Bücher veröffentlicht von University of Notre Dame Press

Seeking to understand the doctrine of justification by way of biblical hermeneutics, this book uncovers the differences between Martin Luther and the Council of Trent that set them on a collision course for conflict, and the church toward what has arguably been its most significant division in the West.As Catholics and Lutherans continue to engage in dialogue about their shared faith and differing confessions, the need remains for a discerning study of the ways in which the Bible functioned in the Reformation¿s central theological clash: the understanding and import of the doctrine of justification. Peter Folan¿s incisive analysis in this volume fulfills that need. Through a careful reading of the debate¿s most significant texts, he shows both how Martin Luther and the Council of Trent relied upon scripture to arrive at their respective formulations of the doctrine and how such seemingly divergent conclusions about the human person¿s salvation in Christ could be grounded in the same sacred book.This study begins with an examination of the key texts that Luther and his allies produced on justification and then turns to their Catholic respondents, whose work would ultimately inform the Council of Trent¿s decree on the doctrine. By comparing precisely which texts both parties relied upon to articulate and defend their positions, Folan puts into sharp relief how infrequently both sides made use of the same biblical passages and, when they did avail themselves of the same passages, just how distinct their interpretive tendencies were. This book will be a critical addition to the libraries of scholars and students in Catholic and Lutheran biblical hermeneutics, Catholic-Lutheran dialogue, ecumenical studies, and church history.

This volume examines the influence of African Catholics on the historical development of Black Christianity in America during the seventeenth century.Black Christianity in America has long been studied as a blend of indigenous African and Protestant elements. Jeroen Dewulf redirects the conversation by focusing on the enduring legacy of seventeenth-century Afro-Atlantic Catholics in the broader history of African American Christianity. With homelands in parts of Africa with historically strong Portuguese influence, such as the Cape Verde Islands, Sao Tome, and Kongo, these Africans embraced variants of early modern Portuguese Catholicism that they would take with them to the Americas as part of the forced migration that was the transatlantic slave trade. Their impact upon the development of Black religious, social, and political activity in North America would be felt from the southern states as far north as what would become New York.Dewulf's analysis focuses on the historical documentation of Afro-Atlantic Catholic rituals, devotions, and social structures. Of particular importance are brotherhood practices, which were critical in the dissemination of Afro-Atlantic Catholic culture among Black communities, a culture that was pre-Tridentine in nature and wary of external influences. These fraternal Black mutual-aid and burial society structures were critically important to the development and resilience of Black Christianity in America through periods of changing social conditions. Afro-Atlantic Catholics shows how a sizable minority of enslaved Africans actively transformed the American Christian landscape and would lay a distinctly Afro-Catholic foundation for African American religious traditions today. This book will appeal to scholars in the history of Christianity, African American and African diaspora studies, and Iberian studies.

In this memoir, Thomas Stritch turns a loving, reflective eye on the university to which he came as a freshman in 1930 and in which he remains today, as Professor Emeritus of American Studies. Stritch pretends to no more than a personal view, but this collection of memories, observations, and impressions of the people and ideas behind Notre Dame's growth as a university is shaped by sixty years of experience and offers an insider's view of the university community. Writing about the growth of Notre Dame since its Diamond Jubilee in 1917, Stritch discusses its presidents, the evolution of Notre Dame's religious spirit, its colorful characters, his own undergraduate days, his experiences in and out of the classroom, the history of fine arts at Notre Dame, and his personal involvement with various academic departments. With intimate detail, Stritch shares all that Notre Dame has meant to him.

Part memoir, part handbook, part survey of the contemporary literary scene, Joan Frank's Because You Have To: A Writing Life is a collection of essays that, taken together, provide a walking tour of the writing life. Frank's aim is to form a coherent vision, one that may provide some communion about realities of the writer's vocation that have struck her as rarely revealed. Frank offers what she has learned as a writer not only to other writers, but to those to whom good writing matters. Her insights about "e;thinking on paper"e; are never dogmatic or pontifical; rather, they are cordial and intellectually welcoming. Original, witty, and practical, Frank ably steers us through the journey of her own life as a writer, as well as through the careers and work of other writers. Her subjects range widely, from the "e;boot camp"e; conditioning of marketing work to squaring off with rejection and envy; from sustaining belief in art's necessity to the baffling subjectivity of literary perception and the magical books that nourish writers. Frank's personal journey is wonderfully told, so that what in these essays is particular becomes useful and universal.

