In lieu of an abstract, here is a brief excerpt of the content:Priestly Renewal, Eucharistic Revival:The Place of the Corpus Christi Liturgy in Aquinas's Sacramental TheologyJose Isidro BellezaIntroductionAmong many well-catechized Catholics, the following two points—at first seemingly unrelated—have become common knowledge: first, that Christ instituted the sacramental priesthood at the Last Supper; and second, that St. Thomas Aquinas authored the Office hymns and Mass sequence for the Solemnity of Corpus Christi.The magisterial sources for the first point are clear. The Catechism (...) of the Catholic Church notes: "In order to leave them a pledge of this love, in order never to depart from his own and to make them sharers in his Passover, [Christ] instituted the Eucharist as the memorial of his death and Resurrection, and commanded his apostles to celebrate it until his return; 'thereby he constituted them priests of the New Testament'" (§1337). This recent formulation positively reworks a famous Tridentine canon: "If any one should say that by the words, 'Do this in memory of me,' Christ did not establish the apostles as priests, or that he did not ordain them and others as priests to offer his Body and Blood, let him be anathema."1 That the Council of Trent found it necessary to clarify this doctrine by anathematizing the contrary certainly testifies to the controversial nature of this Catholic position in wake of the Reformation; yet, the Council Fathers' [End Page 723] position—as is so often the case with dogmatic pronouncements—is not a simple articulation of an uncontroversial yet implicit belief held within the Catholic communion.With regard to the second point: after some decades of scholarly doubt,2 Aquinas's composition of Corpus Christi's poetic texts seems to be better appreciated by laity and scholars alike,3 many of whom find in the beloved hymns commonly sung at adoration and Eucharistic processions a beautiful and edifying distillation of St. Thomas's teaching on the Blessed Sacrament. However, the place of the Corpus Christi liturgy within the historical development of Aquinas's own thoughts on the priesthood and Eucharist is perhaps less acknowledged.4 The aesthetic and spiritual appeal of the hymns, [End Page 724] compounded by their frequent usage, may tend to obscure the importance of the historical context which informs Aquinas's unique compositional, poetic, and doctrinal directions. Hidden behind the impressiveness of the saint's artistic execution, I argue, lies a parallel to the well-developed doctrinal synthesis of priesthood and Eucharist articulated in Summa contra gentiles [SCG] IV. In what follows, I examine excerpts from the sequence for Mass Lauda Sion Salvatorem and matutinal hymn Sacris solemniis to show how, already in the Orvieto period (1261–1265), Aquinas laid the foundations for sacramental doctrines expressed with more precision not only in the two Summae, but in the dogmatic teaching of the Council of Trent on the relationship between the Eucharist and Holy Orders. I will also highlight the unique and even innovative nature of Aquinas's positions by way of contrast with St. Bonaventure's sacramentology.5 I will conclude by offering some reflections, drawn from Aquinas's synthetic treatment of Eucharist and Holy Orders, on the inseparability of priestly renewal and Eucharistic revival.From the Sentences Commentary to the Summa theologiaeIn his commentary on the Sentences of Peter Lombard (the Scriptum), Aquinas, like his contemporaries, follows the broad tradition in locating the institution of the Eucharist at the Last Supper.6 This point is rightfully uncontroversial on account of its clear biblical background,7 and is repeated by the Angelic Doctor in Summa theologiae [ST] III.8 However, in the Scriptum, Aquinas links the institution of the Eucharist with the institution of the priesthood, saying that Christ "gave priestly power with regard to its principal act before the Passion at the Last Supper, when he said, in Matthew 26:26, 'take and eat,' to which Luke 22:19 adds 'Do this in commemoration of me.' But after the resurrection, he gave the disciples priestly power with regard to its secondary act, which is to bind and loose."9 Thus, in his early work, Aquinas already suggests—although not with the same precision or emphasis seen in later works—a nuanced... (shrink)

