Pub Date : 2023-09-01DOI: 10.1353/log.2023.a909175
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Pub Date : 2023-09-01DOI: 10.1353/log.2023.a909172
Sonia Fanucchi
Ingesting WordsReading per diletto and Sacramental Memory in Dante's Commedia Sonia Fanucchi (bio) Dante, Reading, Memory, Language, Sacrament This one who guides my eyes on highIs the very Virgil from whom you took the powerto sing of men and of the gods (Purg. 21. 124–6).1 These words, spoken by Dante's pilgrim to the newly redeemed Statius, capture the essence of Dante's approach to reading in the Com-media. In this exchange Virgil's Aeneid is indistinguishable from its author, whose powerfully personal voice reaches out to his readers across time. Thus, Statius's wish "To have lived on earth when Virgil lived" (Purg. 21. 100–1)2 is answered by Virgil's embodied presence, not as an impersonal text hearkening back to a distant past, but as a living, conversing memory. I would like to suggest that reading performs a memorial function for Dante, in the sense that it invokes the sacramental dimensions of the Eucharist, where the embodied Christ inspires his followers to reenact his passion in his command to "do this in memory of me." This contrasts with the self-indulgent tendency suggested by Francesca's phrase "per diletto" ("in pleasure," Inf. 5. 127), and has implications for Inferno's paradigmatic reading scene, as I intend to show. [End Page 117] The images of Christ holding an open book during the high Middle Ages associate books directly with the Logos.3 The notion that books open readers up sacramentally to the divine, as "we devour and digest the book, when we read the words of God,"4 was commonly held, and is rich in eucharistic associations. The practice of lectio divina taught that the word of God must be ingested sacramentally, with its spiritual effects being mirrored physically, so that to read was equated with taking the eucharistic host, collecting "every crumb … of the textual bread in study,"5 and "murmuring" in the same way as the mouth moves when taking the host.6 The connection was sometimes made even more explicit, such as when Hugh of St. Victor linked the image of St. John Evangelist eating a book to the relationship between Christ, the sacraments, and the Church.7 The parallels drawn here between reading and the sacraments suggest interesting implications for the way in which texts were believed to affect readers' memories. The enactment of the Eucharist is necessarily an act of memory: as Helmut Hoping suggests, the Eucharist is not only a "remembrance of the Last Supper of Jesus with his disciples" but a "memorial" which renders our "redemption" present, sacramentally.8 When discussing the Eucharist, Hans Urs von Balthasar argues that the sacrament should be understood as a "form of life, a way of being and acting that encompasses the totality of Christ's historical life and mission."9 The idea that Christ's history and identity is constantly renewed and sacramentally conveyed to believers as an embodied presence, drawing them into an ongoing, reciprocal, personal drama is a central feature of the sacrament of the Euch
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Pub Date : 2023-09-01DOI: 10.1353/log.2023.a909169
Emily Lehman
