balthasar and Ratzinger.
The Blackfriars Theatre, founded in 1940, was one of New York's first Off-Broadway playhouses. It was unique in another way: it was the only professional level theatre in the United States under Roman Catholic auspices. This book examines the efforts of the Blackfriars staff to meld theatre and religion between 1940 and 1972.
Adrienne von Speyr was one of the most important mystical theologians of the last century. However, her work has been eclipsed in many ways by her personal connection to Hans Urs von Balthasar. Heaven Opens provides one of the first comprehensive accounts of von Speyr’s theology. Matthew Lewis Sutton argues that the eternal, immanent relations of the Triune God ground the mystical theological vision of von Speyr. Here, von Speyr’s work is for the first time given an independent hearing, expositing its content, features, and connections, and assessing its contribution to contemporary Catholic theology.
Written during the 17 months that the author was wrongly incarcerated, this true story shows the resilience of the human spirit. His story is a story of injustice, grief and moral outrage, transcendence, and the lessons of love and service through self-forgetting as taught by the Master, Jesus of Nazareth.
It has often ben suggested that artists and writers in Germany's imperial era shunned social engagement, preferring instead apolitical introspection. However, as Matthew Jefferies reveals, whether one looks at the painters, poets and architects who helped to create an official imperial identity after 1871; the cultural critics and reformers of the later 19th century; or the new generation of cultural producers that emerged in the years around 1900, the social, political and cultural were never far apart. In this attractively illustrated book, Jefferies provides a lively introduction to the principal movements in German high culture between 1871 and 1918, in the context of imperial society and politics. He not only demonstrates that Germany's 'Imperial culture' was every bit as fascinating as the much better known 'Weimar culture' of the 1920s, but argues that much of what came later has origins in the imperial period. Filling a significant gap in the current historiography, this study will appeal to all those with an interest in the rich and diverse culture of Imperial Germany.
This book is the first critical assessment of Humphries' entire oeuvre, especially his career as an author. Arguing that Humphries is one of Australia's greatest writers, the author reveals a multi-faceted artist whose success is rooted in the British music hall tradition, Dadaism and grotesquerie. Being Australian has also fundamentally shaped the performer and writer, and the author's defence of Humphries against charges of expatriatism is pertinent to the debate on Australian national identity.
A thick and informative guide to the world of classical music and its stunning recordings, complete with images from CD cases, concert halls, and of the musicians themselves.
In Le Jazz, Matthew F. Jordan deftly blends textual analysis, critical theory, and cultural history in a wide-ranging and highly readable account of how jazz progressed from a foreign cultural innovation met with resistance by French traditionalists to a naturalized component of the country's identity. Jordan draws on sources including ephemeral critical writing in the press and twentieth-century French literature to trace the country's reception of jazz, from the Cakewalk dance craze and the music's significance as a harbinger of cultural recovery after World War II to its place within French ethnography and cultural hybridity. Countering the histories of jazz's celebratory reception in France, Jordan delves in to the reluctance of many French citizens to accept jazz with the same enthusiasm as the liberal humanists and cosmopolitan crowds of the 1930s. Jordan argues that some listeners and critics perceived jazz as a threat to traditional French culture, and only as France modernized its identity did jazz become compatible with notions of Frenchness. Le Jazz speaks to the power of enlivened debate about popular culture, art, and expression as the means for constructing a vibrant cultural identity, revealing crucial keys to understanding how the French have come to see themselves in the postwar world.
For beginners, art history might seem a daunting subject with complex rules and impenetrable technical language. Even for more seasoned art lovers the question of how to think about art is a perennial riddle. Art Unpacked is the perfect resource for both audiences: an engaging, visual primer for the general reader, as well as educators. Designed like an instruction manual, fifty key artworks from around the world are deconstructed with pithy explanations, diagrams and close-ups, in order to reveal the elements that make up a masterpiece. Dating from the earliest times to the present, the artworks under analysis are drawn from many cultures, and cover all forms of visual media including: drawing, illustration, photography, prints and sculpture. Matthew Wilsons simplicity of approach, using established art historical methods, enables the reader to discover the fundamentals of art history, from considerations of function, historical context, iconography and artists experience, to broader issues of identity including feminism, gender and postcolonialism. Whether its the mask of Tutankhamun or Dorothea Langes photograph of Migrant Mother, Hokusais Great Wave or Kara Walkers Gone, each image is dissected on the page in a no-nonsense style, with explanatory notes detailing artists sources of inspiration, associated styles and movements, plus any relevant quotes, related visuals and other contextual and issue-led information with keywords for handy cross-referencing. The resulting book is a dynamic, visual resource that will inspire and spark enjoyment of art in all its forms.
For Augustine the world is replete with meaning; it represents not merely a collection of facts to be catalogued but a repository of truths to be discovered and discerned, a view which contrasts with the one we have inherited as a result of the thought of figures such as Descartes, Newton, and Kant. What difference would it make to see the world as created? Matthew W. Knotts explores this question in close conversation with Augustine, according to whom our nature as God's creatures determines fundamental aspects of our identity and our knowledge. In a postmodern context informed by a renewed appreciation of the limitations of human nature and reason, Augustine once again emerges as an insightful and compelling source for further reflection.
