LOGOS-A JOURNAL OF CATHOLIC THOUGHT AND CULTURE最新文献

{"title":"Contributor Notes","authors":"","doi":"10.1353/log.2023.a909175","DOIUrl":"https://doi.org/10.1353/log.2023.a909175","url":null,"abstract":"","PeriodicalId":42128,"journal":{"name":"LOGOS-A JOURNAL OF CATHOLIC THOUGHT AND CULTURE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135687982","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}

{"title":"Ingesting Words: Reading per diletto and Sacramental Memory in Dante's Commedia","authors":"Sonia Fanucchi","doi":"10.1353/log.2023.a909172","DOIUrl":"https://doi.org/10.1353/log.2023.a909172","url":null,"abstract":"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","PeriodicalId":42128,"journal":{"name":"LOGOS-A JOURNAL OF CATHOLIC THOUGHT AND CULTURE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135687975","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}

{"title":"Demons and the Heart in Dostoevsky's Notes from Underground","authors":"Emily Lehman","doi":"10.1353/log.2023.a909169","DOIUrl":"https://doi.org/10.1353/log.2023.a909169","url":null,"abstract":"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","PeriodicalId":42128,"journal":{"name":"LOGOS-A JOURNAL OF CATHOLIC THOUGHT AND CULTURE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135687983","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}

{"title":"The Hidden Paths of Divine Providence: Jeanne Dubois Maillefer as Foundress of the Brothers of the Christian Schools","authors":"Richard M. Tristano","doi":"10.1353/log.2023.a909173","DOIUrl":"https://doi.org/10.1353/log.2023.a909173","url":null,"abstract":"","PeriodicalId":42128,"journal":{"name":"LOGOS-A JOURNAL OF CATHOLIC THOUGHT AND CULTURE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135687974","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}

{"title":"Eros and Abandonment between Caussade and Balthasar","authors":"John-Paul Heil","doi":"10.1353/log.2023.a909170","DOIUrl":"https://doi.org/10.1353/log.2023.a909170","url":null,"abstract":"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","PeriodicalId":42128,"journal":{"name":"LOGOS-A JOURNAL OF CATHOLIC THOUGHT AND CULTURE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135687981","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}

{"title":"Preface: A Good Priest is Hard to Find","authors":"Ray MacKenzie","doi":"10.1353/log.2023.a909167","DOIUrl":"https://doi.org/10.1353/log.2023.a909167","url":null,"abstract":"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","PeriodicalId":42128,"journal":{"name":"LOGOS-A JOURNAL OF CATHOLIC THOUGHT AND CULTURE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135687986","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}

{"title":"Magical Realism and Catholic Sacramentalism in Arturo Uslar Pietri's \"The Rain\"","authors":"Adam Glover","doi":"10.1353/log.2023.a909171","DOIUrl":"https://doi.org/10.1353/log.2023.a909171","url":null,"abstract":"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","PeriodicalId":42128,"journal":{"name":"LOGOS-A JOURNAL OF CATHOLIC THOUGHT AND CULTURE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135687988","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}

{"title":"Acedia and Moral Unconsciousness: Archetypal Disorders of Our Century","authors":"Christopher M. Reilly","doi":"10.1353/log.2023.a909168","DOIUrl":"https://doi.org/10.1353/log.2023.a909168","url":null,"abstract":"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 ","PeriodicalId":42128,"journal":{"name":"LOGOS-A JOURNAL OF CATHOLIC THOUGHT AND CULTURE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135687880","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}

{"title":"Art Notes: Mysteries within Rembrandt's Christ in the Storm on the Sea of Galilee","authors":"","doi":"10.1353/log.2023.a909174","DOIUrl":"https://doi.org/10.1353/log.2023.a909174","url":null,"abstract":"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","PeriodicalId":42128,"journal":{"name":"LOGOS-A JOURNAL OF CATHOLIC THOUGHT AND CULTURE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135687978","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}

{"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}