Demons and the Heart in Dostoevsky's Notes from Underground Emily Lehman (bio) narrative, selfhood, Notes from Underground, Dostoevsky, Christos Yannnaras, relationality Dostoevsky's The Brothers Karamazov is a common—almost clichéd—text for engaging with the problem of theodicy. Perhaps this is because, rather than being a theoretical philosophical exercise, the concerns that Dostoevsky raises in The Brothers Karamazov are concerns with which he himself has deep sympathy—and most readers cannot help but have deep sympathy as well. The author who would reportedly say "My hosanna is born of a furnace of doubt" exorcised his demons in The Brothers Karamazov, as he did in the remainder of the quintet of his most well-known novels.1 But Notes from Underground, written in 1864 after the death of Dostoevsky's wife and brother, is Dostoevsky's rawest account of doubt, and his most sympathetic portrayal of the materialists, determinists, and nihilists upon whom he would cast aspersions in The Idiot. Notes, which would be the gateway to Dostoevsky's five most serious novels, takes the form of a series of disjointed rambles from an unnamed protagonist. In its seemingly chaotic portrayal of the human experience, the novella presents an argument for Christianity that is strong by being counterintuitive. In the philosophical ramblings that constitute the first part of the work, the Underground Man flails against the dictates of late modern [End Page 46] materialism and determinism even while attempting to claim their most important effect for himself—an abdication of responsibility. In the second part of the novella, the story of his encounter with the prostitute Liza, the Underground Man discovers that responsibility never really can be abdicated, only denied. By portraying a man up against the fundamental structure of reality, Dostoevsky makes a powerful, and perhaps his most subtle, presentation of the evidence for divine mercy and human freedom. This honesty would endear Dostoevsky to Friedrich Nietzsche, who called the earlier writer "the only psychologist from whom I had something to learn."2 Nietzsche was profoundly impressed by Notes from Underground. In a letter to Peter Gast dated March 7, 1887, he calls the work "a real stroke of genius in psychology—a terrible and cruel piece of mockery levelled at γνῶθι σεαυτόν ["know thyself"], but done with such a light and daring hand, and with so much of the rapture of superior strength, that I was almost intoxicated with joy."3 Dostoevsky shows that "superior strength" by making the best case for nihilism that he can—a case that Nietzche would make even more aggressively later on, continuing the takedown of the philosophical and religious framework that had been taken for granted for hundreds of years. Dostoevsky's demons are the demons of Nietzsche, which are the demons of late modernity. Though Dostoevsky did not himself embrace nihilism in the end—and attempted to include in Notes even more of a religious
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Pub Date : 2023-09-01DOI: 10.1353/log.2023.a909173
Richard M. Tristano
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Pub Date : 2023-09-01DOI: 10.1353/log.2023.a909170
John-Paul Heil
Eros and Abandonment between Caussade and Balthasar John-Paul Heil (bio) Eros, Abandonment to Divine Providence What is abandonment? Although they lived almost two centuries apart, the enigmatic French Jesuit Jean-Pierre de Caussade (1675–1751) and the celebrated Swiss theologian Hans Urs von Balthasar (1905–1988) both grappled with this question. As Caussade puts it in his famous letters on spiritual direction, now collected as the Abandonment to Divine Providence, abandonment is "complete loyalty to God's will" via obedience to "the laws of God and the Church" as well as the fulfillment of "all the duties imposed on us by our way of life" and the loving acceptance of "all that God sends us at each moment of the day"; it is the life of devotion that Jesus, Mary, and Joseph lived to the "sacrament of the present moment."1 It is, for Balthasar, "unconditional self-surrender, being at God's disposal in transcendent openness to His provident will," an "absolute openness, like the fiat of the Mother of God, [that] proves itself in the act of obedience … the pure, naked, undefiled