El propósito del presente escrito es hacer un análisis de algunas defensas universalistas sobre el segundo argumento de Z13 el cual niega que el universal pueda ser forma y, de esta manera, que pueda ser substancia primera. El análisis tiene dos momentos: en el primero se sostiene que, basado en la evidencia textual de Z, hay una premisa falsa y esto conduce a que la estructura general de uno de los principales argumentos universalistas sea inconsistente. El segundo momento del análisis (...) consiste en mostrar una serie de distinciones importantes no trazadas del segundo argumento que conducen, nuevamente, a que el argumento universalista no sea consistente. (shrink)

Resumen En el siguiente artículo se indaga en torno a la naturaleza del ícono en cuanto tradicional representación pictórica de Cristo y los santos de la Iglesia. Trataremos de entender en qué consiste este arte, cuyos orígenes se pueden rastrear desde los primeros siglos de la cristiandad, cuáles son sus motivaciones, fines y rasgos esenciales, es decir, sobre qué bases ha logrado cumplir un rol tan importante en la vida de innumerables fieles. Por medio de una metodología de revisión bibliográfica (...) y documental, prestaremos atención a las tesis de diversos filósofos, teólogos e historiadores que se han acercado a reconocer y pensar sobre el significado del ícono para el pueblo cristiano. Nuestro propósito es eminentemente filosófico, pero se nutre de muchos autores que se han preocupado, desde diversas disciplinas, por esta especial y conmovedora belleza cristiana. Conocer en profundidad el ícono nos permitirá resolver nuestra pregunta investigativa que apunta a descubrir la herencia que el ícono le entrega al arte universal de todos los tiempos y al arte cristiano en particular. Partimos de la hipótesis de que el ícono encierra un aporte muy original y poco explorado que tal vez pueda ser de gran provecho e inspiración para pensar, por lo pronto, un arte contemporáneo y futuro enriquecido de esta herencia.The following article explores the nature of the icon as traditional pictorial representation of Christ and the saints of the Church. We will try to understand what this art consists of whose origins can be traced from the first centuries of Christianity, what are its motivations, aims and essential features, that is, on what basis has managed to fulfill such an important role in the lives of countless faithful. By means a methodology of bibliographic and documentary review, we will pay attention to the thesis of different philosophers, theologians and historians who have come to recognize and think about the meaning of the icon for the Christian people. Our purpose is eminently philosophical, but it is nourished by many authors who have been concerned, from different disciplines, with this special and moving Christian beauty. To know in depth the icon will allow us to solve our investigative question that aims to discover the inheritance that the icon gives to the universal art of all times and to Christian art in particular. We start from the hypothesis that the icon contains a very original and little explored contribution that may be of great benefit and inspiration to think, for now, a contemporary art and future enriched by this heritage. (shrink)

The New Parish, beloved by the most recent church documents, meets several challenges for its renewal, among them the caring for the poor. This commitment, the agape expression of Christ, is fundamental in this world in which the seeds of individualism and neo-paganism are gaining strength. Thus, in an exercise of systematic theology that re-connects biblical theology and pastoral, an important way is to look at the caring for the poor in the example of the Apostle Paul. Paul organized a (...) collection for the saints of the Jerusalem church among the Asian communities, making visible church unity between Jews and Gentiles through charity. It was not only a solidary action, but the experience of Christian love that is given as Thanksgiving to God, He who by his grace saved us first. (shrink)

This paper advances a provisional case denying the attribution of the medieval liturgical sequence Sanctitatis nova signa, written in honor of Saint Francis of Assisi, to Thomas of Celano (died c. 1260), who is best known for writing the earliest biography of the saint. The Conventual Franciscan friar and bishop, Pietro Ridolfi, provides the oldest extant attribution of this sequence to Celano. Luke Wadding (died 1657) echoes this point in his Annales Minorum; several recent critical editions of (...) early Franciscan texts, as well as countless secondary sources, cite Wadding for the attribution to Celano. This identification remains problematic, not only due to the lateness of the Ridolfi-Wadding claim; the sequence's use of Dionysian mystical motifs and details unique to Bonaventure's Legenda Major (completed 1262) should exclude the possibility of Celano's authorship. Consequently this study tentatively dates the sequence to the latter part of the thirteenth century. Unlike the earlier sequences for Saint Francis attributed to Pope Gregory IX (died 1241) and Thomas of Capua (died 1243), Sanctitatis depicts Francis as a model Dionysian mystic. This mystical exemplarity becomes the image of unity advanced by the Franciscans to heal the internal crises plaguing the order in the later thirteenth century. (shrink)