Para Kant, la contemplación de la belleza natural no solo nos libera de un espíritu utilitario y de explotación, sino que nos eleva como seres humanos a las regiones del sentimiento, en que se vive de forma libre y desinteresada la contemplación del a naturaleza y su respeto. Contemplar la naturaleza bella y preservarla contribuye a humanizarnos, por la libertad que desarrollamos a través de la contemplación, el sentido de vida que nos proporciona la contemplación de la naturaleza (...) bella, la sociabilidad que desarrollamos a través del gusto y el despertar moral que procede de la contemplación de la belleza natural. (shrink)

En este artículo defiendo la tesis de que la estética de la naturaleza puede ofrecer a la ética de la naturaleza uno de los mejores argumentos ecologistas. Creo que el valor estético de la naturaleza, tradicionalmente olvidado por la filosofía, puede revitalizar las discusiones que tienen lugar en la ética de la naturaleza, y permite enfocar de un modo nuevo la cuestión de si la naturaleza posee un valor intrínseco o un valor instrumental.

Desde Platón el arte ha sido deslegitimado filosóficamente porque su elemento y su medio es la apariencia. De tal manera que, el ser y la verdad, según la antigua teoría, se encuentran en las ideas y no en las apariencias sensibles. Hegel está lejos de este platonismo en sus Lecciones sobre estética y, por el contrario, va a realizar una reivindicación de la apariencia en el arte. El interés de este artículo es indagar por la distinción entre apariencia que engaña, (...) vinculada al no–ser, y la apariencia necesaria de las obras de arte que, para Hegel, es la apariencia de la esencia. El artículo aprovecha tanto la oposición planteada por Hegel entre belleza natural–belleza espiritual, como el modo de ser del arte como ideal, para indicar que es la apariencia del arte una de las formas donde el espíritu se hace concreción, donde revela su conciencia activa, pensante, y puede manifestar sensiblemente las determinaciones e intereses más altos para su cultura. (shrink)

Una de las principales causas de que el visón europeo, Mustela lutreola, esté en peligro de extinción es la industria peletera. Por un lado, durante los siglos XIX y XX, la caza por su piel causó un grave declive en la especie. Por otro lado, a partir de la década de 1920, la peletería fue substituyendo la caza por la cría en cautividad, y Europa se llenó de granjas de visón americano, Neovison vison; los ejemplares fugados de ellas están colonizando (...) el continente y se han convertido en una amenaza para el visón europeo. Actualmente, algunos países comienzan a prohibir estas granjas, que en cambio aumentan en España. El objetivo de este artículo es analizar este caso concreto como un ejemplo de que nuestros gustos estéticos pueden resultar dañinos e incluso letales para otras especies y la naturaleza en general. (shrink)

Paired masks described as beautiful and grotesque express complementary values in several southern Nigerian art traditions. Beautiful masks represent humans, often women, and serve as metaphors for things associated with civilization and culture. Grotesque masks represent animals or men, and tend to be linked with notions of masculinity and nature. Analysis of masks falling into these categories provides us with a set of formal criteria for this imagery. Mask types that fall into this continuum are used by the Okpella, a (...) northern Edo people living north of Benin City in southern Nigeria: a female character commemorating specific women of status and described as beautiful, a more ambiguous character that serves as the festival herald and messenger of the Dead Fathers described as grotesque, and a third masquerade that combines elements of both the beautiful and grotesque is described as fascinating. Why and how these forms communicate to their Okpella audience is the focus of this paper. It is based on qualitative research on the history and meaning of these masks carried out among the Okpella, survey research on aesthetic preference in which 400 individuals were interviewed, and with a panel study in which 100 participants from the original sample were re-interviewed. Key words: beautiful, grotesque, Africa, okpella, masquerade, aesthetics. Resumen Las máscaras emparejadas descritas como ‘bellas’ y ‘grotescas’ expresan valores complementarios en varias tradiciones artísticas del sur de Nigeria. Las máscaras bellas representan a los humanos, frecuentemente mujeres, y se emplean como metáforas de aspectos asociados con la civilización y la cultura. Las máscaras grotescas representan animales u hombres, y suelen vincularse con nociones de masculinidad y de naturaleza. El análisis de las máscaras que entran en estas dos categorías proporciona un conjunto de criterios formales para comprender este imaginario. El grupo étnico Edo del norte que vive al norte de Ciudad de Benín en el sur de Nigeria, los okpella, usan máscaras de este tipo. Existe un personaje femenino descrito como bello, un personaje más ambiguo descrito como grotesco y un tercero que combina elementos del bello y del grotesco y que se describe como fascinante. En este artículo nos interesamos en qué y cómo comunican estas formas con los okpella. Nuestro trabajo se apoya sobre una investigación cualitativa realizada entre los okpella, una encuesta sobre preferencia estética en la cual se entrevistó a 400 personas y un estudio en el cual se volvió a entrevistar a 100 personas de la muestra anterior. Palabras clave: belleza, grotesco, África, okpella, mascarada, estética. (shrink)

