The article concerns the interpretation of Aquinas' philosophy in the thougt of the swiss theologian Hans Urs Von Balthasar.

This research intends to show a Kantian influence in Transcendental Thomism, particularly in Rahner, Lonergan and Von Balthasar. What is meant by a Kantian influence is a certain attitude regarding the problem of the universals, an attitude which is radically different from St. Thomas’. In my previous work (The Radical Difference between Aquinas and Kant: Human Understanding and the Agent Intellect in Aquinas [Chillum: IVE Press, 2021], the radical difference between St. Thomas and Kant was shown. In this present (...) research, what is argued is that Rahner, Lonergan and Von Balthasar follow Kant, not St. Thomas, with regard to the analysis of human understanding. From each Transcendental Thomist author mentioned above, I have taken one sample text, one most significant work where each author’s epistemology can be explored. Thus, I have selected Rahner’s Spirit in the World, Lonergan’s Verbum articles and Von Balthasar’s Theologic I. (shrink)

The author shows how in the Theology of Hans Urs Von Balthasar the work of Thomas Aquinas is very present.

In the first part of his magnum opus Hans Urs von Balthasarpresents his project of theological aesthetics where the experience of art becomes an entrance to a religious act and an ennobling way leading to the contemplation of God. Defining the essence of being human as a spiritual being directed towards God bears a deep ethical meaning in this consideration. H.U. von Balthasar’s reflection over the religious dimension of the essence of art is shaped within theology but at the (...) same time in the opposition to aesthetic theology which is de-scribed as ‘aesthetisation’ of the Mystery of Revelation. The art of music occupies a particular place in this reflection. For this reason Mass in B Minor BWV 232 by Johann Sebastian Bach, which is an emblematic example of the revelation of the glory of the Lord (Herrlichkeit), will be analysed not only from the perspective of philosophical or musicological aesthetics, but also theological aesthetics. This article outlines characteristic features of theological aesthetics specifically developed from traditional philosophical aesthetics whose range was extended by the human being’s relation to God. (shrink)

Phenomenological reflection on the essence of art goes towards the revelation of its ultimate Source, which is also the Source of spirituality of a man and, finally, of artistic works. Art occupies a prominent place in the works of Martin Heidegger, Hans Urs von Balthasar and Michel Henry, and what they have in common is pointing out the ability of transcending artistic work towards beyond-aesthetic and over-aesthetic dimensions. For those philosophers the work of art is a ‘way’ which may (...) lead human spirit towards Transcendence (the Absolute, God), but also towards the inner self. In this article the reflection over a religious dimension of the essence of art is extended by the analysis of St John Passion, BWV 245 by Johann Sebastian Bach, as a particular example of an artistic realization of phenomenologically rooted philosophical and theological reflection. (shrink)

In Distributed Like Bread: Hans Urs von Balthasar Speaks to Seminarians, Jonathan Ciraulo engages with the theological insights of Hans Urs von Balthasar, especially as they pertain to the priesthood and seminary formation. This work not only introduces readers to Balthasar's complex and nuanced understanding of the priestly vocation but also serves as a guide for those discerning or living out this calling. Through a detailed examination of Balthasar’s life and writings, Ciraulo uncovers the profound notion (...) that the priesthood is a mission, one in which God elects individuals to become instruments of divine grace despite and within their human limitations. (shrink)