Dona Isabel, infanta de Aragão (filha de Pedro III) e rainha de Portugal (mulher de Dom Dinis), nasceu, segundo a tradição, no ano de 1271 e foi santificada pelo papa Urbano VIII a 25 de Maio de 1625. Pelo caminho, deixou o testemunho material de uma vida dedicada às boas obras, na figura de clarissa de que fez dotar o seu moimento, marcando, com grande significado, uma intenção bem determinada de deixar de si a memória de uma fiel devota. Acompanhando (...) de muito perto a feitura do seu lugar último (realizado provavelmente cerca de 1330, portanto ainda em vida da rainha, falecida em 1336), Dona Isabel de Aragão revelou-se promotora de uma iconografia de marcada originalidade, quer porque, no seu modelado considerado típico de Mestre Pêro, lhe coube inaugurar uma nova fase na escultura tumular coimbrã, quer pelo carácter ostensivamente religioso da sua representação, conseguido inclusivamente pela adopção de caracteres iconográficos de considerável inovação. Aos atributos, apesar de tudo, mais divulgados do Livro de Horas, dos anjos e do baldaquino (conformador também de um certo sentido de sagrado), o jacente de Dona Isabel acrescenta o hábito de clarissa (numa proposta verdadeiramente original, embora repetida noutros jacentes posteriormente), a esmoleira à cintura com a concha de Santiago e o bordão de peregrina, identificadores das virtudes cristãs da caridade e da peregrinatio – todos estes elementos articulando-se com outros de uma representação tipificada da nobreza feminina trecentista (a realeza simbolizando-se apenas pelo uso da coroa) para dar à imagem última de Isabel de Aragão o sentido pleno de uma rainha de santidade. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Looking Death Straight in the Eye:The Wisdom and Witness of the SaintsPaul Murray O.P.At the Basilica of San Clemente here in Rome, the tomb which lies directly under the high altar contains, according to received tradition, the relics of both St. Clement of Rome and St. Ignatius of Antioch. Elsewhere, in the San Clemente complex, there is another tomb or sarcophagus, unknown to the public, whose original place may (...) well have been in the atrium of the Basilica. It now finds its place in the garden of the Irish Dominican Collegio adjoining the Basilica.This tomb, an ancient Roman sarcophagus of grey marble, was re-used in medieval times, around the year 1300, in order to house the remains of a certain Nicolaus Boniseniore.1 Nicolaus, a lawyer by profession, belonged to a prominent Sienese family which, in the late thirteenth century, were bankers to the papacy. Why I have chosen to make reference to this particular tomb is because, inscribed across its front in bold letters, is an unusually striking statement concerning death. Nicolaus who was, we are told in the inscription, "distinguished" during his life "by the glory of his knowledge of the law,"2 now speaks from the tomb, as it were, stripped of all prestige and glory, his haunting, ghostly words a warning to all those coming after him of the vanity of earthly endeavor. [End Page 923]Recognise in me, you who read this how limited are the possibilities of mankind. As I was, what you are, I was Lord of my possibilities. Now I am no more because I am dust and bones. So will you too no longer be the master of your own potential when you will be interred. The fame of the world, honours, prominent position, rank and influence, nobility, strength, pleasure, celebrity, delights and laments, high birth and wisdom, … vigour, boldness and intimidation, bruised pride, illness and everything passes except for the love of God. … Finally, I was abandoned to wretched death. Then according to the will of Christ I was shut up in this grave. Naked was enough for me, who once could not do without a big house, a wide bed, fine clothes and tableware. Without a bed I am laid naked in this marble tomb. I have no pillow, sheets, mattress or linen. I have no overgarment, not even an undershirt. To die is the destiny of all. Death admits no respect for honour; it spares neither the greatest nor the smallest. There are three things which you should know in order to live correctly: be thankful for death, pious and disdainful of worldly goods.3Few texts written in the Christian era, or indeed in any era, evoke with such compelling force the sharp, devastating impact of death, the utter and complete loss of so many treasured earthly goods and pleasures, earthly honors, powers, and privileges. But the statement itself, although composed in the Christian era and by a Christian believer—is it in any real sense Christian in spirit? Yes, we do hear sounded, it is true, a few notes of Christian piety, but these are decidedly faint and seem almost to lack conviction. What we don't hear sounded anywhere in the text is the clear note of Christian hope. Although the sarcophagus has obviously been made to serve as a Christian tomb, there survives in the statement of Niccolò an almost pagan perspective on death, a grim and unhappy sense of doom, a stark melancholy. Pagan stone, pagan marble, entombs the Christian voice.But what is it, we need to ask, that constitutes an authentic Christian understanding of death? My aim in the present paper is, while offering a few general comments on the question, to explore how, over the centuries, death has been viewed and approached by the Christian saints. Three sections comprise the work: (1) Facing Death: The Distinctive Christian Vision; (2) Scandal or Blessing: Christian Grief in the Face of Death; (3) Imagining the Unimaginable: Visions of the Afterlife. [End Page 924]Facing Death: The Distinctive Christian VisionFour centuries before Christ, around the year 441 BC, the Greek chorus in one of the plays by... (shrink)