Con una belleza literaria incomparable, la Comedìa refleja la cosmovisión católica que vertebra la Cristiandad medieval, que tuvo su máximo exponente filosófico y teológico en santo Tomás. A lo largo de todo el itinerario poético, vemos la impronta del Aquinate presente en el meollo de la narración. Aquí analizaré cómo la cuestión teológica fundamental del gobierno divino del mundo permea la Comedìa, tanto en su estructura formal como en ciertos aspectos concretos del viaje de Dante. A partir de dicha (...) premisa, estudiaré las consecuencias que ello tiene en ese orden jurídico manifestado en la «arquitectura» del infierno, cuyo dintel es elocuente: «Giustizia mosse il mio alto fattore; / fecemi la divina podestate, / la somma sapienza e ‘l primo amore». Finalmente, abordaré la proporcionalidad de las penas que sufren los condenados, como indicador de la medida natural de los castigos dictados por justicia divina. (shrink)

Resumen: Mientras que en Banquete Platón presenta a Éros como un daímon metaxý, i.e. como una divinidad intermedia e intermediaria entre dioses y hombres, en Fedro lo caracteriza, en cambio, como un theós -un dios. Procuraremos mostrar aquí que esto no implica, sin embargo, un cambio doctrinal substancial sino que se trata de dos aproximaciones distintas pero complementarias respecto a la verdadera naturaleza de Éros. Según el Fedro, si bien éros puede permanecer en una expresión puramente física, sin desarrollar su (...) aspecto divino, es posible también que, debido al intenso deseo sexual por el bello muchachito, el amante recuerde la Forma de la belleza y crezcan en él las alas del Éros divino. Pero únicamente los dioses nunca pierden las alas de sus almas y están regularmente en pleno contacto con las Formas. Las almas humanas deben adquirirlas, y aun así, con riesgo a perderlas, quedando entonces en un lugar “intermedio” -metaxý- como el Éros de Banquete.: Although in the Symposium Plato describes Erôs as a daimôn-metaxy, i.e. as an intermediate and intermediary divinity between gods and men, in the Phaedrus it is said that Erôs is a theos -a god. I will try to show that these different descriptions do not imply a substantial change of mind but work as two complementary views about the true nature of Erôs. According to the Phaedrus, although erôs can remain just at a physical level and not develop its divine power, it is also possible that, thanks to the same intense, sexual desire for the beautiful boy, the lover recollects the Form of beauty and so grows divine Erôs`s wings. However, only the gods never lose their wings and so are in regular, full contact with the Forms. The human souls need to acquire the wings and even so take the risk of losing them; they are then in an intermediate state -metaxy- like Erôs in the Symposium. (shrink)

Debido al interés de Hegel por la función histórica del arte como factor de cultura, su filosofía del arte es inseparable de su filosofía de la historia. Las formas universales del arte (simbólica, clásica y romántica), corresponden al proceso de formación y realización de la subjetividad humana y su libertad en el mundo oriental, el antiguo o griego, y el moderno. El articulo se concentra en la forma clásica, o sea el mundo de la cultura griega. Su clasicismo es un (...) "punto medio", porque se ubica en el reino de la belleza, entre la naturaleza y la libertad. A pesar de su belleza, el arte de la forma clásica para nosotros modernos es un arte del pasado, es un arte para la libertad de un ciudadano de la polis pero no lo es para la libertad individualizada y universal de un ciudadano cosmopolita. (shrink)