Walls: Essays, 1985-1990, Kenneth McClane's first book of autobiographical essays (originally published in 1991), is closely related to his second collection, Color, published by the University of Notre Dame Press in 2009. Walls is a powerful and deeply moving meditation on relationships. It begins with an essay on the death of McClane's brother, Paul, which "e;changed everything. Time, my work, everything found a new calculus."e; His brother's life and death are present in some way in all the essays that follow "e;A Death in the Family,"e; as McClane tells us about giving a poetry reading in a maximum-security prison; his experience of being one of the first two African American students to attend America's oldest private school; teaching creative writing; his sister, Adrienne; a divestment protest at Cornell; and his encounters with James Baldwin. McClane has written a new preface to this paperback edition of Walls. "e;Walls reminds us of the differences that set us apart, dividing our world into good kids and troublemakers, winners and losers, the beautiful and the damned. The anodyne for exile in these essays is McClane's common but by no means commonplace lexicon, at once evocative and spare, that leads us to painful but honest connection and the luminous possibility of empathy."e; --William L. Andrews, University of North Carolina at Chapel Hill "e;Kenneth McClane's Walls is a collection of exquisitely crafted autobiographical essays that rivals the most profound nonfictional writings of James Baldwin in its skillful investigation of the hidden recesses of the always-throbbing black American soul. Indeed, Walls is a beautifully calibrated exploration of the challenges faced by a courageously self-aware--and refreshingly self-revealing--black intellectual whose journey to and in the American mainstream is both menacing and exhilarating."e; --Michael Awkward, University of Michigan

Evagrius of Pontus (ca. 345-399) was a Greek-speaking monastic thinker and Christian theologian whose works formed the basis for much later reflection on monastic practice and thought in the Christian Near East, in Byzantium, and in the Latin West. His innovative collections of short chapters meant for meditation, scriptural commentaries in the form of scholia, extended discourses, and letters were widely translated and copied. Condemned posthumously by two ecumenical councils as a heretic along with Origen and Didymus of Alexandria, he was revered among Christians to the east of the Byzantine Empire, in Syria and Armenia, while only some of his writings endured in the Latin and Greek churches. A student of the famed bishop-theologians Gregory of Nazianzus and Basil of Caesarea, Evagrius left the service of the urban church and settled in an Egyptian monastic compound. His teachers were veteran monks schooled in the tradition of Clement of Alexandria, Origen, and Anthony, and he enriched their legacy with the experience of the desert and with insight drawn from the entire Greek philosophical tradition, from Plato and Aristotle through Iamblichus. Evagrius and His Legacy brings together essays by eminent scholars who explore selected aspects of Evagrius's life and times and address his far-flung and controversial but long-lasting influence on Latin, Byzantine, and Syriac cultures in antiquity and the Middle Ages. Touching on points relevant to theology, philosophy, history, patristics, literary studies, and manuscript studies, Evagrius and His Legacy is also intended to catalyze further study of Evagrius within as large a context as possible.

The Open Light: Poets from Notre Dame, 1991-2008 celebrates the distinction and diversity of poets associated with the university during these nearly two decades. This anthology is a companion volume to James Walton's earlier collection, The Space Between: Poets from Notre Dame, 1950-1990. The twenty-four poets represented in The Open Light range from National Endowment for the Arts Award-winner Beth Ann Fennelly, who received her undergraduate degree from Notre Dame, to the Nobel Prize nominee Bei Dao, who taught as a visiting professor at Notre Dame between 2005 and 2007. All have been students at Notre Dame, members of the faculty, or both. Each has published at least one volume of poetry.As evidenced by the founding of Notre Dame's Creative Writing Program in 1991, creative writing has thrived over the years and grown more essential to the intellectual identity and artistic ambitions of the university. Notre Dame's M.F.A. graduates, who have published poetry collections and fiction with both commercial publishers and independent presses, have garnered considerable praise from the literary establishment. In the preface to this anthology, Orlando Ricardo Menes presents a brief historical account of poetry at Notre Dame since 1991, emphasizing the remarkable range of talent and accomplishment of its poets, and the establishment of both The Notre Dame Review and the Ernest Sandeen Poetry Prize. The plethora of voices included in this collection and the poems themselves provide a rich and vibrant legacy of poetry at Notre Dame.Contributors: Francisco Aragón, Robert Archambeau, Bei Dao, Karni Pal Bhati, Kimberly M. Blaeser, Jenny Boully, Jacque Vaught Brogan, Stacy Cartledge, Michael Coffey, Seamus Deane, Joe Francis Doerr, Kevin Ducey, Cornelius Eady, Beth Ann Fennelly, Kevin Hart, Mary Kathleen Hawley, Joyelle McSweeney, Orlando Ricardo Menes, Thomas O'Grady, John Phillip Santos, Michael Smith, Anthony Walton, Henry Weinfield, and John Wilkinson.