Dynamic Theodicy (DT) is a broad concept we bring up to designate some modern Philosophical Theology attempts to reconcile the necessary and perfect existence of God with the contingent characteristics of human life. In this paper we analyze such approaches and discuss how they have become incomprehensible because the metaphysical assumptions implicit in these explanations have lost their intrinsic relation to the natural human desire for salvation. In the first part we show Charles Hartshorne's DT-model, arising from the modal logic (...) of perfection, and the modern rational problems of this position in making infinite-necessary Being (God) and finite-contingent being (human) compatible. We note that at the heart of the contradictions in this DT account is a dialectical mode of thinking that makes it difficult to find a correct solution to this dichotomy, and to assume a human desire that could be considered related to lifelong goals. In the second part, supported by the proposal of Hans Urs von Balthasar's DT, we develop the concepts of bodily vulnerability, corporeal intentionality, and natural desire for salvation, which come from an Aristotelian-Thomistic thought. This theory is established in order to build an argument, following Alasdair MacIntyre’s ethical framework, on how to make possible the recovery of a metaphysical and anthropological desire that transcends natural aging and goes beyond death. We conclude that both human dependence and the virtues that arise naturally when human beings decide to seek the good of their transcendent condition, make it possible to recover the natural desire for salvation through divine and human love. (shrink)

What is the distinction between understanding and forming a concept? In my view, for Aquinas, intelligere (the act of understanding) and dicere (the forming of a verbum or mental word) are not two different acts, but simply two different aspects of the same act of understanding. In the following, I will explore more in depth what this distinction means for Aquinas. Firstly, I will give a mostly doctrinal or systematic overview of the issue and, secondly, I will support my claims (...) with relevant textual evidence, taken exclusively from Aquinas’ Summa Theologiae. This study, as an appendix, is part of “The Influence of Kant in Transcendental Thomism: Rahner, Lonergan and Von Balthasar” (forthcoming). In my view, Lonergan’s way of distinguishing intelligere and dicere is different from St. Thomas’ way. In the body of my book, I focus on Lonergan’s reasons to distinguish these notions in his own particular way, whereas this study focuses on St. Thomas’ doctrine. It is my hope that the following lines will foster an understanding of St. Thomas’ epistemology and of its application to Trinitarian theology. (shrink)

Das Themengebiet der Psychopathie hat in den letzten Jahrzehnten vor allem durch Filme, die sich mit (vermeintlich) psychopathischen Charakteren beschäfti- gen, ein breites gesellschaftliches Interesse erfahren (vgl. Swart 2016). Holly- woods Blockbuster zeigen hier Beispiele hochintelligenter (z. B. Hanibal Lector in „Das Schweigen der Lämmer“) oder sexuell devianter (z. B. Patrick Bateman in „American Psycho“) Serienkiller, welche aus klinischer Sicht tatsächlich hoch psy- chopathische Tendenzen aufweisen. Demgegenüber werden psychisch andersartig beeinträchtigte Filmcharaktere, wie z. B. Norman Bates („Psycho“) oder Travis (...) class='Hi'>Bickel („Taxi Driver“) wohl aufgrund ihrer schreckenseinflößenden Wirkung im allgemeinen Sprachgebrauch oft als Psychopathen bezeichnet, obwohl ihre Symptome aus forensisch-psychiatrischer Sicht eher schizoiden Wahnvorstellungen ähneln und keine Anzeichen einer klas- sischen Psychopathie darstellen (vgl. Leistedt / Linkowski 2014). Auch Medienbe- richte über tatsächlich existierende, brutale (z.B. Serienkiller Ted Bundy) oder dreiste (z.B. Anlagebetrüger Bernard Madoff) Figuren der Zeitgeschichte haben die konzeptionelle Unübersichtlichkeit des in der Öffentlichkeit wahrgenommenen Bildes der Psychopathie befeuert. Und sogar in medizinischen bzw. psychiatri- schen Kreisen scheint eine uneinheitliche Sichtweise die Konfusion um das Stö- rungsbild Psychopathie weiter anzufachen (vgl. Berg et al. 2013). (shrink)

