Disputed Questions on the Mystery of the Trinity. Saint Bonaventure , Zachary Hayes

Ewert H. Cousins

doi:10.2307/2847747

The Burden of Guilt and the Imperative of Reform: Pope Francis and Patriarch Bartholomew Take Up the Challenge of Re-Spiritualizing Christianity in the Anthropocene Age

Horizons ◽

10.1017/hor.2017.57 ◽

2017 ◽

Vol 44 (1) ◽

pp. 80-107 ◽

Cited By ~ 1

Author(s):

Kevin Mongrain

Keyword(s):

Natural World ◽

Deep Roots ◽

Pope Francis ◽

Saint Ignatius Of Loyola ◽

Saint Bonaventure ◽

Modern Capitalism ◽

Contemporary Christian ◽

Saint Francis ◽

Christian Leaders ◽

The Trinity

This article discusses the pro-environmental theology of two contemporary Christian leaders. The first is the current ecumenical patriarch of Constantinople, Bartholomew I. The second is Roman Catholicism's Pope Francis. Both leaders seek to support members of their respective churches who are working to protect the environment, and also to speak globally across cultural and religious lines. Both Bartholomew and Francis believe the crisis of climate change has deep roots in modern culture's anthropocentric ethos, and hence there must be an “apocalypse” or an unveiling of this ethos as a betrayal not only of nature but also of God the Creator. Contrary to some religious environmentalists, therefore, both Bartholomew and Francis are careful to distinguish cosmocentric theology (pantheism and animism) and theocentric cosmology (monotheism centered on the Incarnation of the Trinity in creation). Francis in particular aims for a retrieval of Saint Francis of Assisi's relationship to the natural world as it was expressed by Saint Bonaventure, and later developed by Saint Ignatius of Loyola into a discipline (ascesis) of learning to see all created things as expressions of God's glory. In rivalry with theascesisof modern capitalism, which could be described as “disciplined avarice in action,” Bartholomew and Francis advocate the classical monastic-Franciscan-Ignatian spiritual ethos of “disciplined contemplation in action.”

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Racine Lighting Beckett

Journal of Beckett Studies ◽

10.3366/jobs.2016.0172 ◽

2016 ◽

Vol 25 (2) ◽

pp. 225-242

Author(s):

Cal Revely-Calder

Keyword(s):

Samuel Beckett ◽

Trinity College ◽

Trinity College Dublin ◽

The Trinity

Critics have recently begun to pay attention to the influence Jean Racine's plays had on the work of Samuel Beckett, noting his 1930–31 lectures at Trinity College Dublin, and echoes of Racine in early texts such as Murphy (1938). This essay suggests that as well as the Trinity lectures, Beckett's later re-reading of Racine (in 1956) can be seen as fundamentally influential on his drama. There are moments of direct allusion to Racine's work, as in Oh les beaux jours (1963), where the echoes are easily discernible; but I suggest that soon, in particular with Come and Go (1965), the characteristics of a distinctly Racinian stagecraft become more subtly apparent, in what Danièle de Ruyter has called ‘choix plus spécifiquement théâtraux’: pared-down lighting, carefully-crafted entries and exits, and visual tableaux made increasingly difficult to read. Through an account of Racine's dramaturgy, and the ways in which he structures bodily motion and theatrical talk, I suggest that Beckett's post-1956 drama can be better understood, as stage-spectacles, in the light of Racine's plays; both writers give us, in Myriam Jeantroux's phrase, the complicated spectacle of ‘un lieu à la fois désert et clôturé’. As spectators to Beckett's drama, by keeping Racine in mind we can come to understand better the limitations of that spectatorship, and how the later plays trouble our ability to see – and interpret – the figures that move before us.

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