New Orleans in Golden Age Postcards showcases over three hundred vintage postcard images of the city, printed in glorious color. From popular tourist attractions, restaurants, and grand hotels to local businesses, banks, churches, neighborhoods, civic buildings, and parks, the book not only celebrates these cards’ visual beauty but also considers their historic value. After providing an overview of the history of postcards in New Orleans, Matthew Griffis expertly arranges and describes the postcards by subject or theme. Focusing on the period from 1900 to 1920, the book is the first to offer information about the cards’ many publishers. More than a century ago, people sent postcards like we make phone calls today. Many also collected postcards, even trading them in groups or clubs. Adorned with colorized views of urban and rural landscapes, postcards offered people a chance to own images of places they lived, visited, or merely dreamed of visiting. Today, these relics remain one of the richest visual records of the last century as they offer a glimpse at the ways a city represented itself. They now appear regularly in art exhibits, blogs, and research collections. Many of the cards in this book have not been widely seen in well over a century, and many of the places and traditions they depict have long since vanished.
Astrology in Depth condenses almost every astrology book on western astrology ever printed. With this book, you will easily understand the concepts of astrology and can put them to use immediately. These are the techniques and wisdom utilized by the famed prophet Nostradamus, Galileo, and many others, passed down through the ages for our benefit.
This publication of Sasse's RTR articles marks yet another milestone in the continued publication of the works of one of the great Lutheran theologians of the twentieth century. The RTR and Springfielder articles and the many book reviews presented in this volume have been all but inaccessible for decades. All of them bear witness to Sasse's deep knowledge of Church history, the New Testament, Luther, the Reformation, the Eastern Church, and Rome. Though writing as a very convinced confessional Lutheran, Sasse nevertheless affirms the breadth and scope of the Una Sancta. He dispels myths such as the "ancient undivided church" and untangles the riddles of Roman Catholicism with deepest respect and truth.
In Mary’s Bodily Assumption, Matthew Levering presents a contemporary explanation and defense of the Catholic doctrine of Mary’s bodily Assumption. He asks: How does the Church justify a doctrine that does not have explicit biblical or first-century historical evidence to support it? With the goal of exploring this question more deeply, he divides his discussion into two sections, one historical and the other systematic. Levering’s historical section aims to retrieve the rich Mariological doctrine of the mid-twentieth century. He introduces the development of Mariology in Catholic Magisterial documents, focusing on Pope Pius XII’s encyclical Munificentissimus Deus of 1950, in which the bodily Assumption of Mary was dogmatically defined, and two later Magisterial documents, Vatican II’s Lumen Gentium and Pope John Paul II’s Redemptoris Mater. Levering addresses the work of the neo-scholastic theologians Joseph Duhr, Aloïs Janssens, and Réginald Garrigou-Lagrange before turning to the great theologians of the nouvelle théologie—Karl Rahner, Hans Urs von Balthasar, Louis Bouyer, Joseph Ratzinger—and their emphasis on biblical typology. Using John Henry Newman as a guide, Levering organizes his systematic section by the three pillars of the doctrine on which Mary’s Assumption rests: biblical typology, the Church as authoritative interpreter of divine revelation under the guidance of the Holy Spirit, and the fittingness of Mary’s Assumption in relation to the other mysteries of faith. Levering’s ecumenical contribution is a significant engagement with Protestant biblical scholars and theologians; it is also a reclamation of Mariology as a central topic in Catholic theology.
Hans Urs von Balthasar (1905–1988) sets out to reunite Truth and holiness by returning the saints to their proper place at the heart of philosophy, theology, and metaphysics. Love Itself is Understanding is one of the first systematic treatments of Balthasar’s theology of the saints. Matthew Rothaus Moser presents Balthasar as an alternative to Idealist philosophy, a thinker who develops a religious metaphysics in which the saints’ practices of prayer and contemplation are the chief mode of knowing that the Truth of Being is divine love. Love Itself is Understanding casts new light on dominant themes in Balthasar’s thought and invites a renewed vision of the theological and metaphysical significance of the spiritual practices of prayer, obedience, and charity.
Your Concise Guide to All Things Catholic No matter what you want to know about the Catholic Church, you'll find the answer in this one-volume guide. From the composition of the Curia to contemporary saints, from major doctrines to the Third Secret of Fatima, if it's part of the Catholic world, it's here.
Before he became an influential cinematic innovator, Georges Méliès (1861–1938) was a maker of deluxe French footwear, an illusionist, and a caricaturist. Proceeding from these beginnings, Méliès Boots traces how the full trajectory of Georges Méliès’ career during the late-nineteenth and early-twentieth centuries, along with the larger cultural and historical contexts in which Méliès operated, shaped his cinematic oeuvre. Solomon examines Méliès’ unpublished drawings and published caricatures, the role of laughter in his magic theater productions, and the constituent elements of what Méliès called "the new profession of the cinéaste." The book also reveals Méliès' connections to the Incohérents, a group of ephemeral artists from the 1880s, demonstrating the group’s relevance for Méliès, early cinema, and modernity. By positioning Méliès in relation to the material culture of his time, Solomon demonstrates that Méliès’ work was expressive of a distinctly modern, and modernist, sensibility that appeared in France during the 1880s in the wake of the Second Industrial Revolution.
The bestselling author of "Growing Up Catholic" offers insightful and comforting thoughts from some of history's wisest practitioners of the Catholic faith, to help guide people through times of adversity.
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