Cover of Renascence
Already a subscriber? - Login here
Not yet a subscriber? - Subscribe here

Browse by:



Displaying: 1-20 of 2385 documents


1. Renascence: Volume > 74 > Issue: 2
John Curran Letter From the Editor
view |  rights & permissions | cited by
2. Renascence: Volume > 74 > Issue: 2
Ron Bieganowski, S. J. A Reflection
view |  rights & permissions | cited by
3. Renascence: Volume > 74 > Issue: 2
Joshua Avery Agency and Intelligibility in The Merchant of Venice
abstract | view |  rights & permissions | cited by
This article argues that The Merchant of Venice’s dramatic action invites consideration of the philosophical questions of human agency and intelligibility. The play’s dialogue provokes the reader or auditor to consider what may obstruct or allow for both meaningful action in the world and a genuine understanding of that world. Since these issues were also a major sticking point in Catholic/Protestant controversies, the piece also argues that these issues can be analyzed in light of such theological tensions. One of the article’s main conclusions is that Shylock’s radically individualistic view of law and obligation explodes intelligibility, and by extension meaningful action as well. This destruction lays the groundwork for a world in which conflict can only be resolved via violence. In this sense, the play reveals what is at stake in the questions.
4. Renascence: Volume > 74 > Issue: 2
Dana Greene Evelyn Underhill and the Franciscan Tradition
abstract | view |  rights & permissions | cited by
The Anglican religious writer, Evelyn Underhill, (1875-1941) is best known as a scholar of mysticism and an advocate for the practical mysticism for ordinary people. What is less well-known is that in her own spiritual crisis she sought out the assistance of the Catholic, Baron Friedrich von Hugel. However, before she requested his counsel she was greatly influenced by her work on a biography of the thirteenth century Italian poet and mystic, Jacopone da Todi who wrote in the vernacular. This essay details how Jacopone and his predecessor Francis of Assisi, brought Underhill to her contemporary, von Hugel, who himself was influenced by the Franciscan tradition.
5. Renascence: Volume > 74 > Issue: 2
Bernadette McNary-Zak Merton’s Task: The Created Silence Remains
abstract | view |  rights & permissions | cited by
This essay accounts for the rhetorical impact of Thomas Merton's inclusion - and later exclusion - of his 12C predecessor, Isaac de l'Etoile, in "In Silentio."
6. Renascence: Volume > 74 > Issue: 2
Randy Boyagoda, Peter Spaulding Unnecessary Thoughts with Randy Boyagoda
abstract | view |  rights & permissions | cited by
An interview with the author of Dante’s Indiana, Randy Boyagoda, conducted by Peter Spaulding.
7. Renascence: Volume > 74 > Issue: 2
Notes on Contributors
view |  rights & permissions | cited by
8. Renascence: Volume > 74 > Issue: 1
Kathryn E. Davis “[S]tupor non meno”: What Virgil Saw
abstract | view |  rights & permissions | cited by
Dante’s Virgil is, according to Virgil, among the most hopeless souls in the Commedia. As he tells us himself, he and the other virtuous pagans in Limbo who lack baptism yet have not sinned live “sanza speme . . . in disio” (“without hope . . . in longing”). Virgil believes himself to be eternally damned, and he seems to have convinced everyone from Dante the pilgrim to Cato to Statius to almost all readers of Dante’s poem that he is right. This essay, however, will challenge the assumption that we must take Virgil’s hopeless self-assessment for granted as ultimate truth by exploring other possibilities which are opened up by Virgil’s disappearance in its immediate context. In Purgatorio 29, just before he makes his exit, Virgil stands face-to-face a scene of his own making remade on the banks of Lethe. When Virgil looks across this mystical river now flowing through Dante’s Eden, what does he see? And what might be the implications of his vision?
9. Renascence: Volume > 74 > Issue: 1
Stephen Mead Theater as Vision in A Midsummer Night’s Dream
abstract | view |  rights & permissions | cited by
By his transformation and suggestive associations of the Christian and Pagan sources and influences in A Midsummer Night’s Dream, Shakespeare both revivifies the social message of Paul’s epistle to the Corinthians for his own age and creates a transformative theatre that closely aligns the “magic” of theatrical performance with the spiritual tenets of Christian salvation and community.
10. Renascence: Volume > 74 > Issue: 1
Terry W. Thompson “Touching Him”: The Doubting Thomas Subtext in M. R. James’s “Oh, Whistle, and I’ll Come to You, My Lad”
abstract | view |  rights & permissions | cited by
Born the son of an Evangelical Anglican minister, Montague Rhodes James, "Monty" to family and friends, was arguably the best educated ghost story writer who ever lived: "He had all sorts of letters after his name." His tales, collected in four slim volumes, often touch upon, lightly for the most part, biblical motifs or themes. In his most celebrated horror tale, "Oh, Whistle, and I'll Come to You, My Lad," James alludes—subtly as was his wont—to the story of Thomas, the disciple who, "skeptical about the resurrection," demanded tangible proof of the event, an actual "touching," before he would deign to believe in the miraculous. In James's most famous effort in the supernatural genre, another doubting Thomas, in this case an arrogant disciple of modern science and its methods, demands the same proof, a "touching," before he will believe. And when that proof comes, it changes him forever just as it did "Thomas, one of the twelve."
11. Renascence: Volume > 74 > Issue: 1
Notes on Contributors
view |  rights & permissions | cited by
12. Renascence: Volume > 73 > Issue: 4
Ed Block Friendship, Renunciation, and a Celebration of the Transcendent Self: Willa Cather’s Death Comes for the Archbishop after One Hundred Years
abstract | view |  rights & permissions | cited by
As Death Comes for the Archbishop approaches one hundred years of critical scrutiny, it still speaks to readers in much the same way it did in the 1920s. A critical response to early twentieth-century materialism and mendacity, the story of nineteenth-century New Mexico Archbishop Jean Marie Latour and his friend and Vicar, Fr. Joseph Vaillant affirms as it dramatizes friendship and renunciation while simultaneously celebrating the centrality of the transcendent self and the richness and value of lived personal experience.