faith which does not want to decide for itself and so does not want to know anything."2 Though at first glance Caussade and Balthasar seem like an odd intellectual pairing, given their writing at a remove of two centuries from one another, Balthasar celebrated Caussade as the simultaneous culmination and surpassing of what he calls the "metaphysics of the saints," a turning-point figure [End Page 73] in the Church's intellectual history, and the most robust articulator of an Ignatian ethic of abandonment that Balthasar himself takes up and champions. Born in southern France, Caussade "certainly displays affinities" for a spirituality "steeped in the tradition of Francis of Sales and [Madame] Guyon,"3 which Balthasar traced as leading to the erring quietism of Fénelon.4 Caussade appears to have garnered very little fame during his life, instead moving around France as a schoolteacher, preacher, spiritual director, and college rector for the Society of Jesus.5 The humility of his life and the sparseness of details surrounding his biography have led some to challenge Caussade's authorship of Abandonment.6 For his part, Balthasar does not cast any doubt on Caussade as author of the letters that make up the treatise, instead focusing on the depth of the work's penetrating insights. In his The Glory of the Lord, vol. 5, Balthasar sees Abandonment as a reorientation of faith as "the way to God … the real presence of revelation," misread by Fénelon through "ontological concepts that deny or paralyze the proper activity of the creature" and "doctrine [that] lacks a Christological emphasis," towards "Biblical revelation."7 The darkness in which the abandoned soul seems to be left is always "the light of the Word of God," which "meets the readiness of the soul" in the "night of faith" in "the act of revelation, the act of nuptial union, the act of communion" (137–38). Balthasar emphasi
柯赛德与巴尔塔萨之间的爱欲与放弃约翰-保罗·海尔(传记)爱欲，对神意的放弃什么是放弃?尽管相隔近两个世纪，神秘的法国耶稣会士Jean-Pierre de Caussade(1675-1751)和著名的瑞士神学家Hans Urs von Balthasar(1905-1988)都曾努力解决这个问题。正如科萨德在他著名的关于精神方向的信件中所说的，现在被收集为《对神圣天意的放弃》，放弃是“完全忠于上帝的意志”，通过服从“上帝和教会的法律”，履行“我们的生活方式强加给我们的一切义务”，以及爱地接受“上帝在每一天的每一刻给我们的一切”;这是耶稣、玛利亚和若瑟为“当下的圣事”而过的奉献生活。对巴尔塔萨来说，它是“无条件的自我降服，以超然的开放来服从上帝的旨意”，一种“绝对的开放，就像上帝之母的命令，在服从的行为中证明了自己……纯洁、赤裸、纯洁的信仰，不想自己决定，所以不想知道任何事情。”虽然乍一看，科萨德和巴尔萨萨似乎是一对奇怪的智力组合，考虑到他们的作品彼此相隔两个世纪，巴尔萨萨称赞科萨德是他所谓的“圣人形而上学”的高潮和超越，是教会思想史上的一个转折点人物，也是巴尔萨萨自己接受和拥护的伊格纳爵抛弃伦理的最有力的表达者。出生在法国南部的科萨德，对“浸淫在萨莱斯的弗朗西斯和盖恩夫人的传统中”的精神“当然表现出亲和力”，巴尔萨萨认为这导致了错误的fsamelon的安静主义科萨德在他的一生中似乎并没有获得多少名气，相反，他在法国各地担任过教师、传教士、精神导师和耶稣会的大学校长。5他的谦逊生活和关于他的传记的细节稀少，导致一些人质疑科萨德是《抛弃》的作者。6就他而言，巴尔塔萨没有怀疑科萨德是构成论文的信件的作者。而是专注于作品的深刻洞察力。在他的《主的荣耀》第五卷中，巴尔萨萨将“放弃”视为信仰的重新定位，将其视为“通往上帝的道路……启示的真实存在”，fsamelon通过“否认或麻痹生物的正常活动的本体论概念”和“缺乏基督论重点的教义”误读为“圣经启示”。7 .被遗弃的灵魂所处的黑暗，似乎总是“天主圣言的光”，在“信仰之夜”，在“启示的行动、婚姻结合的行动、共融的行动”中，“满足灵魂的准备”(137-38)。Balthasar强调了Caussade的基本观点，即放弃不是“冷漠的抽象概念”(131)，就像fsamelon一样，而是通过模仿自己的生活，具体地接受一个人与基督的个人关系:放弃是他和他的神圣家庭与天父的关系。安吉拉·弗兰克斯(Angela Franks)将巴尔萨萨(Balthasar)对遗弃的描述描述为一种“福音式的贫困”状态，其特征是“贫困的流动可用性”，即“贫困-完全的自我礼物，自由地放弃，流入永恒的生命”，一种“积极的准备”，使我们能够“立即响应上帝的召唤”，并为我们打开通往“人的‘圣体化’”的道路。正如巴尔塔萨所说，圣子“拥有”人性，在圣餐中毫无保留地给予，因此，这只不过是三位一体贫穷的世俗代表，在这种贫穷中，一切都已经被给予了。’”8既然弃绝就是过基督的自我奉献的生活，就是过三位一体的生活。科萨德和巴尔萨萨一致认为，放弃是一种独特的基督教形而上学发展的核心……
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Pub Date : 2023-09-01DOI: 10.1353/log.2023.a909167
Ray MacKenzie
