These nineteen original studies deal with Wessel Gansfort (1419-1489), the Modern Devotion and its influence, subjects and personalities of early humanism and ...

Das Wirken Gabriel Biels, eines der bedeutendsten Theologen des Spatmittelalters, ist nicht nur durch scharfsinniges, vor allem an Ockham, aber auch an Scotus orientiertes theologisches Nachdenken gekennzeichnet. Es ist ebenso gepragt durch die Devotio moderna. Aus dieser Quelle speist sich sein unermuedlicher Einsatz fuer eine Kirchenreform wie auch seine tiefe Frommigkeit. Trotz Kenntnis der Bedeutung dieser Linie fuer Biels Frommigkeitspraxis blieb sein Verhaltnis zur Mystik bisher unerforscht. Das vorliegende Buch fuellt diese Luecke. Es sammelt aus Biels Hauptwerken, dem (...) Collectorium und der Auslegung des Meakanons, die mystischen Elemente (wie z.B. raptus, Einwohnung, unio, transformatio) und analysiert deren Rezeption. Dabei beruecksichtigt es auch das Vorfeld von Mystik in Gebet und Meditation. Einen anderen Schwerpunkt bildet Biels Stellung zum Phanomen religioser und mystischer Erfahrung. Einen qualifizierten Begriff religioser Erfahrung entwickelt Biel nicht. Er wertet sie durchaus positiv, doch gilt ihm als das Hochste im Christenleben die Liebe. Betrachtet man aber die Funktion der Mystik in Biels Werken, so ist seine Theologie im weiteren Sinne mystagogisch. In devoter Tradition stehend, will er zur Frommigkeit hinfuehren. Nicht zu hoch veranschlagt werden darf die Relevanz des Nominalismus fuer Biels Mystik-Rezeption. Mit Register. "Es ist M. gelungen, in seiner grundgelehrten Untersuchung einmal die Forschung der Theologie Biels erheblich weiter voranzutreiben, und er hat zugleich zu uebergeordneten Fragen substantielle Beitrage geleistet." Theologische Rundschau "a ein solider und fuer die Erforschung der spatmittelalterlichen Theologie und Frommigkeit unentbehrlicher Beitraga" Rottenburger Jahrbuch fuer Kirchengeschichte "Durch sorgfaltige Analysen diesen verkannten theologischen Denker in die Gegenwart geholt zu haben - dies ist ein Verdienst dieser Arbeit." Hulda "Die beeindruckenden Starken der Arbeit liegen in der behutsamen, differenzierten Einzelanalyse" Theologische Literaturzeitung. (shrink)

This paper challenges the general approach to Kierkegaard ’ s engagement with imitation, which privileges a strictly religious reading. Heretofore imitation has been apprehended as a coherent concept shaped within the context of imitatio Christi in the devotio moderna. I locate Kierkegaard ’ s writings in the broader context of mimesis. Analysing particular mimetic structures woven into the text, I show that a plurality of imitative models that are different fromChrist occurs therein. Addressing the distinction between the religious (...) and the aesthetic in Kierkegaard, I inquire into the status of these imitative models. Referring to the term “ Mellembestemmelserne ” and “ ekphrasis ”— the rhetorical de- vice of aesthetics — I show that the other models of imitation exhibit supportive roles to the highest type of prototype (Christ) and therefore question the solely religious rendering of mimesis and the aesthetic confines of Kierkegaard ’ s concept of aesthetics. (shrink)

The mystical and spiritual authors of the thirteenth to eighteenth centuries provided rich inspiration for Kierkegaard's religious thought. Kierkegaard owned numerous works by these authors, who are associated with the spiritual traditions of Rheno‐Flemish mysticism, Devotio Moderna, post‐Tridentine and Baroque Catholicism, and Reformed Pietism. The accurate spiritual diagnostics and the apt methods of spiritual formation found in (Pseudo‐)Tauler, Theologia Deutsch, Abraham a Sancta Clara, and François Fénelon deeply impressed Kierkegaard. He adopted and further developed motifs from the mystical (...) and spiritual authors in a variety of his writings, and his journals contain abundant reflections on themes from Thomas à Kempis, Ludovicus Blosius, and Gerhard Tersteegen, such as the imitation of Christ, spiritual guidance, or divine pedagogy. The best testimony to the importance of spiritual literature for Kierkegaard is the fact that he sought counsel in it in a personal crisis when he was deciding on the future of his religious authorship. (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)