13. Renascence: Volume > 73 > Issue: 4
Elizabeth Theresa Howe San Juan de la Cruz and the Cántico Espiritual: The Soul in Transit; the Mystic on the Move
abstract | view |  rights & permissions | cited by
The predominant imagery of progress in western mystical writing usually describes some form of ascent. The Subida del monte Carmelo by San Juan de la Cruz certainly suggests the notion in Spanish mystical writing. While San Juan proffers ascent (subida) in the title of the commentary on “En una noche oscura,” the poem proper does not present a sense of verticality at all but, rather, an essentially horizontal passage from the “casa sosegada” to (re)union with the Lover in a static apotheosis described in the final strophes. Similarly, a paradoxical presentation of movement appears in the Cántico espiritual. This article considers San Juan’s use of verbs of movement, especially within the Cántico espiritual, as metaphors for the underlying mystical message he ascribes to his poem. It also demonstrates the presence of the same extended metaphor in other poems of his, including “En una noche oscura” and the “Llama de amor viva.
14. Renascence: Volume > 73 > Issue: 4
Bruce W. Young ‘Upon Such Sacrifices’: Atonement and Ethical Transcendence in King Lear
abstract | view |  rights & permissions | cited by
Though the word "atonement" does not appear in King Lear, the concept is present, along with related ones, like sin, justice, redemption, and sacrifice. Like other plays, Lear alludes to various atonement theories, setting them in dramatic conflict or cooperation and subjecting some to critique. Besides revealing the inadequacy of models based on payment or punishment, the play reinterprets the sacrificial theory of atonement by presenting sacrifice (especially that of Cordelia) as gracious and redemptive self-offering, not as a punishment or payment that satisfies anger or offended honor. Though the play’s religious references, including to Christ, are pervasive, ultimately atonement takes place at a human level, in the healing of relationships and inner maladies. Yet such atonement involves what may be called “ethical transcendence,” a transcendence consisting not in an ascent beyond the human condition, but rather in the offering of oneself in relationship and service to others.
15. Renascence: Volume > 73 > Issue: 4
Samuel Hazo War as Pornography
abstract | view |  rights & permissions | cited by
Pornography has been defined as sex separated from personality. In other words, life’s deepest need to express desire and affection and perpetuate the species is reduced to appetite and the satisfaction of appetite. War in many ways does the same. It depersonalizes killing by pitting stranger against stranger—uniformed or otherwise. Fatalities are reduced to numbers. Such killings are dignified by slogans (“Vietnamizing the Vietnamese” or “Operation Iraqi Freedom”),. Preparing troops for the killings in war is everything from oratory to close order drill, parades and honors. Denis de Rougemont in LOVE IIN THE WESTERN WORLD has even traced this to the legend of Tristan and Isolde in which Tristan chooses a military life to define his manhood after leaving Isolde. All of these manifestation and pretenses gloss over the brutality of war just as films, photographs and other promotions disguise pornography as mere excitement.
16. Renascence: Volume > 73 > Issue: 4
Notes on Contributors
view |  rights & permissions | cited by
17. Renascence: Volume > 73 > Issue: 3
Brian Barbour The Crucifix and the Post: A Note on the Christian Theme in Gulliver’s Travels
abstract | view |  rights & permissions | cited by
An unremarked major theme in Gulliver's Travels is, Why does Gulliver lose his Christian faith? In Part III he is a devout Anglican who unlike Dutch Calvinists will not disrespect the crucifix, even at the cost of not being allowed to return home. In Part IV he dismisses the crucifix as a "post," a thing "indifferent." What has happened is made clear in Chap. VII where Gulliver's reveals his parodic or inverted conversion to the ruling principle of the Houyhnhnms, that "Reason alone is sufficient to govern a rational creature." For Swift that disastrous alone is a grave error, linking the earlier errors of the Reformation - sola gratia, sola fide, sola scriptura - with the coming darkness of the Enlightenment. Gulliver's loss of faith is predictive of the next phase of European intellectual life.
18. Renascence: Volume > 73 > Issue: 3
J. Daniel Batt Do This in Remembrance of Me: Bits and Pieces in Re-membering the Body
abstract | view |  rights & permissions | cited by
Written 136 years apart, Melville’s Moby Dick and Morrison’s Beloved explore the scriptural tension between the material and spiritual. Against two different American landscapes, each work explores incarnation as both manifestations of the divine and the Word given flesh—two uniquely separate functions. Throughout the stages of Queequeg’s and Baby Suggs life, and other characters, as well, the stages of archetypal incarnation are expressed amongst two distinct populations, similar first in their need for incarnated divinity. Ultimately, these incarnations ask us to see the divine in our physical bodies, now—new bodies for new Words.
19. Renascence: Volume > 73 > Issue: 3
Julie Ooms “A private holy spirit in small letters”: Sylvia Plath’s Secular-Age Religion
abstract | view |  rights & permissions | cited by
Scholars regularly read Sylvia Plath biographically, but few have focused on her religious beliefs and their manifestation in her work. This essay explores Plath’s ideas about religion, and about Christianity in particular, as they are articulated in college papers, in her journals, and in her fiction. It argues, finally, that Plath’s wrestling with Christian religious ideas is that of the kind of “cross-pressured” believer characterized by Charles Taylor; she is a humanist atheist tempted by belief.
20. Renascence: Volume > 73 > Issue: 3
Notes on Contributors
view |  rights & permissions | cited by