This review does not comment adversely against the original writer of this work, who is a Doctor of the Roman Catholic Church. The review shows how this particular edition of the book fails as a study edition. It does not show, even in its reprint version, the sources of St. Teresa of Avila's mysticism. This edition of the book is shallow and irrelevant. Not so the actual text of St. Teresa of Avila.

David E. Cooper proposes that the ”mystery’ of ”reality as it “anyway‘ is, independently of human perspective’ provides measure for the leading of our lives and thus avoids, on the one hand, the hubris of a humanism for which moral life is the product of the human will and has no warrant beyond it, and, on the other, a theism which appears to be at once too remote from and too close to the human world to provide any such warrant. (...) The paper rejects the role this gives to ”mystery’ and locates ”warrant’ in a moral perspective that is not the product of will. (shrink)

The Philosophy Now series promises to combine rigorous analysis with authoritative expositions. Ruth Abbey’s book lives up to this demand by being a clear, reliable and more than up-to-date introduction to Charles Taylor ’s philosophy. Although it is an introductory book, the amount of footnotes and references ought to please those who want to study the original texts more closely. Abbey’s book is structured thematically: morality, selfhood, politics and epistemology get 50 pages each. The focus is on the (...) internal coherence of Taylor ’s work, not in its critique of or defence against other positions. The chapters are self-containing, but together they give a good total picture of Taylor ’s position. The concluding chapter is a highly interesting preview of Taylor ’s unpublished work-in-progress on secularity, which according to Abbey is comparable in magnitude to Sources of the Self. (shrink)

John Schlitpacher (†1482), who was prior of Melk in the 15th century, encouraged both the circulation of manuscripts at his Abbey and their transcription, even in abbreviated form to the benefit of the Abbey School students. This article looks at the sources and diffusion of texts to and from Melk Abbey in that period, examining the case of a codex purchased by Nicholas of Cusa, registered in his Library as no. 58, and subsequently loaned to the monks (...) in Melk to be copied. It contained the Scala Paradisi by John Climacus and the De spiritualibus deliciis by John of Dambach. In the article, I underline that both of these works, copied in codex 58, were in accordance with John Gerson’s theological approach, which was prevalent in Melk at that time. Moreover, I confirm that there are doctrinal similarities between the two works mentioned above and two, hitherto, unedited writings by Schlitpacher from the same period – the treatise De ascensionibus cordis, which is a summary of the De spiritualibus ascensionibus by Gerard Zerbolt of Zutphen, and another entitled De felicitate beatorum (or De gaudiis electorum). (shrink)

Environmental philosophy plays an important role, directly and indirectly, in many parts of society, including land and wildlife management (Leopold, 1949; Minteer, 2015), political activism (Abbey, 1968; Malm, 2020),and technological research and development (Baum & Owe, 2022; Donhauser et al., 2021). Environmental philosophy uncovers the ethical relationships existing between humans and the living and non-living world. It reveals the nuances of our scientific ecological concepts. And it tries to tell us how we might act – individually or collectively – (...) to better achieve our environmental goals. The aim of this special issue is to explore the limits and ever-expanding outer edges of this increasingly important area of philosophical thought. (shrink)

A review of Abbey-Anne Smith's book "Animals in Tillich's Philosophical Theology.".

Quando la biblioteca diventa un confessionale. Nel 1585, Giordano Bruno ritorna a Parigi dopo il soggiorno londinese, e comincia a frequentare l’abbazia di Saint Victor, famosa per la sua ” libraria “, immortalata da Rabelais. Il bibliotecario, Guillaume Cotin, trasforma lo “scriptorium” in un confessionale, dove il filosofo dà libero sfogo ai suoi ricordi e al suo impetuoso carattere. -/- When the library becomes a confessional. In 1585, Giordano Bruno, returns to Paris after his stay in London, and begins to (...) attend the abbey of Saint Victor, famous for his library, immortalized by Rabelais. The librarian, Guillaume Cotin, transforms the scriptorium into a confessional, where the philosopher gives free rein to his memories and his impetuous character. (shrink)

The novel begins as follows:"Dora Greenfield left her husband because she was afraid of him. She decided six months later to return to him for the same reason. The absent Paul, haunting her with letters and telephone bells and imagined footsteps on the stairs had begun to be the greater torment. Dora suffered from guilt, and with guilt came fear. She decided at last that the persecution of his presence was to be preferred to the persecution of his absence."Murdoch's novel (...) The Bell is about Imber Court. It is a small Anglican religious community of lay people whose lives were transformed, not just by the arrival of a couple of dissimilar visitors, not just by the arrival of a new bell to be installed at Imber Abbey located beyond the lake, but more significantly by the discovery of a centuries-old bell the story of which is engulfed in a terrible legend. (shrink)

