El artículo habla del uso que de las citas de Ambrosio de Milán hicieron Agustín y Juliano de Eclana, tal y como queda reflejado en "Contra Iulianum opus imperfectum". Se señalan algunas cuestiones implicadas en este asunto, por ejemplo, la acusación de maniqueísmo hecha a Agustín y la diversa comprensión de la Tradición y de las Sagradas Escrituras, que tienen ambos autores.

In Augustinian reflection, the main problem of the imago Dei is the renewal of its image through being healed from lust, so as to regain the ordo amoris destroyed by sin. Current research investigates what the gratia Christi and charity contribute to the renewal of the image of God, at the level of a marriage bond that human race was given as part of the act of creation. This emerges as a primary element, both in the original state of man (...) and in his recovery through the gratia Christi. (shrink)

The Conlatio Carthaginensis of 411, took place in three sessions. During the third session, the Donatist bishops requested that their Church be recognized as 'Catholic', in the sense of being Christian. Whereas Augustine argued that the present Catholic Church, wherever she is found, is that which is attested to by the divine scriptures (Gesta 3,20 and 74), the Donatists, through their spokesman Petilian, countered that theirs was the true Catholic Church, given their constancy in the true faith and catholic discipline (...) (Gesta 3,22 and 27 and 75). Both episcopates remained tied to their respective positions; hence, the summary of the Donatist Gaudentius: «'Catholic' is not that which can referred to the whole, but that which is fully consecrated, perfect, immaculate, and, therefore, that which has nothing to do with nations» (Gesta 3,102). (shrink)

This article regarding musical language and its interaction with affective theology according to the study carried out by Laurence Wuidar explains musical images in relation to inner images, as in the Commentaries on the Psalms by Augustine of Hippo. By combining beauty and love, the Augustinian coordinates for the singing of Psalms as a perception of a love received as a gift and of a response composed of a love which expresses itself by “singing well” leads to an interaction between (...) musical language and affective theology, the latter being one of the privileged sources of the former. When developing the relationship between musical language and feelings, Augustine works out with regard to the singing of Psalms, a form of Christian paideia which in turn becomes a locus theologicus of affective theology, the story of God’s love for human beings set to music. (shrink)

This study aims to delineate some aspects relating to Hosius of Corduba, especially in regard to the nexus between ecclesiastical politics and faithfulness to Nicene orthodoxy found on the margins of the often discussed concessions by the Spanish bishop to the pressures of Emperor Constantius II, when the former signed the homoiousian formula of the Council of Sirmium in 357. Through an analysis of the ancient historiographical witnesses, one notes a clear divergence between the Eastern and Western sources. While Hosius’s (...) orthodoxy and sanctity are a given in the tradition of the Greek Church, Latin historiography considered him a crazy old man and traitor of the Nicene faith. These contrasting judgments come from the differing evaluations attributed to the Spanish bishop’s concessions when he was confronted by Constantius II: for those of the East, it is simply a question of ecclesiastical politics; for the West, faithfulness to Nicene orthodoxy involved taking a much greater risk. This note wishes to foster a reading of the Orthodoxy of Hosius that is more juridical than doctrinal. (shrink)

This note highlights the difficulties of reading the vocabulary of the De civitate Dei and makes annotations to the introduction of the new Italian translation of the De civitate, edited by Domenico Marafioti with an extensive introduction and notes: Sant’Agostino, La città di Dio, a cura di Domenico Marafioti, Arnoldo Mondadori Editore, Milano 2011 (Oscar Grandi Classici), 1632 pagine. ISBN 978-88-04-60888-2.