PrefaceA Good Priest is Hard to Find Ray MacKenzie Priests in Literature, Loss and Gain, Newman, Jules Barbey d'Aurevilly, L'Ensorcelée, Bewitched, Un prêtre marié, Gustave Flaubert, Madame Bovary Tolstoy opened Anna Karenina with the famous statement, "Happy families are just alike; every unhappy family is unhappy in its own way." One implication of that thesis may be that the happy—contented, satisfied with the world—character isn't very useful for fiction, where we demand conflict and struggle to keep things interesting. This all applies well to the literary depiction of religious figures, and especially of priests. There is no shortage of troubled priests in the literature of the twentieth and twenty-first centuries. From Alice McDermott's Father Gabe struggling with his sexuality in Someone (2013) to the deeply uninspired Father Joe in J. F. Powers's Wheat that Springeth Green (1988), we rarely meet a priest in modern fiction who simply, faithfully, and cheerfully goes about his duties. Maybe such a character is like Tolstoy's happy family—not very good material for fiction. We need to go back a generation or two, though, to come to the figure of the profoundly anguished priest hero. The two best-known examples are the unnamed narrator of Georges Bernanos's Diary of a Country Priest (1937) and the, again, unnamed but so-called "whiskey priest" of Graham Greene's The Power and the Glory (1940). [End Page 5] Bernanos's priest is in physical agony, dying of stomach cancer, but his spiritual struggles are equally agonizing: prayer itself becomes a near-impossibility, and the priest's loneliness in a parish that seems to have no use for him only adds to his torment. His parishioners treat him with suspicion, sometimes even hostility. In Greene's novel, we do see a priest acting heroically, continuing to provide the sacraments in an extremely dangerous environment of anti-Catholic persecution—but it is only the extreme political situation that brings out the hero in him, for before the persecution began, he was arrogant and unfeeling, so lax in his faith and so dedicated instead to his alcohol that he violates his vow of celibacy. Different as they are, Bernanos's and Greene's priests are both marked by the times they live in, times when the life of faith is lived on the margins of the culture, when such a life is at best odd and at worst suspect. Until something changes in our own culture, the priests we are likely to see represented in our literature and art are probably going to be similarly troubled individuals. A secularized culture, faith marginalized or mocked, consumerism elevated to the status of supreme good—all this didn't begin with the twentieth century, but it seems to have become more and more obvious, at least to writers and thinkers, sometime around the middle of the nineteenth. A good example of the phenomenon can be found in the sheer bitterness and intensity of Dickens's attack on utilitarian culture, especially in his Hard Tim
《文学中的牧师》、《得失》、纽曼、朱尔斯·巴贝·德·奥雷维利、L' ensorcel、《魔咒》、《unprêtre mari》、古斯塔夫·福楼拜、包法利夫人托尔斯泰在《安娜·卡列尼娜》开头说了一句著名的话:“幸福的家庭都是相似的;不幸的家庭各有各的不幸。”这一论点的一个暗示可能是，对世界感到满意的快乐-满足-角色对小说并不是很有用，因为我们需要冲突和努力来保持事物的趣味性。这些都适用于对宗教人物的文学描写，尤其是对牧师的描写。在二十世纪和二十一世纪的文学作品中，不乏陷入困境的牧师。从爱丽丝·麦克德莫特(Alice McDermott)在《某人》(2013)中饰演的加布神父(Father Gabe)为自己的性取向而苦苦挣扎，到j·f·鲍尔斯(J. F. Powers)的《小麦之春》(Wheat that Springeth Green)(1988)中极度缺乏灵感的乔神父(Father Joe)，我们很少能在现代小说中遇到一个牧师，他只是简单地、忠实地、愉快地履行自己的职责。也许这样一个角色就像托尔斯泰笔下的幸福家庭——不是很好的小说素材。不过，我们需要追溯到一两代人之前，才能看到这位极度痛苦的牧师英雄。最著名的两个例子是乔治·伯纳诺斯的《乡村牧师日记》(1937)中没有名字的叙述者，以及格雷厄姆·格林的《权力与荣耀》(1940)中没有名字但被称为“威士忌牧师”的叙述者。伯南诺斯的牧师身体极度痛苦，即将死于胃癌，但他的精神挣扎同样令人痛苦:祈祷本身几乎是不可能的，牧师在一个似乎对他毫无用处的教区的孤独只会增加他的痛苦。他的教民对他充满怀疑，有时甚至怀有敌意。在格林的小说中，我们确实看到了一位表现英勇的牧师，在反天主教迫害的极端危险环境中继续提供圣礼——但只有极端的政治环境才激发了他的英雄气质，因为在迫害开始之前，他傲慢无情，对信仰如此放松，对酒精如此专注，以至于违背了他的独身誓言。伯纳诺斯和格林笔下的牧师虽然不同，但他们都被他们所处的时代所标记，在那个时代，信仰生活被生活在文化的边缘，这种生活往好里说是奇怪的，往坏里说是可疑的。在我们自己的文化有所改变之前，我们可能会在文学和艺术中看到代表的牧师可能会是类似的困扰个体。一种世俗化的文化，一种被边缘化或被嘲笑的信仰，一种被提升为至善的消费主义——这一切都不是从20世纪开始的，但似乎在19世纪中期的某个时候变得越来越明显，至少对作家和思想家来说是这样。这种现象的一个很好的例子是狄更斯对功利主义文化的猛烈抨击，尤其是在他的《艰难时期》(1854)中，在那里，教育已经成为一个去人性化的过程，劳动者被贬低为“手”的地位，狄更斯在故事中多次提到这个词。这种痛苦表明，人们可以看到事情正在发生变化，现代世界不再像是通往乌托邦的道路上的一步，迫切需要变革。几期之前，我写过狄更斯同时代的托马斯·卡莱尔，他同样惊恐地观察着文化的发展方向，他的语气让人想起旧约先知，他谴责这个新的、机械的、非人性化的世界正在迅速地把旧的世界排挤出去。那么，如果19世纪中期的人们看到了我们现在所说的现代主义的深刻文化变革，我们可能会思考当时的牧师是如何被描绘的。正如奥康纳所说，在本世纪的主要作家中，很难找到一个好牧师——一个简单的好牧师，也就是说，一个不被内疚、怀疑或其他什么折磨的人……