For Nicholas of Cusa, excellence, worship, law and discipline are not the ways to arrive at divine wisdom and eternal life; instead, virtuous life, keeping the commandments, sensible devotion, mortification of the flesh, scorning the world, and everything that shows love and fear of God are the true ways. These points, which were considered essential to strengthening the religious experience for church members and leading the soul to knowledge of God, had been insisted upon already by thinkers before Cusanus, from (...) Wycliffe to Hus, and including the authors of Devotio Moderna.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Sacred Game: The Role of the Sacred in the Genesis of Modern Literary FictionAndrew J. McKennaThe Sacred Game: The Role of the Sacred in the Genesis of Modern Literary Fiction, by Cesareo Bandera; 318 pp. University Park: Pennsylvania State University Press, 1994, $16.50.When we consider the early relations of philosophy and literature, we most often think of Republic X and about degrees of separation between reality and (...) its image. That is a mistake, according to Cesareo Bandera, who shows in his deft reading of Laws that Plato expelled the poets chiefly because of their threat to the difference between sacred and profane: their mournful harmoniae polluted sacred rites. In this Plato is closer to the religious world examined by Durkheim, where the absolute difference between sacred and profane alone guarantees all other differences. Aristotle is shown to be starkly misleading here, since his Poetics discuss tragedy as if it had nothing to do with the ritual practices in which it originates. His vaunted realism can only save poetry—and ontological appearances—by ignoring, by virtually expelling the sacred from its purview.This expulsion of the sacred from the horizon of our rationality is the thematic core of Bandera’s argument about modern literary fiction as it [End Page 189] emerges in the Renaissance. He does not bring the religious back to our attention to enthrall us with it anew, but to explain via formidable literary and historical scholarship how we stand with respect to it, and how we misunderstand our enlightened disrespect for it. Our modern scientific spirit, our really amazing freedom of inquiry, has a different genealogy than we commonly suppose.It is not primarily philosophy which grounds our humanist irreverence, but our Western religious tradition, which Bandera reads, along with René Girard, Roberto Calasso, and Marcel Gauchet, as a uniquely desacralizing agency in culture. His book’s central endeavor is to expand the implications of Girard’s sacrificial theory of social formation across close readings of ancient and Renaissance literature and criticism in order to show the constraints on rationality within a culture where the sacred veiled human violence. According to this view, that veil is rent irreparably with the revelation of the innocent victim as the vantage point from which to interpret the murderous fury of the crowd, however ritualized as awe for the god(s), or as art. A stunning analysis of Virgil (with an assist from Michel Serres’s reading of Lucretius) reveals a writer holding back from his appalled understanding of violent foundations. With the Renaissance, art is cannily deritualized; not pious Aeneas, born of a goddess, but Don Quixote, born in prison, sets the course for modern fiction.Bandera’s astute readings of Renaissance literature and criticism shed decisively new light on the significance of this axial period, poised at the fulcrum of his argument. His vast and probing research reminds us how modern literary fiction nourished its self-consciousness and freedom amidst lavish and vehement debate over mixing the human and divine. Stripped of the taboos limiting classical thought, the sacred’s monopoly on violence had eroded to reveal individual culpability—but also vast, new possibilities for thought and action. A clear ethical impulse accompanies these readings, in which Calderon and Cervantes are shown to deprive us of a sacred alibi for human violence, which is now a matter for me to resolve with my neighbor. Organically cultural imperatives lose ground to a sense of individual responsibility, which Bandera traces back to the historically documented ascendancy of devotio moderna in late medieval Europe.Despite and because of debates over its cultural role, Renaissance literature’s very marginality freed it to explore every dimension of human error. And we learn how those who unwittingly conspire to resacralize it, from Tasso and Shelley through Arnold and Frye, only continue to play the sacred game that caused shudders in Plato and inspires just plain silliness among our own critical anarchs and demystifyers.Bandera’s net is cast wide and deep, including a bracing debate with Milbank and Blumenberg, whose sweep he emulates successfully, and whose powerful analyses he corrects. Witty and adroit scrutiny of our “sacred allergy” extends... (shrink)

The first beginnings of modern logic in Croatia are recognizable as early as in the middle of the 19th century in Vatroslav Bertić. At the turn of the 20th century, Albin Nagy, who was teaching in Italy, made contributions to algebraic logic and to the philosophy of logic. At that time, a distinctive author Mate Meršić stood out, also working on algebraic logic. In the Croatian academic philosophy, until the publication of Gajo Petrović's textbook (1964) and the contributions by Heda (...) Festini, a critical or indifferent attitude toward modern logic prevailed. The first comprehensive modern logic textbook in Croatian was written by mathematician Vladimir Devidé (1964), known, for example, for his axiomatizations of natural numbers and classical propositional logic. In the Croatian philosophy of the 1980s and 1990s, influential logicians are Goran Švob and mathematician Zvonimir Šikić. At the turn of the 21st century, logical investigations are being intensified and extended to various branches of the contemporary logic. (shrink)

