Western liberal societies are characterized by two stories: a positive story of freedom of conscience and the recognition of community and human rights, and a negative story of unrestrained freedom that leads to self-centeredness, vacuity, and the destructive compromise of human values. Can the Catholic Church play a more meaningful role in assisting liberal societies in telling their better story? Australian ethicist Robert Gascoigne thinks it can. In The Church and Secularity he considers the meaning of secularity as a shared space for all citizens and asks how the Church can contribute to a sensitivity to—and respect for—human dignity and human rights. Drawing on Augustine’s City of God and Vatican II’s Gaudium et spes, Gascoigne interprets the meaning of freedom in liberal societies through the lens of Augustine’s “two loves,” the love of God and neighbor and the love of self, and reveals how the two are connected to our contemporary experience. The Church and Secularity argues that the Church can serve liberal societies in a positive way and that its own social identity, rooted in Eucharistic communities, must be bound up with the struggle for human rights and resistance to the commodification of the human in all its forms.
This study is an attempt to examine the relationships between religious belief and the humanism of the Enlightenment in the philosophy of Hegel and of a group of thinkers who related to his thought in various ways during the 1840's. It begins with a study of the ways in which Hegel attempted to evolve a genuinely Christian humanism by his demonstration that the modern understanding of man as a free and rational subject derived its strength and validity from the union of God and human existence in the incarnation. The rest of this study is con cerned with two different forms of opposition to Hegel: first, the criti cal discipleship of the Young Hegelians and Moses Hess, who insisted that Hegel's notion of Christian humanism was false because religious belief was necessarily inimical to a clear consciousness of social evil and the determination to abolish it; second, the religious opposition to the Enlightenment in the thought of Schelling and Kierkegaard, which emphasized God's transcendence to human reason and the insig nificance of secular history. In the years leading up to the revolution of 1848, Hegel's synthesis was rejected in favour of the assertion of atheistic humanism or religious otherworldliness. Chapter One, after discussing the young Hegel's critique of the social and political effects of Christianity, examines the union of religi ous belief, speculative philosophy and the rational state in Hegel's mature system.
John Paul II was our Pope for nearly three decades. He was the only Pope an entire generation knew. April 2007 will mark the second anniversary of his death. This book has its origin in public forums presented in Sydney and Melbourne in mid 2005. These events were organised to mark the Pope¿s passing by reflecting on different facets of his legacy and witness. The book gives the reader an appreciation of the range and significance of John Paul II¿s papacy, and demonstrates the extraordinary scope of his activity and thought, both by way of reflection on John Paul¿s writings and by consideration of his life, travels and many significant symbolic acts and gestures. The book is made up of four sections reflecting key dimensions of John Paul¿s development, legacy and witness. They are: John Paul II: His Polish Background and Personal Faith; Human Dignity, Ethics and Society; The Church and its Sacramental Life; The Depth and Range of John Paul II¿s Teaching and Reflection. The contributors are: Robert Gascoigne (Editor); Sandra Carroll, Austin Cooper OMI, Tim Costelloe SDB, Peter Cross, Matthew Del Nevo, Bruce Duncan CSsR, Robert Gascoigne, Gerald Gleeson, Anne Hunt OAM, Anthony Kelly CSsR, Richard Lennan, Neil Ormerod, Veronica Rosier OP, Tracey Rowland, and Richard Wade.
A full account of the reception of the second-century prose fiction The Golden Ass (or Metamorphoses) of Apuleius, which has intrigued readers as diverse as St Augustine, Petrarch, Boccaccio, Sidney, Spenser, Shakespeare, and Milton. Robert H. F. Carver traces readers' responses to the novel from the third to the seventeenth centuries.
Reprint of the original, first published in 1858. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.
Winner of the Hawthornden Prize and the Guardian Fiction Prize The most beloved comic figure in English literature decides that history hasn’t done him justice—it’s time for him to tell the whole unbuttoned story, his way. Irascible and still lecherous at eighty-one, Falstaff spins out these outrageously bawdy memoirs as an antidote to legend, and in the process manages to recreate his own. This splendidly written novel is a feast, opening wide the look and feel of another age and bringing Shakespeare’s Falstaff to life in a totally new way. Like Jack Falstaff himself, it’s sprawling, vivid, oversized—big as life. We return in an instant to an England that was ribald, violent, superstitious, coursing with high spirits and a fresh sense of national purpose. We see what history and the Bard of Avon overlooked or avoided: what really happened that celebrated night at the windmill when Falstaff and Justice Shallow heard the chimes at midnight; who really killed Hotspur; how many men fell at the Battle of Agincourt; what actually transpired at the coronation of Henry V ("Harry the Prig"); and just what it was that made the wives of Windsor so very merry. Falstaff "tells all" about Prince Hal, John of Gaunt ("that maniac"), Pistol, Bardolph, Doll Tearsheet, and Jane Nightwork. At the same time, his racy narrative offers us a tapestry of the Middle Ages: the Black Death and May Day; an expedition to Ireland and a pilgrimage to the Holy Land; nights at the Boar’s Head; the splendor of London Bridge; and hundreds of other sights and sounds and people zestfully recalled between scabrous opinions and irreverent meditations—in sum, the very flavor of a great age. The voice is unmistakably Falstaff’s and his great drama swaggers, laughs, and shouts across every page.
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