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Pub Date : 2023-09-01DOI: 10.1353/log.2023.a909171
Adam Glover
Magical Realism and Catholic Sacramentalism in Arturo Uslar Pietri's "The Rain" Adam Glover (bio) Pietri, Magic Realism, Sacramentalism in Literature, Venezuelan literature I. Introduction Though largely unknown outside the Spanish-speaking world, the Venezuelan novelist Arturo Uslar Pietri (1906–2001) is among twentieth-century Latin America's most important and celebrated writers. The author of more than a dozen novels, scores of short stories, and several collections of essays, Uslar Pietri came of age during the first three decades of the twentieth century, when the European avant-garde had begun to displace the modernismo and criollismo that defined late-nineteenth and early-twentieth-century Latin American literature, and when what Uslar Pietri himself called an "unbelievably isolated" Venezuela began to take its first tentative steps into the modern world.1 As for so many other Latin American authors of the period, the avant-garde was central to Uslar Pietri's artistic development.2 And yet even during a transformative stay in Paris in the early 1930s, his attention rarely strayed from a set of preoccupations about national and cultural identity that would define his generation. "In a Paris spring," Uslar Pietri would later recall, "[I was] besieged by visions of my homeland. … It was the first time my creole spirit managed to give itself over with delight to the unrestricted expression [End Page 87] of its being."3 In time, the idea that the "creole spirit" might be best expressed in the experimental forms of the avant-garde would come to characterize not only a substantial portion of Uslar Pietri's own work, but also large swaths of the so-called Latin American "boom" of the 1960s and 1970s.4 Uslar Pietri's quest to blend the artistic sensibilities of the avant-garde with a set of social, political, and cultural concerns specific to Latin America runs like a thread through his work, but here I would like to explore its implications in a single story, "La lluvia" ("The Rain"), first published in Red (Net) in 1936.5 Uslar Pietri's most anthologized piece, and arguably his best, "The Rain" tells the story of Jesuso and Usebia, Venezuelan peasant farmers who, in the midst of a devastating drought, find their lives upended by the sudden arrival of a mysterious child. Although the child's identity remains deeply ambiguous throughout the narrative, his presence effects a radical transformation both in Jesuso and Usebia and in the natural environment. After a series of strange, dreamlike episodes in which the couple's arid, loveless marriage takes on unexpected shades of tenderness and optimism, the boy disappears just as inexplicably as he had appeared—and it begins to rain. From one angle, "The Rain" retains clear echoes of the criollista tradition: the rural setting, the extensive regional vocabulary, the relentless degradation of human characters at the hands of a pitiless natural world are all representative criollista tropes. Yet despite t
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Pub Date : 2023-09-01DOI: 10.1353/log.2023.a909168
Christopher M. Reilly