Russkiĭ kosmizm v poiskakh absoli︠u︡ta : paralleli i peresechenii︠a︡ v muzykalʹnom, poėticheskom i izobrazitelʹnom tborchestve 1910-1920-kh godov -- Liki Moderna -- Putʹ k modernu : Georgiĭ Lʹvovich Katuar -- Stilʹ modern v tvorchestve Frederika Diliusa : kont︠s︡ert dli︠a︡ fortepiano s orkestrom do minor -- Stilʹ modern i tvorchestvo Bely Bartoka (na primere opery "Zamok gert︠s︡oga Sini︠a︡i︠a︡ Boroda") -- Frit︠s︡ Kreĭsler i stilʹ modern -- Klod Debi︠u︡ssi i Moris Ravelʹ : muzyka dli︠a︡ arfy -- Klod Debi︠u︡ssi : dvenadt︠s︡atʹ ėti︠u︡dov dli︠a︡ (...) fortepiano : ot ėkzersisa do installi︠a︡t︠s︡ii -- O dikhotomii "muzhskogo" i "zhenskogo" v Pi︠a︡toĭ sonate A.N. Skri︠a︡bina (na primere motivnoĭ metriki) -- Pod znakom moderna : A.N. Skri︠a︡bin i S.S. Prokofʹev v 1913 godu -- Avangard i modern v retrospektive -- O proi︠a︡vlenii︠a︡kh "modernizma" v ispolnitelʹskom iskusstve : F. Buzoni, M. I︠U︡dina, G. Gulʹd -- Sudʹba providt︠s︡a : fortepiannai︠a︡ muzyka Ėrika Sati v sovremennom akademicheskom muzykalʹnom mire -- Otgoloski ėpokhi modern : o nekotorykh smyslovykh osobennosti︠a︡kh sovremennykh fortepiannykh sochineniĭ (Ė. Denisov, S. Slonimskiĭ, G. Zaĭt︠s︡ev) -- Zapadnye pianisty - ispolniteli russkogo avangarda pervoĭ volny : Sh. Shleĭermakher, Kh. Khenk, M.-A. Amlen -- Muzyka k filʹmu "Kabinet doktora Kaligari" : mezhdu tvorcheskoĭ rekonstrukt︠s︡ieĭ i istoricheskoĭ imitat︠s︡ieĭ -- Podvodi︠a︡ itogi -- "Pozdniĭ modernizm" v muzyke kont︠s︡a XX - nachala XXI veka : nekotorye nabli︠u︡denii︠a︡ -- Po sledam konferent︠s︡ii "Ot moderna k futurizmu" (virtualʹnai︠a︡ beseda za kruglym stolom). (shrink)

Este texto pretende apresentar, de forma sucinta, um conjunto de estratégias de ?folósofos modernos para a retomada e crítica do ceticismo antigo, procurando destacar algumas semelhanças e diferenças.

La crítica de arte nació tras la caída de valores absolutos y jueces arbitrarios. Su objetivo era formar a la opinión pública en una sociedad abierta y libre. La crítica de arte de la sociedad postindustrial ha hecho de todo el pasado un valor absoluto. En su formato periodístico que llega más a la mayoría de ciudadanos se ha erigido en juez supremo y arbitrario.

A partir de la Melancolía de Lucas Cranach de 1532, se indaga el linaje cartesiano de los vértigos de incertidumbre que sufre Antoine Roquentin, el protagonista de La náusea satreana. Se aborda en estas páginas cierto síndrome consistente en la dificultad de discernimiento entre cuanto sucede fuera de la conciencia y cuanto no es más que representación mental, para sostener que es esta ambigüedad la condición de posibilidad de la conciencia moderna, la de una conciencia sostenida en su misma (...) contingencia. (shrink)

"La escuela moderna", de Francisco Ferrer Guardia. Francisco Ferrer Guardia fue un famoso pedagogo libertario español (1859-1909).

