scholarly journals APPROACH OF CHRISTIAN THOUGHT TO ISLAM IN THE MIDDLE AGES: EXAMPLES OF BERNARD OF CLAIRVAUX, PETER THE VENERABLE, FRANCIS OF ASSISI AND THOMAS AQUINAS

Bilimname ◽  
2021 ◽  
Author(s):  
Yasin İPEK
2000 ◽  
Vol 56 (2/3) ◽  
Author(s):  
Yolanda Dreyer

Woman created in the image of God, Part 1: a historical investigation - from Genesis to the Middle Ages. This study indicates that the traditions in the Pentateuch, especially the creation traditions, implied the egalitarian status of man and woman as image of God. The context of this traditions, however, was patriarchal and thus opened the possibility of the exploitation of women. Though Genesis 1:27 does not specifically attest to the asymmetry between man and woman in patriarchal society, the fate of women in general was bound up with the presentation of God as a male creator. The implications of this presentation can be clearly seen in texts of the intertestamental period. The study points out the degree to which Philo's view of a hierarchy concerning man and woman as immanent to God's order of creation, strongly influenced Christian thought on the place of women. Since the "fall of woman" necessitates a "soteriology", women in general are portrayed negatively in patristic texts. Mary is seen as the positive counterpart of Eve. The image of women then becomes that of submission on account of their alienation from God. The article concludes with the view of Thomas Aquinas that the subservience of slaves is less than that of women, because in their case it is not an order of creation.


PMLA ◽  
1923 ◽  
Vol 38 (4) ◽  
pp. 745-769 ◽  
Author(s):  
Louis I. Bredvold

Philosophical poetry is seldom original; and ever since the assertion by Alexander Dalrymple, in the eighteenth century, that “Sir John Davies' poem on the Immortality of the Soul is chiefly taken from Nemesius,” there has been speculation as to the source of that once popular work. Grosart, in editing Davies' poems, rejected Dalrymple's statement as “absolutely untrue, an utter delusion,” and claimed for his author the merit of “deep and original thought.” But other critics have generally ignored this claim and suggested various sources for the poet's inspiration. Courthope again named Nemesius as the most probable. In a volume devoted exclusively to the study of this poem, Professor E. H. Sneath maintained that Davies was influenced by four thinkers: Aristotle, Cicero, Nemesius and Calvin. A German scholar more recently denies any influence of Nemesius, but thinks Davies derived his ideas from a study of Aristotle's De Anima modified by a reading of religious commentators, notably Thomas Aquinas. The latest and best suggestion, although it has been presented only in a brief and casual manner, is, that Nosce Teipsum is a re-statement of the Neo-Platonic tradition which permeated Christian thought in the Middle Ages and Renaissance.


This overview chapter for the second part of the book covers the Middle Ages and includes chapters on Anselm, Thomas Aquinas, and Julian of Norwich. This chapter recounts the development of the theology of salvation through this period, where the life of Christ as the payment to the Devil for the souls under his authority became an increasingly popular notion. Over the course of the Middle Ages, this doctrine became known as the harrowing of Hell, due to the belief that when Jesus rose from the grave, the righteous were let out of Hell itself.


Author(s):  
John Kenneth Galbraith

This chapter discusses the basic economic life in the Middle Ages, noting the absence of trade or a market during the period. It first considers the legacy of the Romans with respect to economic and political life, including their commitment to the sanctity of private property and Christianity. In particular, it describes Christian attitudes toward wealth and the link between morality and the market. It also examines the ideas of Saint Thomas Aquinas and Nicole Oresme before turning to the role of markets in the Middle Ages, along with their special characteristics. Finally, it looks at other aspects of economic life during the medieval period, such as the intrusion of ethics on economics—the fairness or justice of the relationship between master and slave, lord and serf, landlord and sharecropper.


Numen ◽  
2016 ◽  
Vol 63 (2-3) ◽  
pp. 245-270
Author(s):  
Willemien Otten

The development of medieval Christian thought reveals from its inception in foundational authors like Augustine and Boethius an inherent engagement with Neoplatonism. To their influence that of Pseudo-Dionysius was soon added, as the first speculative medieval author, the Carolingian thinker Johannes Scottus Eriugena (810–877ce), used all three seminal authors in his magisterial demonstration of the workings of procession and return. Rather than a stable ongoing trajectory, however, the development of medieval Christian (Neo)Platonism saw moments of flourishing alternate with moments of philosophical stagnation. The revival of theTimaeusand Platonic cosmogony in the twelfth century marks the achievement of the so-called Chartrian authors, even as theTimaeusnever acquired the authority of the biblical book of Genesis. Despite the dominance of scholastic and Aristotelian discourse in the thirteenth century, (Neo)Platonism continued to play an enduring role. The Franciscan Bonaventure follows the Victorine tradition in combining Augustinian and Dionysian themes, but Platonic influence underlies the pattern of procession and return — reflective of the Christian arc of creation and salvation — that frames the thought of Thomas Aquinas. Echoing the interrelation of macro- and microcosmos, the major themes of medieval Christian Platonic thought are, on the one hand, cosmos and creation and, on the other, soul and self. The Dominican friar Meister Eckhart and the beguine Marguerite Porete, finally, both Platonically inspired late-medieval Christian authors keen on accomplishing the return, whether the aim is to bring out its deep, abyss-like “ground” (Eckhart) or to give up reason altogether and surrender to the free state of “living without a why” (Marguerite), reveal the intellectual audacity involved in upending traditional theological modes of discourse.


1966 ◽  
Vol 59 (1) ◽  
pp. 1-26 ◽  
Author(s):  
Heiko A. Oberman

The ever-increasing respect for Luther among Roman Catholic theologians and historians of Christian thought is not only a sign of but also a significant contributing factor to contemporary ecumenical openness — especially so in Germany. Yet at the same time we should realize that this more positive evaluation of Luther is based on the conviction that the reformer was born under the star of heresy. While it is granted that he articulated the biblical message of sin, grace and forgiveness in Christ within the context of the late medieval nominalism in which he was reared, it is exactly this context which is regarded as essentially a-catholic or even as anti-catholic to the extent that it obstructed Luther's grasp of the full and true catholic tradition in the Middle Ages. Therefore, from the very beginning, access to the specifically Catholic tradition had been denied to Luther.


Eikon / Imago ◽  
2017 ◽  
Vol 6 (1) ◽  
pp. 69-84
Author(s):  
Carla Maria Bino

During the Middle Ages, images had to be tied to the truth. Otherwise, they were considered idols. And the idols are always dangerous and, therefore, banned. So, to be justified, the imago had to be true or really refer to truth. It follows that the images were not considered just objects ‘to see’, but were perceived as almost ‘alive bodies’, real bodies: they could act as if were actually present. This essay studies the image concept in Christian thought, with particular attention to Eastern Europe, in connection to the patristic and conciliar sources. The result is the shift of its ontological meaning: contrary to the mimetic idea of greek-hellenistic culture, the christian image is an ‘impression of similarity’. This conceptual revolution implies change of visualization strategies, which are specifically performative: ‘seeing the icon’ is doing something which involves ‘physically’ the viewer, as if he came into a scene and became an actor.


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