Walter M. Miller, Jr.’s 1959 novel A Canticle for Leibowitz is on one level a theological reflection on the human propensity to sin. Not coincidentally, the story is located in an Albertinian abbey in the former American southwest six hundred years after a nuclear holocaust, recounting three separate historical periods over the following twelve hundred years: a dark age, a scientific renaissance, and finally a time of technological achievement where a second nuclear holocaust is imminent. Miller asks the question (...) of whether humans as a species cannot avoid committing acts of sin that cumulatively and continually lead to acts of societal and technological self-destruction; his response oscillates between a fatalistic pessimism (the final extinction of the human species) and a vague optimism (the “new creature,” the mutant Rachel, or perhaps a last group of humans leaving the Earth as the curtain falls). It is my thesis in this article that theological questions about sin (as explored by Augustine and later scholars) can be fruitfully approached by analogous genetic processes; more precisely by reference to the rising science of Epigenetics, which explores how genes can express themselves differently without mutating in response to life stressors. In light of the idea of a genetic and epigenetic expression of moral rules of existence, Augustine’s thesis of original sin as something that is inherited makes new sense. In this light, it may also be possible to approach the question that the Canticle proposes: are we destined to self-destruction, or is there a way out of this destructive cycle? (shrink)

The concept of place is ultimately a matter of ethical significance—of where something fits in a nexus or structure of meaning. Often this meaning is quite personal, involving a sense of presence we associate with a place. This essay investigates this connection through a study of Wordsworth’s poem, “Tintern Abbey.” It argues that the notion of a presence-infused place is ultimately that of a second-personal space. Presence is a matter of second-personal openness. Therefore, when presence infuses place, it makes (...) its space second-personal also. (shrink)

Studios resist reductive analyses. Although isolated, they have their own frontstages and backstages, and like the laboratories studied by Knorr-Cetina, function as more than simply “internal environments.” The placeness of studios leaves both audible traces (the early reflections of sounds) and visible ones, if we think of those studios that become shrines or pilgrimage sites, or photo or video documentation of studios that provide the outside world a brief glimpse into the interior isolation of recording studio life. It would seem (...) that major facilities such as Abbey Road, Ocean Way or Sun Records are emphatically not “placeless place[s]” (Gieryn 2008), nor are they decontextualized from their immediate geographic surroundings. -/- Although atomized project studios (including bedroom studios, garages, and barns) may not immediately appear to be embedded within the social relations of a bounded local culture, many such studios are embedded within the social relations of specific online networked cultures,20 as is evinced by the vibrant online recording engineer communities that support everything from amateur acoustician pedagogy to advanced mixing techniques and even online mixing/remixing competitions. Such studios can be considered as “local anchoring points in the cultural metropolises of the global urban network” (Watson, Hoyler and Mager 2009). Knorr-Cetina (1992) suggests something similar when she discusses how laboratories function not just as “internal environments” but rather as “a link between internal and external environments, a border in a wider traffic of objects and observations”. Like their larger counterparts, project studios are acoustic environments isolated from various perceived outsides, use the very same technologies of audition to make up for the constrained paths of audibility, and similarly shape the kinds of musical and social practices that can transpire within (even if this shaping process effectively restricts the studio’s usage to a single musician at a time). I argue that the more we wish to understand the vibe and sound of the studios, the more we may wish to consider the studio as an active agent in the process of recording production, an actor in the social worlds that inhabit its very wombs and bunkers. (shrink)

In spite of their lack of interest in traditional philosophy and their explicit disavowals about the deeper meaning of their songs, there are also good reasons to approach and interpret the Beatles and their work from a philosophical point of view. In his Playboy interview from September of 1980, John praised Paul for the philosophical significance of the song, “The End,” which appeared on the Abbey Road album: “That’s Paul again. . . . he had a line in it (...) – “The love you take is equal to the love you make’ – which is a very cosmic, philosophical line. Which again proves that if [Paul] wants to, he can think” (Beatlesongs, p. 929). And in a similar vein, Paul revealed in an interview that Beatles songs are meant to be interpreted from different perspectives and on different levels: “You put your own meaning at your own level to our songs, and that’s what’s great about them” (Beatlesongs, p. 143). Of course, there are many things that are “great” about Beatles songs; but one of the great things – certainly for those who want to be thoughtful and reflective about popular culture – is that they can be interpreted philosophically and thus appreciated in light of philosophical ideas and theories. One such theory is what might be called “idealistic monism.”. (shrink)

This is an excerpt of a crucial dialogue engaged in by a Hindu and an Orthodox Roman Catholic. The excerpt touches on evil and the supernatural.