Suárez y la Filosofía Moderna Resumen: Los intérpretes de hoy debaten sobre el estatuto y la asociación de Francisco Suárez con la Filosofía Moderna. Este estudio enfoca los principales aspectos de la filosofía especulativa y práctica del pensador jesuita, con el propósito de mostrar que, en las diversas disciplinas abordadas, Suárez ha tomado en cuenta genealógicamente, la formalización de las teorías precedentes: las ha re-formulado en términos metodológicos para progresar. A su preferencia parcial por pruebas a priori, agrega (...) datos de experiencia con respecto a los postulados de la metafísica. Por otra parte, innova en la adopción del lenguaje médico imperante en materias de psicología moral y en la intrincación de las disciplinas teológicas y jurídica, en materias políticas. Con este proceder, que se distingue del estrictamente propedéutico para la investigación científica, alcanza una comprensión adecuada de los fenómenos y, a partir de sus replanteamientos establece el curso de figuras representativas del pensamiento moderno. Palabras clave: Suárez; ontologia; epistemologia; psicología moral; filosofía política; filosofía moderna. Suárez and Modern Philosophy Abstract: Today's interpreters debate the status and association of Francisco Suárez with Modern Philosophy. This paper focuses on the main aspects of the speculative and practical philosophy of the Jesuit thinker, with the purpose of showing that, in the various disciplines approached, Suárez has taken into account genealogically the formalization of the preceding theories: he has reformulated them in methodological terms to progress. To his partial preference for a priori proofs, he adds data of experience regarding the postulates of metaphysics. On the other hand, he innovates in the adoption of the prevailing medical language in matters of moral psychology and in the intricacy of theological and legal disciplines, in political matters. With this procedure, which differs from the strictly propaedeutic for scientific research, he reaches an adequate understanding of the phenomena and, from the rethinking of it, establishes the course of representative figures of modern thought. Key-words: Suárez; ontology; epistemology; moral psicology; political philosophy; Modern philosophy. Suárez e a Filosofia Moderna Resumo: Os intérpretes de hoje debatem o estatuto e a associação de Francisco Suárez com a Filosofia Moderna. Este estudo enfoca os principais aspectos da filosofia especulativa e prática do pensador jesuíta, com o propósito de mostrar que, nas várias disciplinas abordadas, Suárez teve em conta genealogicamente a formalização das teorias precedentes: ele reformulou em termos metodológicos para o progresso. À sua preferência parcial por provas a priori, ele adiciona dados da experiência sobre os postulados da metafísica. Por outro lado, inova na adoção da linguagem médica predominante em questões de psicologia moral e na complexidade das disciplinas teológicas e jurídicas, em questões políticas. Com esse procedimento, que difere do estritamente propedêutico para a pesquisa científica, ele chega a uma compreensão adequada dos fenômenos e, a partir de seu repensar, estabelece o curso de figuras representativas do pensamento moderno. Palavras-chave: Suárez; ontologia; epistemologia; psicologia moral; filosofia política; filosofia moderna. Data de registro: 16/09/2021 Data de aceite: 01/12/2021. (shrink)

O fenómeno FinTech revolucionou o modo de prestar serviços financeiros e transformou a relação entre o prestador destes serviços e o consumidor, sendo as plataformas digitais e aplicações o meio através do qual o consumidor passou a relacionar-se com o seu prestador de serviços financeiros. O sector bancário precisa adaptar-se de forma célere e urgente à nova realidade. O perfil do consumidor de serviços financeiros alterou-se e quanto mais digital e tecnológico se tornarem os prestadores de serviços financeiros, surgem novas (...) desigualdades sociais. Propomo-nos analisar que desigualdades se geraram e quais os atuais impactos sociais. (shrink)

El presente artículo propone realizar una lectura filosófica de la narrativa de Rul- fo, en especial del cuento “Luvina”, haciendo hincapié en la interpretación de la historia y el antihistoricismo según Nietzsche; con la finalidad de explorar de manera crítica los ideales de la figura moderna del progreso. Igualmente, examina la concepción de la historia —siguiendo a Benjamin— a partir de una noción a contrapelo de los discursos hegemónicos de la narración histórica de Occidente, entendida ésta en clave de (...) catástrofe. Este análisis será comprendido como una estrategia para rememorar a las víctimas ausentes de la figura del pro- greso histórico, a quienes hallamos en los personajes olvidados y desarraigados de la modernidad rural mexicana de mitad del siglo xx, descrita por Rulfo. Dichos personajes representan una subjetividad angustiada del México posrevolucionario y tienden a volcarse a su interioridad, debido al absurdo de un mundo cada vez más ajeno a lo humano. (shrink)

A sociedade moderna weiliana se caracteriza entre outras coisas pela sua sua concepção de ciência. Ambas fundadas no princípio do cálculo eficaz, a compreensão de seu funcionamento e de suas limitações caminham juntas. Assim, analisar a sociedade moderna contempla uma discussão da instância que funciona como sua autoconsciência: a concepção de ciência que lhe é própria, as ciências sociais, cuja matriz é a ciência da natureza. Ciência e sociedade moderna são compreendidas no âmbito da categoria weiliana da (...) condição. Aqui não existe apelo a um princípio incondicionado. Desse modo, a questão do sentido não pode ser feita. Não se trata com isso de renunciar às conquistas da ciência moderna. Na visão de Weil, entretanto, deve-se reconhecer que a questão do sentido pode ser feita adequadamente. Isso porque ela deve ser posta pela filosofia. Nosso objetivo no presente trabalho é discutir a relação entre sociedade moderna, ciência moderna e o sentido. Isso porque se existe uma ciência de uma sociedade eficaz também existe uma ciência do sentido: essa é a filosofia. (shrink)