I address the objection that the concept of racism has become overly inflated. Critics of the conceptual inflation of “racism” argue that theories of institutional racism engage in untoward conceptual inflation insofar as they undermine our moral understanding of racial phenomena, hinder our ability to explain the causes of racial inequality, and even undercut struggles for racial justice. I develop an original account of institutional racism and show that it is immune to all three versions of the conceptual inflation challenge.

O presente ensaio procura determinar quais foram as idéias que influenciaram o abade Suger na reforma da igreja de Saint-Denis – origem do gótico. Erwin Panofsky dá os traços essenciais desta investigação e abre novas posibilidades de aprofundamento. Em seu fascinante estudo, Panofsky teve o mérito de ter sido o pioneiro em descobrir uma influencia das obras do Pseudo-Dionísio sobre a reforma de Saint-Denis. Desde então, a polêmica não cessou mais. Destacase o papel de Hugo de S. Vítor (...) como transmissor da influência mística sobre Suger. (shrink)

I defend impact-based accounts of institutional racism against the criticism that they are over-inclusive. If having a negative impact on non-whites suffices to make an institution racist, too many institutions (including institutions whose affirmative action policies inadvertently harm its intended beneficiaries) would count as racist. To address this challenge, I consider a further necessary condition for these institutions to count as racist—they must stand in a particular relation to racist ideology. I argue that, on the impact-based model, institutions are racist (...) if they have a negative racial impact AND this impact is legitimized by racist ideology. Racist ideologies limit social criticism of and collective action against institutions that have a negative racial impact, and in so doing, lend stability to systems of racial domination. (shrink)

This paper argues that racism should not only be conceived as a moral concept whose main aim is to condemn severe wrongs in the domain of race. The paper advances a complementary interpretation of racism as an explanatory concept--one that plays a key role in explaining race-based social problems afflicting members of subordinate racialized groups. As an explanatory concept, the term 'racism' is used to diagnose and highlight the causes of race-related social problems. The project of diagnosing race-based social problems (...) contributes to the pragmatic anti-racist end of developing better political and policy strategies for solving these social problems. The paper defends this interpretation of racism as an explanatory concept through a critical engagement with Urquidez's moral-philosophical account of racism. (shrink)

This article aims to explore the concept of victimless damage. This refers to paradoxical cases where a perpetrator and a moral wrong can be easily identified, but where somehow the role of the victim as such can be questioned. In order to explore this concept, I will first offer a typology of cases that could be labelled under this umbrella concept—namely, cases of deceased victims, biotechnological or no-identity cases, and the ones related to lack of awareness due to epistemic injustice. (...) Then, after highlighting the common traits and discussing some fuzzy cases, I will flesh out the main arguments for and against of the existence of and need for this concept, on the basis of both moral objectivism and subjectivism. In my view, delving into these arguments could shed some light on the metaethical debate on the sine qua non conditions of moral damage and its relation to moral wrongness. Finally, I will conclude by advocating for the need to introduce a gradational concept of moral damage and the second-person perspective into moral philosophy in order to take into account potential cases of victimless damage, but without having to accept the premises of moral realism. (shrink)

While many have celebrated Black Panther, some have also criticized it – such as contemporary philosopher Christopher Lebron, who argues that Black Panther 's plot is centrally driven by anti‐Black stereotypes about Black Americans, and particularly about Black American men. Anti‐colonial theory emerges in situations of colonial domination. But there are different kinds of colonialism, and there are different manifestations of anti‐colonial resistance. The image of colonialism that Black Panther most directly invokes – stopping short, however, of openly recognizing it (...) – is really just one species of colonizatism. As previously noted, Black Panther rarely invokes the concepts of slavery and colonialism. In Black Panther, Killmonger is the very site at which the terror of colonial history is sutured – the anti‐heroic figure who must be depicted as a genocidal and misogynistic monster in order to dissipate the shame and the guilt he would otherwise elicit. (shrink)