Conceptions of God and narratives of modernity : a hermeneutical interpretation of Charles Taylor's A Secular Age

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

The Political and Artistic Program of Prince Petru Rares of Moldavia (1527-1538 and 1541-1546) and the Fresco Series Depicting the “Life of the Mother of God��� in the Church of Humor Monastery

En 1993, l’église du monastère Humor et six autres églises du nord de la Moldavie (Roumanie) ont été classifiés comme patrimoine de l'UNESCO, en particulier en raison de leurs caractéristiques iconographiques et architecturales uniques. Construit au seizième siècle, le monastère Humor est devenu un riche centre religieux et culturel sous le patronage du prince Petru Rares de Moldavie. Ce centre a encouragé les innovations architecturales ecclésiales, ainsi qu’un programme très prolifique de fresques, extérieures et intérieures, exprimant une créativité au-delà du canon de la peinture de l'époque. La présente thèse est concentrée sur ces innovations architecturales et iconographiques, comprises à la lumière du contexte historique de ce moment unique dans l'histoire de la Moldavie, dans le siècle qui suivit la chute de Constantinople (1453). Tandis que la première partie de la thèse est concentrée sur ces circonstances historiques, et plus précisément sur l'impact du patronage du Prince Rares, la deuxième partie de la recherche est concentrée sur l'analyse des sources littéraires et de la théologie d’une série unique de fresques, placé dans la gropnita (chambre funéraire) de l’église monastique d’Humor, évoquant la vie de la Mère de Dieu. La série est un exemple extraordinaire d’interaction des textes, le Protévangile de Jacques et le Synaxarion, avec l'iconographie. Une attention particulière à l'iconographie du monastère Humor démontre le besoin de la corrélation entre texte et icône d'une part, ainsi que la nécessité d’une corrélation entre les études théologiques, l'art et l’histoire d’autre part. Un autre avantage de la recherche est de contribuer à une appréciation plus riche des trésors culturels et religieux des communautés chrétiennes de l'Europe de l'Est aux points de vue religieux et culturel, en réponse à leur reconnaissance comme patrimoine de l’UNESCO.

The trilogy of John of God

Monteiro’s assertion of the almighty auteur, after the post-structuralist and post-modern experiences, which had shattered the author and his work in theory and practice, reinstates an authority aimed at organising the chaos caused by the lack of narrative. In a way, therefore, Monteiro’s output is conservative, displaying a peculiar atemporal style, which seems entirely immune to fashion. On the other hand, however, few contemporary films could be more radical than his. Authorship, in his case, means the absence of limits and total freedom of expressing his obsessive world.

The hand of God is over their hands (Q. 48:10) : on the notion of covenant in al-Ṭabarī’s account of Karbalāʾ

This article is an analysis of the story of the killing of Ḥusayn b. ʿAlī at Karbalāʾ in 61/680, as it is presented by Abū Jaʿfar Muḥammad b. Jarīr al-Ṭabarī (d. 310/923). The main argument is that the notion of the divine covenant, which permeates the Qur’an, constitutes a framework through which al-Ṭabarī views this event. The Qur’anic idea of the covenant is read in structural/thematic continuity with the Hebrew Bible account of the covenant between Yahweh and the Hebrew people, which has, in turn, been traced back in its basic form to Late Bronze Era treaties between rulers and their vassals.   The present study focusses on four speeches ascribed to Ḥusayn during the encounter he and his group had with the vanguard of the Kūfan army led by al-Ḥurr. These are analysed in accordance with their use of Qur’anic covenant vocabulary. They are also categorised within the broader framework of the eight standard characteristics of Ancient West Asian and Biblical covenants, as presented by George Mendenhall and Gary Herion, which have recently been developed in a Qur’anic context by Rosalind Ward Gwynne. This article argues that al-Ṭabarī’s Karbalāʾ narrative presents the pact of loyalty to Ḥusayn as a clear extension of the divine covenant.

Dewey's democracy as the kingdom of God on earth

John Dewey has been portrayed as a sort of villain in Rosenow's (1997) article which appeared in this journal, apparently because he was unfairly opposed to God and to religion, and also because he deliberately usurped religious language to ‘camouflage’ his secular ideas. By drawing mainly upon similar sources but with some important additions, I wish to challenge the four major concerns raised in Rosenow's article and in doing so aim to offer an alternative interpretation. It is understood here that Dewey's approach to religion was not so much religious as it was ‘spiritual’ and while developing and changing throughout his writings, his ideas on spirituality nevertheless were thoroughly entwined with his other views, especially those dealing with education, science and democracy.