This Handbook contains forty essays by an international team of experts on the antecedents, the content, and the reception of the Dionysian corpus, a body of writings falsely ascribed to Dionysius the Areopagite, a convert of St Paul, but actually written about 500 AD. The first section contains discussions of the genesis of the corpus, its Christian antecedents, and its Neoplatonic influences. In the second section, studies on the Syriac reception, the relation of the Syriac to the original Greek, and (...) the editing of the Greek by John of Scythopolis are followed by contributions on the use of the corpus in such Byzantine authors as Maximus the Confessor, John of Damascus, Theodore the Studite, Niketas Stethatos, Gregory Palamas, and Gemistus Pletho. In the third section attention turns to the Western tradition, represented first by the translators John Scotus Eriugena, John Sarracenus, and Robert Grosseteste and then by such readers as the Victorines, the early Franciscans, Albert the Great, Aquinas, Bonaventure, Dante, the English mystics, Nicholas of Cusa, and Marsilio Ficino. The contributors to the final section survey the effect on Western readers of Lorenzo Valla's proof of the inauthenticity of the corpus and the subsequent exposure of its dependence on Proclus by Koch and Stiglmayr. The authors studied in this section include Erasmus, Luther and his followers, Vladimir Lossky, Hans Urs von Balthasar, and Jacques Derrida, as well as modern thinkers of the Greek Church. Essays on Dionysius as a mystic and a political theologian conclude the volume. (shrink)

The objective of the paper is a presentation and an interpretation of Władysław Stróżewski’s views on aesthetics. Built upon the foundation provided by classical metaphysics, Stróżewski’s aesthetics is simultaneously a continuation of the tradition of phenomenological interpretation of art. Stróżewski extends Roman Ingarden’s aesthetic theory by including the idea of numinous concretion, largely inspired by the works of Rudolf Otto. As a result, this new phenomenological perspective transcends the narrowly understood ‘aesthetics’ of the work of art towards the inherent dimension (...) of the sacred. Moreover, Stróżewski’s scrutiny of the aspect of art that goes beyond the aesthetic reveals an important relationship obtaining between his insights and the theological aesthetics of Hans Urs von Balthasar. Thus Stróżewski’s ideas turn out to be of significance to contemporary aesthetic and theological debates. In particular, he shows the movement of beauty from aesthetic to transcendental, and ultimately towards the sacred, where numinosum is manifested as Mystery. (shrink)

In 1992, Bengt Hägglund put forward a thesis according to which a codex in his possession is based on material Johannes Rudbeckius (1581–1646) authored in 1611, maintaining that the codex gives us information about Rudbeckius's lectures on _loci theologici_ in Uppsala during the years 1611–1613 and that it reveals to us characteristic features of Rudbeckius's thinking about dogmatics. Hägglund published the codex in 2001. I point out, first, weaknesses in Hägglund's argumentation. Second, I present indirect evidence against his thesis employing (...) the two series of Rudbeckius's published dissertations on dogmatics (1611–1613, 1620–1644) and his own comments about his lectures. Third, I indicate that three parts of the codex that are particularly important for Hägglund's argumentation stem from other authors: the introductory part on the nature of theo­logy, as well as the chapter on _locus de ecclesia_, have their origin in Jesper Brochmand's _Universae theologiae systema_ (1633), while the conclusion is taken from a dissertation that Balthasar Meisner published in 1614. The codex does not allow us to access a work Rudbeckius would have authored in 1611: it contains too many parts he cannot have authored then. In particular, the introduction and the conclusion of the codex do not tell us anything about Rudbeckius's characteristic thoughts on dogmatics. Hägglund's main reason for thinking that the codex is a transcript of Rudbeckius's work from 1611 is a date mentioned at the end of locus of the church. As it happens, this locus is borrowed from Brochmand, not from Rudbeckius. (shrink)

This review shows how during COVID 19, poetry and theology both can soothe us. The collection of essays in this anthology is wide ranging engaging with Dante; right up to Wallace Stevens and Denise Levertov. The reviewer thanks the Ramakrishna Mission for providing him with a hard copy of this book. In passing; in the spirit of IndianLivesMatter, one notes that Prabuddha Bharata has never missed an issue from 1896 till date. In his long stint as reviewer for the Ramakrishna (...) Mission's mouthpiece; this reviewer had to perforce castigate authors. In this review which draws to an end his decade long pro bono career as a reviewer at Prabuddha Bharata; the reviewers bids his constant reader adieu. (shrink)