Tropicalia is a collection of poems by Emma Trelles, winner of the Andres Montoya Poetry Prize. The book is a melodic union between the green insistence of the subtropics and the city ensconced within. Trelles's language is detailed and startling, her poems infused with color and light, and the secret beauty of back alleys and parking lots is seamed to sorrow, hope, and land. Rock bands play among odes to Lorca and Chagall, and the hard news of protest and war lives among the simple pleasures of words and sky."e;Tropicalia borrows its title from the Brazilian art movement of the same name, a vibrant blend of genres and styles that colored the international arts scene in the late 1960s and 1970s. Edgier and more savvy than the flower-power hippie culture of its neighbors to the north, its vast creative energy drew from many different sources to shape a new hybrid most strongly felt in music, but also visual and performance art, poetry, film, and fashion. As mirror, Tropicalia the book brings a similar energy into the mix. Trelles imbues her odd brew of poetic styles and voices with a strong visual sense. The result is a narrative infused with a powerful physicality of place."e; -from the introduction by Silvia Curbelo, 2010 Andres Montoya Poetry Prize judge"e;True to the musical movement of its namesake, Tropicalia is a unique fusion of sounds, sights, and textures that entrances the reader into a dream-state. Like a deja vu of the soul, the physical and emotional landscapes these poems render so precisely feel at once familiar and yet like completely new worlds in which I find love, meaning, and resolve for the first time, again. 'Beauty is better felt than seen,' Trelles writes, and it is true: Tropicalia is not a book I merely read, but felt word by word; not poems I merely pondered, but experienced syllable after precious syllable."e; -Richard Blanco"e; 'Everything looks better in a poem, / or worse, depending on how much of the day you were able / to hoard'-That's a typical flash of wisdom from a poet who is herself a hoarder of images, a beautifier of the Miami streets she lyrically documents. I love the immediacy and gusto of Tropicalia. I am thankful that it is 'thankful to be standing / in the heat watching egrets.' The world may not always 'look better' in Emma Trelles's poems, but it is a better place for all lovers of poetry, thanks to her rich and heartfelt book."e; -Campbell McGrath"e;In Tropicalia, Emma Trelles gives us Miami-the flora, the fauna, the languages, the interstate. Her poems are luxurious and scrumptious, socially relevant, with oomph and sizzle. The buoyancy of her images and the poignancy of her direct language make Trelles the most exciting poet to emerge from the state with the prettiest name."e; -Denise Duhamel"e;In the poem 'Nocturne in Parts,' Trelles writes 'There is something all-powerful and holy / about a cold orange. Imagine peeling / each day into one flawless strip."e; This gorgeous description of how the divine may perceive the passing of time is convincing, yet false when considering the fruit that is this fibrous and sweet debut collection of poems. Amid interstates and wet grass, saints and devils, protests and surrenders, Trelles exists as an eye-a recurring image in the collection-giving credence to a Florida alien and true. Rather than a contiguous peel, this collection is more like the pile of bright rinds one finds between their feet after feeding ravenously."e; -Kyle G. Dargan, author of Logorrhea Dementia: A Self-Diagnosis