Debido al interés de Hegel por la función histórica del arte como factor de cultura, su filosofía del arte es inseparable de su filosofía de la historia. Las formas universales del arte (simbólica, clásica y romántica), corresponden al proceso de formación y realización de la subjetividad humana y su libertad en el mundo oriental, el antiguo o griego, y el moderno. El articulo se concentra en la forma clásica, o sea el mundo de la cultura griega. Su clasicismo es un (...) "punto medio", porque se ubica en el reino de la belleza, entre la naturaleza y la libertad. A pesar de su belleza, el arte de la forma clásica para nosotros modernos es un arte del pasado, es un arte para la libertad de un ciudadano de la polis pero no lo es para la libertad individualizada y universal de un ciudadano cosmopolita. (shrink)

En este artículo analizo la aproximación “estética” de Malcolm Budd a la naturaleza, que sostiene que el modo correcto de experimentar la naturaleza es “como naturaleza” y no como arte. Estudio su relación con la idea kantiana de belleza libre y trato de mostrar que la belleza libre es un recurso teórico que deriva de la inevitable belleza dependiente. asimismo, basándome en la filosofía de Joseph Margolis, pretendo mostrar que “la naturaleza como naturaleza” es también un artefacto (...) cultural. (shrink)

Resumen En el siguiente artículo se indaga en torno a la naturaleza del ícono en cuanto tradicional representación pictórica de Cristo y los santos de la Iglesia. Trataremos de entender en qué consiste este arte, cuyos orígenes se pueden rastrear desde los primeros siglos de la cristiandad, cuáles son sus motivaciones, fines y rasgos esenciales, es decir, sobre qué bases ha logrado cumplir un rol tan importante en la vida de innumerables fieles. Por medio de una metodología de revisión bibliográfica (...) y documental, prestaremos atención a las tesis de diversos filósofos, teólogos e historiadores que se han acercado a reconocer y pensar sobre el significado del ícono para el pueblo cristiano. Nuestro propósito es eminentemente filosófico, pero se nutre de muchos autores que se han preocupado, desde diversas disciplinas, por esta especial y conmovedora belleza cristiana. Conocer en profundidad el ícono nos permitirá resolver nuestra pregunta investigativa que apunta a descubrir la herencia que el ícono le entrega al arte universal de todos los tiempos y al arte cristiano en particular. Partimos de la hipótesis de que el ícono encierra un aporte muy original y poco explorado que tal vez pueda ser de gran provecho e inspiración para pensar, por lo pronto, un arte contemporáneo y futuro enriquecido de esta herencia.The following article explores the nature of the icon as traditional pictorial representation of Christ and the saints of the Church. We will try to understand what this art consists of whose origins can be traced from the first centuries of Christianity, what are its motivations, aims and essential features, that is, on what basis has managed to fulfill such an important role in the lives of countless faithful. By means a methodology of bibliographic and documentary review, we will pay attention to the thesis of different philosophers, theologians and historians who have come to recognize and think about the meaning of the icon for the Christian people. Our purpose is eminently philosophical, but it is nourished by many authors who have been concerned, from different disciplines, with this special and moving Christian beauty. To know in depth the icon will allow us to solve our investigative question that aims to discover the inheritance that the icon gives to the universal art of all times and to Christian art in particular. We start from the hypothesis that the icon contains a very original and little explored contribution that may be of great benefit and inspiration to think, for now, a contemporary art and future enriched by this heritage. (shrink)

Debido al interés de Hegel por la función histórica del arte como factor de cultura, su filosofía del arte es inseparable de su filosofía de la historia. Las formas universales del arte (simbólica, clásica y romántica), corresponden al proceso de formación y realización de la subjetividad humana y su libertad en el mundo oriental, el antiguo o griego, y el moderno. El articulo se concentra en la forma clásica, o sea el mundo de la cultura griega. Su clasicismo es un (...) "punto medio", porque se ubica en el reino de la belleza, entre la naturaleza y la libertad. A pesar de su belleza, el arte de la forma clásica para nosotros modernos es un arte del pasado, es un arte para la libertad de un ciudadano de la polis pero no lo es para la libertad individualizada y universal de un ciudadano cosmopolita. (shrink)

