Catholic Theological Ethics Past, Present, and Future: The Trento Conference Edited by James F. Keenan, and: The Social Mission of the US Catholic Church: A Theological Perspective by Charles E. Curran

2014 ◽  
Vol 34 (1) ◽  
pp. 216-218
Author(s):  
Daniel Cosacchi
Keyword(s):  
Catholic Church ◽  
Theological Ethics ◽  
Social Mission ◽  
The Social ◽  
The Us ◽  
Theological Perspective ◽  
Catholic Theological

scholarly journals Black Lives Matter and Catholic Whiteness: A Tale of Two Performances

Horizons ◽  
2017 ◽  
Vol 44 (2) ◽  
pp. 306-341 ◽  
Author(s):  
Michael P. Jaycox
Keyword(s):  
Collective Identity ◽  
Field Research ◽  
Collective Agency ◽  
Theological Ethics ◽  
Racial Justice ◽  
The Public ◽  
Black Lives Matter ◽  
The Us ◽  
Moral Critique ◽  
Catholic Theological

The Black Lives Matter movement has received little scholarly attention from Catholic theologians and ethicists, despite the fact that it is the most conspicuous and publicly influential racial justice movement to be found in the US context in decades. The author argues on the basis of recent field research that this movement is most adequately understood from a theological ethics standpoint through a performativity lens, as a form of quasi-liturgical participation that constructs collective identity and sustains collective agency. The author draws upon ethnographic methods in order to demonstrate that the public moral critique of the movement is embedded in four interlocking narratives, and to interrogate the Catholic theological discipline itself as an object of this moral critique in light of its own performative habituation to whiteness.

Opera Production and Civic Musical Life in 1870s Montreal

2014 ◽  
Vol 11 (2) ◽  
pp. 219-238
Author(s):  
Brian C. Thompson
Keyword(s):  
Catholic Church ◽  
Musical Life ◽  
Popular Entertainment ◽  
Music School ◽  
Cultural Traditions ◽  
The Social ◽  
The Us ◽  
Paris Conservatoire ◽  
Société Canadienne ◽  
Opera Production

This article explores the origins and productions of the Société Canadienne d'Opérette et d'Opéra de Montréal, a short-lived opera company active in the late 1870s. Headed by Calixa Lavallée and Frantz Jehin Prume, the Société was established in part as a result of a decree that forbade the use mixed choirs throughout the archdiocese, and consequently made obsolete Lavallée's choir at Saint-Jacques Church. Following the success of their first production, Lavallée and Prume realized that the company might be used as a stepping-stone to the creation of a government-funded music school, modelled on the Paris Conservatoire. This article explores the social and political context in which the Société was created, and details the staging and reception of its productions of Gounod's Jeanne d'Arc and Boieldieu's La Dame blanche. In selecting these works for performance, the organizers responded to demands and constraints of a society accustomed to popular entertainment from the US and under pressure from the conservative and influential Catholic Church. They were works that were feasible to produce and likely to be successful in a city whose population was divided by religion, language and cultural traditions.

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