Acedia and Moral UnconsciousnessArchetypal Disorders of Our Century Christopher M. Reilly (bio) Acedia, Sloth, spiritual depression, Moral Unconsciousness, Evagrius, Aquinas It seems that the twenty-first century will be a radically transformative period for humanity. The common appraisals of our hyper-technological times are either wildly positive or dismally bleak, and although the Christian sage may enjoy spiritual hope and steady confidence in the goodness of our Lord, the Christian evangelist's experience of the state of this world justifies anxiety over the spiritual welfare of our neighbors. This article therefore examines, from the perspective of the theologian-philosopher, two consequential, pervasive, and spiritual maladies in this time: the sin of acedia, as analyzed by St. Thomas Aquinas, and the related, yet distinct, condition of the morally unconscious person, as described by the philosopher Dietrich von Hildebrand. The contemporary forms of both acedia and moral unconsciousness arise out of two phenomena that appear to be unrelated but have a causal association: 1) widespread reluctance to engage in the kind of radical personal transformation that accompanies a loving relationship with God, through Christ, and 2) domination by the pervasive social, cultural, and ideological structures of instrumental rationality that are prevalent in a hypertechnological society. Acedia and moral unconsciousness each describe very real, spiritual struggles in the disordered wills of persons who remain somewhat attuned to [End Page 17] what is intrinsically good yet turn away from the Christian transcendence that is their own salvation. We can usefully draw on both von Hildebrand's philosophical observations and Aquinas's moral theology to better understand the spiritual infirmity of our age. If we listened only to the futurists, who imagine a world saved by the technological triumphs of human ingenuity, we might overlook the spiritual disorders besetting our neighbors. The futurists tell us, with breathless anticipation, of a near horizon brightened by such developments as artificial intelligence (AI) programs powering brain-controlled devices and robotics, virtual reality applications enabling isolated persons to achieve the semblance of presence through visual holograms or nerve-triggering "haptic" wearables, and, in the field of biotechnology, highly consequential novelties like laboratory-produced human "mini brains" and xenobots—animal cells that can be programmed like robots to play video games and much more. Transhumanists take all of this a step further, imagining a merger of human and machine that will upgrade nature itself in a variety of ways, including some form of material or digital immortality. If we, however, turn our gaze toward the ensouled human beings who are subjects of and subjected to such technological progress, we too often find them afflicted with sorrow, anxious restlessness, and withdrawal from a conscious relationship
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Pub Date : 2023-09-01DOI: 10.1353/log.2023.a909174
Art NotesMysteries within Rembrandt's Christ in the Storm on the Sea of Galilee Kathryn Wehr, Managing Editor Rembrandt, Christ in the Storm on the Sea of Galilee, Isabelle Stewart Gardner Museum This issue's cover art is the subject of a genuine unsolved mystery: it was stolen from the Isabella Steward Gardner Museum in Boston in the early morning hours of March 18, 1990, along with twelve other masterpieces by a variety of artists, including Vermeer and Degas. None has ever been recovered. In 2013 the FBI announced that it knew who was responsible, but further progress has not been made, or at least made public. The heist is commonly thought to have been the work of a Boston organized crime group. Meanwhile, Rembrandt's Christ in the Storm on the Sea of Galilee lives on in the popular imagination in such places as the homes of movie supervillains or in books and documentaries about the theft itself, which is still considered the greatest unsolved art heist of all time. The loss to the world of this particular Rembrandt piece is great. It holds a singular place in his oeuvre as the only known oil seascape. It was painted early in his career (1633) and is an example of the