This article shows the precritical principles of beauty in Kant’s thought, in order to understand his main contribution to the theory of beauty. This critical principles are not found in the Observations on the feeling of the beauty and sublime, but in the first and second critique which locate the feeling of pleasure and pain in the sensation faculty, instead of the Judgment, and in the Universal Nature History and the Theory of the Heavens, that considers beauty as the perfection (...) of the object given from a supreme intelligence, instead of an ideal unity brought from the reflexive judgment. (shrink)

While the story of Thomas Aquinas and Bonaventure of Bagnoregio engaging in a friendly contest, at the behest of Pope Urban IV, to compose the Mass and Office of Corpus Christi is likely a pious fiction, one can still ponder the fascinating hypothetical scenario: had such a contest taken place, who might have won? To consider that question, this paper embarks on a close reading of Bonaventure's hymns in his Office of the Passion, comparing his poetic approaches to those of (...) Aquinas in the hymns for Corpus Christi. After an introductory historical examination into the supposed involvement of both friars in the composition of the Corpus Christi liturgy, this article proceeds in three sections. First, a look into select excerpts from Bonaventure's Office of the Passion will establish his general poetic technique. In the transitional second section, a direct comparison between Bonaventure and Aquinas on the composition of the final doxological verses of their respective hymns will place their different poetic styles into greater relief. Third, a broader reading of Aquinas's Eucharistic hymns will highlight the unique qualities of his versified praises. Finally, in light of the foregoing analyses, a prospective winner of the hypothetical contest will be suggested. (shrink)

This paper advances a provisional case denying the attribution of the medieval liturgical sequence Sanctitatis nova signa, written in honor of Saint Francis of Assisi, to Thomas of Celano (died c. 1260), who is best known for writing the earliest biography of the saint. The Conventual Franciscan friar and bishop, Pietro Ridolfi, provides the oldest extant attribution of this sequence to Celano. Luke Wadding (died 1657) echoes this point in his Annales Minorum; several recent critical editions of early Franciscan texts, (...) as well as countless secondary sources, cite Wadding for the attribution to Celano. This identification remains problematic, not only due to the lateness of the Ridolfi-Wadding claim; the sequence's use of Dionysian mystical motifs and details unique to Bonaventure's Legenda Major (completed 1262) should exclude the possibility of Celano's authorship. Consequently this study tentatively dates the sequence to the latter part of the thirteenth century. Unlike the earlier sequences for Saint Francis attributed to Pope Gregory IX (died 1241) and Thomas of Capua (died 1243), Sanctitatis depicts Francis as a model Dionysian mystic. This mystical exemplarity becomes the image of unity advanced by the Franciscans to heal the internal crises plaguing the order in the later thirteenth century. (shrink)

Natural Law and Natural Rights is widely recognised as a seminal contribution to the philosophy of law, and an essential reference point for all students of the subject. This new edition includes a substantial postscript by the author responding to thirty years of comment, criticism, and further work in the field.

This book shows how political argument in terms of rights and natural rights began in medieval Europe, and how the theory of natural rights was developed in the seventeenth century after a period of neglect in the Renaissance. Dr Tuck provides a new understanding of the importance of Jean Gerson in the formation of the theories, and of Hugo Grotius in their development; he also restores the Englishman John Selden's ideas to the prominence they once enjoyed, and shows (...) how Thomas Hobbes's political theory can best be understood against this background. In general, the book enables us to understand more fully the characteristics of the natural rights theories available to the men of the Enlightenment, and thereby to appreciate the complexity and equivocal nature of modern right theories. (shrink)

This book takes concepts developed by researchers in theoretical computer science and adapts and applies them to the study of natural language meaning. Summarizing over a decade of research, Chris Barker and Chung-chieh Shan put forward the Continuation Hypothesis: that the meaning of a natural language expression can depend on its own continuation.

Methods available for the axiomatization of arbitrary finite-valued logics can be applied to obtain sound and complete intelim rules for all truth-functional connectives of classical logic including the Sheffer stroke and Peirce’s arrow. The restriction to a single conclusion in standard systems of natural deduction requires the introduction of additional rules to make the resulting systems complete; these rules are nevertheless still simple and correspond straightforwardly to the classical absurdity rule. Omitting these rules results in systems for intuitionistic versions (...) of the connectives in question. (shrink)