Eleonore Stump Dante’s Hell, Aquinas’s Moral Theory, and The Love of God

2009 ◽  
pp. 514-524
1986 ◽  
Vol 16 (2) ◽  
pp. 181-198 ◽  
Author(s):  
Eleonore Stump

‘Abandon all hope, ye who enter here’ is, as we all recognize, the inscription over the gate of Dante's hell; but we perhaps forget what precedes that memorable line. Hell, the inscription says, was built by divine power, by the highest wisdom, and by primordial love. Those of us who remember Dante's vivid picture of Farinata in the perpetually burning tombs or Ulysses in the unending and yet unconsuming flames may be able to credit Dante's idea that Hell was constructed by divine power; and if we understand ‘wisdom’ in this context as denoting an intellectual virtue only (and not as connoting a mixed moral and intellectual one), then we might agree that only divine wisdom is capable of making something like Dante's hell.


2019 ◽  
Vol 3 (1-2) ◽  
pp. 198-218
Author(s):  
Michelle Voss Roberts

Christians sometimes take Christ's ken?sis, or self-emptying, as the pattern for Christian love of God and neighbor. Feminist critics suspect that this model reinforces unhealthy gender norms and oppressive power structures and contest the nature and extent of this template. Interreligious study can shed light on the debate. The Gau??ya Vai??ava tradition employs the categories of Indian aesthetic theory to explain how types of loving devotion (bhakti rasa) toward Krishna are evoked and expressed. The subordinate and peaceful modes of love for Krishna can serve as a heuristic for understanding Sarah Coakley's and Cynthia Bourgeault's retrievals of ken?sis in spiritual practice. A comparative reading suggests that objections to Coakley's version, which resembles the subordinate love of God, are more intractable due to the rootedness of its aesthetic in oppressive human experiences, while Bourgeault's reclamation of ken?sis aligns with a peaceful or meditative mode of love that feminists may more readily appreciate.


2007 ◽  
Vol 12 (1) ◽  
pp. 67-78 ◽  
Author(s):  
John Hadley
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