Feinmaler school—of which Rembrandt was the founder in Leiden—where [End Page 168] meticulous detail and invisible brushstrokes give an illusion of reality and a smooth finish.1 His later and more familiar works of the Amsterdam period—such as The Jewish Bride (1665) or The Prodigal Son (1668)—favored the "rough manner" or "painting with splotches," as was also said of the painter who strongly influenced Rembrandt, Titian.2 The early style amazed viewers at close proximity, while the later style, with its layers of splotches, amazed them at a distance. The story behind Christ in the Storm on the Sea of Galilee can be found in the three synoptic Gospels: Matthew 8:23–27, Mark 4:35–41, and Luke 8:22–25. St. Mark supplies the most complete description of the storm itself: "A violent squall came up and waves were breaking over the boat, so that it was already filling up. Jesus was in the stern, asleep on the cushion" (4:37–38, NABRE). It is a struggle of men against nature and of fear against trust. As Michael Zell writes, The panic-stricken disciples struggle against a sudden storm, and fight to regain control of their fishing boat as a huge wave crashes over its bow, ripping the sail and drawing the craft perilously close to the rocks in the left foreground. One of the disciples succumbs to the sea's violence by vomiting over the side. Amidst this chaos, only Christ, at the right, remains calm, like the eye of the storm. Awakened by the disciples' desperate pleas for help, he rebukes them: "Why are ye fearful, O ye of little faith?"3 This scene has been depicted by many artists throughout the centuries, though most depict Christ either still asleep or commanding the sea: "Quiet! Be still!" (Mk 4:39). Yet here Rembrandt paints Christ in the moment in between: awake but calm, while
这一期的封面艺术是一个真正未解之谜的主题:它于1990年3月18日凌晨在波士顿的伊莎贝拉·斯图尔特·加德纳博物馆被盗，与此同时被盗的还有其他12幅艺术家的杰作，包括维米尔和德加。没有一个被找到。2013年，美国联邦调查局(FBI)宣布，它知道谁应该对此负责，但没有取得进一步进展，或者至少没有公布。这起抢劫案被普遍认为是波士顿一个有组织犯罪集团所为。与此同时，伦勃朗的《加利利海风暴中的基督》(Christ in the Storm in the Sea of Galilee)仍然存在于大众的想象中，比如电影中超级反派的家中，或者是关于盗窃案本身的书籍和纪录片，这仍然被认为是有史以来最大的未解艺术盗窃案。伦勃朗的这幅作品对世界的损失是巨大的。它在他的全部作品中占有独特的地位，是唯一已知的油画海景。这幅画是伦勃朗创作生涯早期(1633年)的作品，是芬玛勒画派(Feinmaler school)的典范，伦勃朗是莱顿的创始人。在芬玛勒画派中，一丝不苟的细节和看不见的笔触给人一种现实的幻觉和流畅的画面感他后来和更熟悉的阿姆斯特丹时期的作品，如《犹太新娘》(1665)或《浪子回头》(1668)，都倾向于“粗糙的方式”或“带有斑点的绘画”，正如对伦勃朗产生强烈影响的画家提香所说的那样。早期的风格让近距离观看的人感到惊讶，而后来的风格则以其层层相接的斑点让他们感到惊讶。基督在加利利海的风暴中背后的故事可以在三本对观福音书中找到:马太福音8:23-27，马可福音4:35-41和路加福音8:22-25。圣马可提供了对风暴本身最完整的描述:“一阵猛烈的狂风袭来，海浪冲击着船，船已经满了水。耶稣在船尾，靠在船上的坐垫上睡觉”(4:37-38)。这是人类与自然的斗争，是恐惧与信任的斗争。正如迈克尔·泽尔(Michael Zell)所写的那样，惊慌失措的门徒们与突如其来的风暴作斗争，并努力重新控制他们的渔船，因为一个巨大的波浪撞击了船头，撕裂了船帆，把船拉到左边前景中的岩石附近。其中一个弟子屈服于海的暴力，呕吐在一边。在这混乱中，只有基督，在右边，保持平静，像风暴的眼睛。他被门徒绝望的求助唤醒，责备他们说:“小信心的人哪，你们为什么胆怯呢?”几个世纪以来，许多艺术家都描绘了这一场景，尽管大多数艺术家描绘的是耶稣要么还在睡觉，要么在指挥大海:“安静!还是!”(可4:39)。然而，伦勃朗在这幅画中描绘了中间的基督:清醒但平静，而他周围的人都处于恐慌之中。在《马太福音》和《路加福音》中，门徒们呼喊着他们正在灭亡，但约翰·沃尔什认为伦勃朗依赖于圣马可中一个门徒绝望的恳求，“老师，你不关心我们正在灭亡吗?”(可4:38)，从门徒紧紧抓住基督的袍子与耶稣平静的表情形成对比可以看出绘画手法十分细致。这艘船本身是以一艘被称为hoeker的荷兰渔船为模型的，并受到了Maerten de vos类似场景的影响。然而，一个敏锐的水手的眼睛会注意到伦勃朗将索具和帆放在一起的方式中的一些不准确之处沃尔什写道:“这些错误……有着明显的戏剧性目的;他们强调原始的身体斗争;它们创造了一个向上的螺旋形，由松散的支柱的鞭打进一步推动，表达了自然的破坏性力量，只有上帝……
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Pub Date : 2023-08-16DOI: 10.1353/log.2023.a904242
Fr. David Paternostro
{"title":"Josef Pieper and the Leisurely Program: Enabling Leisure in a Catholic Studies Center","authors":"Fr. David Paternostro","doi":"10.1353/log.2023.a904242","DOIUrl":"https://doi.org/10.1353/log.2023.a904242","url":null,"abstract":"","PeriodicalId":42128,"journal":{"name":"LOGOS-A JOURNAL OF CATHOLIC THOUGHT AND CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-08-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83201510","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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