La Folie De L Eucharistie

This book brings together a world-renowned collection of philosophers and theologians to explore the ways in which the resurgence of eschatological thought in contemporary theology and the continued relevance of phenomenology in philosophy can illuminate each other. Through a series of phenomenological analyses of key eschatological concepts and detailed readings in some of the key figures of both disciplines, this text reveals that phenomenology and eschatology cannot be fully understood without each other: without eschatology, phenomenology would not have developed the ethical and futural aspects that characterize it today; without phenomenology, eschatology would remain relegated to the sidelines of serious theological discourse. Along the way, such diverse themes as time, death, parousia, and the call are re-examined and redefined. Containing new contributions from Jean-Yves Lacoste, Claude Romano, Richard Kearney, Kevin Hart and others, this book is necessary reading for anyone interested in the intersection of contemporary philosophy and theology.

La prière du Rosaire, tant préconisée par nos papes, et surtout par Jean-Paul II, nous fait découvrir des ri-chesses insoupçonnées, que ce soit dans la vie de Jésus et dans celle de Marie, ou dans leurs relations, filiales ou maternelles, pleines d'amour et d'affection, voire de tendresse. La présence de Marie est constante dans la contemplation des mystères joyeux et glorieux. Même si elle n'est pas toujours explicitement signalée dans les mystères lumineux, elle est évidente à Cana et durant certaines périodes de la vie publique de Jésus.

Farcical elements were incorporated into non-comic drama ever since the theatre had been rediscovered in the Middle Ages. Already at a very early stage, comic scenes proved to be popular additions to liturgical music drama and, later, to religious plays in the vernacular. Some scholars believe that the genre of farce developed out of these farcical elements. The suggestion was made that farces, similar to the stuffing of meat or poultry, had been added to plays to increase audience involvement. Other researchers see quite different origins for the farce. The present volume does not aspire to solve the question of the relationship between the two types of “comedy” on the medieval stages but its editors hope that it will nevertheless contribute to this discussion. In addition, it will enable its readers to form an impression of the huge variety of the comic in the vast area of medieval and early Renaissance theatre and drama.