A detailed study of the Catholic Church¿s acceptance of the historical-critical method and modernization through the pivotal work of European theologians and biblical scholars.One of the few topics in Catholic studies that demonstrates a marked about-face in theological attitudes within the Catholic Church is the reception of the historical-critical method in biblical exegesis and its dramatic rise from outright condemnation in the late nineteenth and early twentieth centuries to its official acceptance by the 1990s. The Bible and the Crisis of Modernism tells the dramatic story of the ultimate acceptance of this modern method by the Catholic Church as it worked out the relationship between faith and reason in view of advances in the social and natural sciences. Particular attention to the contributions of Czech theologians to the field of biblical exegesis foregrounds the tensions at play in the church¿s gradual recognition of the value of the historical-critical method to a better understanding of the Christian scriptures.In this extensive study of the church¿s response to the historical-critical method, Petrá¿ek broaches wider topics, such as the relationship between the Catholic Church and society in the late nineteenth and twentieth centuries, the modernization of the church in the face of a changing world, the balance between institutional authority and individual freedom of conscience, and the balance between scholarly independence and ecclesial convictions. The attitude of the Catholic Church to modern scholarly research in many ways reflects its complicated relationship to the modern world in general, as The Bible and the Crisis of Modernism shows. Scholars in biblical studies, Catholic studies, and the history of the church in the Czech Republic will find Petrá¿ek¿s work an enlightening addition to their collections.

Rene Girard's mimetic theory opens up ways to make sense of the tension between the progressive politics of George Eliot and the conservative moralism of her narratives.In this innovative study, Bernadette Waterman Ward offers an original rereading of George Eliot's work through the lens of Rene Girard's theories of mimetic desire, violence, and the sacred. It is a fruitful mapping of a twentieth-century theorist onto a nineteenth-century novelist, revealing Eliot's understanding of imitative desire, rivalry, idol-making, and sacrificial victimization as critical elements of the social mechanism. While the unresolved tensions between Eliot's realism and her desire to believe in gradual social amelioration have often been studied, Ward is especially adept at articulating the details of such conflict in Eliot's early novels. In particular, Ward emphasizes the clash between the ruthless mechanisms of mimetic desire and the idea of progress, or, as Eliot stated, "e;growing good"e;; Eliot's Christian sympathy for sacrificial victims against her general rejection of Christianity; and her resort to "e;Nemesis"e; to evade the systemic injustice of the social sphere. The "e;angels"e; in the title are characters who appear to offer a humanist way forward in the absence of religious belief. They are represented, in Girardian terms, as figures who try to rise above the snares of the mimetic machine to imitate Christ's self-sacrifice but are finally rendered ineffectual. Very few studies have tackled Eliot's short fiction and narrative poetry. Eliot's Angels gives the short fiction its due, and it will appeal to scholars of mimetic and literary theory, Victorianists, and students of the novel.

This collection of original essays examines debates on how written, printed, visual, and performed works produced meaning in American culture before 1900. The contributors argue that America has been a multimedia culture since the eighteenth century. According to Sandra M. Gustafson, the verbal arts before 1900 manifest a strikingly rich pattern of development and change. From the wide variety of indigenous traditions, through the initial productions of settler communities, to the elaborations of colonial, postcolonial, and national expressive forms, the shifting dynamics of performed, manuscript-based, and printed verbal art capture critical elements of rapidly changing societies. The contributors address performances of religion and government, race and gender, poetry, theater, and song. Their studies are based on texts-intended for reading silently or out loud-maps, recovered speech, and pictorial sources. As these essays demonstrate, media, even when they appear to be fixed, reflected a dynamic American experience.Contributors: Caroline F. Sloat, Matthew P. Brown, David S. Shields, Martin Bruckner, Jeffrey H. Richards, Phillip H. Round, Hilary E. Wyss, Angela Vietto, Katherine Wilson, Joan Newlon Radner, Ingrid Satelmajer, Joycelyn Moody, Philip F. Gura, Coleman Hutchison, Oz Frankel, Susan S. Williams, Laura Burd Schiavo, and Sandra M. Gustafson

In "e;Return of the Heroes,"e; Walt Whitman refers to the casualties of the American Civil War: "e;the dead to me mar not. . . . / they fit very well in the landscape under the trees and grass. . . ."e; In her new poetry collection, Jude Nutter challenges Whitman's statement by exploring her own responses to war and conflict and, in a voice by turns rueful, dolorous, and imagistic, reveals why she cannot agree. Nutter, who was born in England and grew up in Germany, has a visceral sense of history as a constant, violent companion. Drawing on a range of locales and historical moments-among them Rwanda, Sarajevo, Nagasaki, and both world wars-she replays the confrontation of personal history colliding with history as a social, political, and cultural force. In many of the poems, this confrontation is understood through the shift from childhood innocence and magical thinking to adult awareness and guilt. Nutter responds to Whitman from another perspective as well. It was Whitman who wrote that he could live with animals because, among other things, they are placid, self-contained, and guiltless. As counterpoint, Nutter weaves a series of animal poems-a kind of personal bestiary-throughout the collection that reveals the tragedy and violence also inherent in the lives of animals. Here, as in much of Nutter's previous work, the boundaries between the animal and human worlds are permeable; the urgent voice of the poet insists we recognize that "e;Even from a distance, suffering / is suffering."e; Here is both acknowledgment and challenge: distance may be measured in terms of time, culture, or place, or it may be caused by the gap between animals and humans, but it is our responsibility to speak against atrocity and bloodshed, however voiceless we may feel.

Apophasis has become a major topic in the humanities, particularly in philosophy, religion, and literature. This monumental two-volume anthology gathers together most of the important historical works on apophaticism and illustrates the diverse trajectories of apophatic discourse in ancient, modern, and postmodern times. William Franke provides a major introductory essay on apophaticism at the beginning of each volume, and shorter introductions to each anthology selection. The first volume, Classic Formulations, offers excerpts from Plato, Plotinus, Damascius, the Bible, Gregory of Nyssa, Augustine, Pseudo-Dionysius, Maimonides, Rumi, Thomas Aquinas, Marguerite Porete, Dante, Teresa of Avila, John of the Cross, and more.

Drawing together renowned scholars of Christianity, Judaism, and Islam, Who Do You Say That I Am? focuses on the identity and ministry of Jesus. This distinctive collection provides an ecumenical forum in which adherents of some of the world's major religions comment on the tradition of Christian engagement with fundamental questions of Christology. The essays in this volume were delivered at an international conference at the Tantur Institute for Ecumenical Studies in Israel during May 2000. Contributors to this volume write on varied topics, including the Christological creeds and confessions of the early church, the confessions of the Councils, the many and various titles given to Jesus in the New Testament, the relationship between the biblical confessions and the creedal confessions of the Councils, a theology of the poor, Christology and inter-religious dialogue, and a comparative theology of mutual illumination among Christianity, Judaism, and Islam. While covering diverse themes, the essays in this volume are united by the conviction that the faith of the Church is by its very nature open to development and understanding.

The Catholic Revival in English Literature, 1845-1961 presents a thorough discussion of the six principal writers of the Catholic revival in English literature-Newman, Hopkins, Belloc, Chesterton, Greene, and Waugh. Beginning with Newman's conversion in 1845 and ending with Waugh's completion of the triology The Sword of Honor in 1961, this book explores how Catholicism shaped the work of these six prominent writers. John Henry Newman claimed in The Idea of a University that post-Reformation English literature was overwhelmingly Protestant and that there was no prospect of a Catholic body of literature. Describing this claim as "e;happily lacking in prescience,"e; Ian Ker persuasively argues that Newman, Hopkins, Belloc, Chesterton, Greene, and Waugh succeeded in producing a substantial body of literature written by Catholics who wrote as Catholics. These revivalists were not so much influenced by traditional themes of guilt, sin, and ceremony, as they were attracted to unexpected facets of Catholicism. The idea of a Catholic priest as a craftsman is a recurring motif, as is the celebration of the ordinariness and objectivity of Catholicism. Ker's compelling and intelligent reading of these six major writers will appeal to anyone with an interest in nineteenth- and twentieth-century English literature, or the relation between literature and theology.

Religion, Scholarship, and Higher Education explores foundational issues surrounding the interaction of religion and the academy in the twenty-first century. Featuring the work of eighteen scholars from diverse institutional, disciplinary, and religious backgrounds, this outstanding collection of essays issues from a three-year Lilly Seminar on Religion and Higher Education. Reflecting the diversity of the seminar participants, this insightful volume presents a wide variety of viewpoints on the role of religion in higher education and different approaches to religiously informed scholarship and teaching.

The recovery of nature has been a unifying and enduring aim of the writings of Ralph McInerny, Michael P. Grace Professor of Medieval Studies at the University of Notre Dame, director of the Jacques Maritain Center, former director of the Medieval Institute, and author of numerous works in philosophy, literature, and journalism. While many of the fads that have plagued philosophy and theology during the last half-century have come and gone, recent developments suggest that McInerny's commitment to Aristotelian-Thomism was boldly, if quietly, prophetic. In his persistent, clear, and creative defenses of natural theology and natural law, McInerny has appealed to nature to establish a dialogue between theists and non-theists, to contribute to the moral and political renewal of American culture, and particularly to provide some of the philosophical foundations for Catholic theology.