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What constitutes an authentic adaptation of the Exercises? She also relates how she is working with the Collaborative Ministry Office at Creighton University to help lay people have greater access to the Exercises. Ignatius Loyola. The site also includes a daily prayer feature.

Ecology and the Spiritual Exercises PDF By Trileigh Tucker Tucker explores how the Spiritual Exercises provide us with a structure to examine the relationship between the individual and the environment. Article in The Way , This ultimately leads to loving action for the sake of the earth and experiencing the love of God in and through creation. Notes on Adapting the Exercises of St. Ignatius By David T. Bernard J. Bush interviewed Firmat for this piece in The Spiritual Exercises of St. Ignatius Loyola: Rediscovery and Renewal Part One Produced by Georgetown University Jesuit pioneers in the 20th-century renewal of the Spiritual Exercises relate their personal experiences in their introduction to the guided retreat.

Ignatius Loyola: Rediscovery and Renewal Part Two Produced by Georgetown University George Aschenbrenner, SJ, joins the Jesuit pioneers from the first session as they narrate the history of the training programs that made the one-on-one experience of the Spiritual Exercises accessible to the larger community.

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The development of lay communities of Ignatian spirituality such as Christian Life Communities is considered. Lay discovery of Ignatian spirituality now has crossed denominational boundaries. The Jesuits discuss the issues of how the work of the laity can continue and grow. What Is Ignatian Spirituality?

About Contact. I consider one of the greatest blessings I have right now to be watching my three little boys grow up. And it is a…. Praying the Examen is a good habit to establish. Every day, you review the day, notice where and how God was present, and notice….

Reflections Making Friends Rebecca Ruiz. My son began attending a new school this month. De Witte often diverges from the pictorial tradition, instead preferring to cleave closely to the Gospel texts, and his meticulous attention to scripture was surely what attracted Nadal to these images. The Jesuit Giovanni Battista Fiammeri produced a series of red-chalk drawings between and the early s, in a vertical book format, but these were deemed insufficiently detailed. In the mids, the master draftsman Bernardino Passeri, working after the drawings by Agresti and Passeri, completed the modelli ultimately utilized by the primary engravers, Jan, Hieronymus, and Antoon Werix.

They functioned as a virtual canon, launching new iconographies and establishing new pictorial traditions, as the proliferation of paintings and prints depicting the raising of the cross, all based on imago chapter , testifies. The position of his head, inclined toward John, Mary, and the holy women, as well as the good thief, and indeed, toward all the representatives of earthbound humanity ranged in a circle around the cross, perfectly accommodates the tenor and tone of his final utterances. Engraved by Antoon Wierix after the drawing by Passeri, imago portrays Christ twice: in the foreground he shows the disciples the wounds in his hands and feet, thus confirming that the man now speaking to them is Jesus himself, who died on the cross; in the background he stands farther from them to indicate that his speech is no longer conversational, but rather, formal, declamatory, and sacramental.

He points toward the locked and bolted door to emphasize that in instituting the sacrament of Penance, he empowers or, better, obligates the disciples to go forth into the world and preach the gospel of the remission of sin.

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The gesture also serves to demonstrate that his words issue from a body different from the one they knew before: having been rarefied, it can now pass through solid matter without suffering any material impediment. Finally, his head is raised to signify that the words he enunciates constitute a breathing out of his spirit upon them: his speech blesses, enjoins, and establishes in equal measure. It now remains to be seen how and why the words spoken by Christ in chapters and imagines and were characterized by Nadal as sublimia.

Imago depicts the closed room in Jerusalem where the disciples, their faith bolstered by the eyewitness accounts of Peter and the women, await the appearance of the risen Christ A see fig. Startled they take him for a spirit A bis , so he reassures them, showing various signs of his humanity, not least his wounded hands and feet; further to indicate that it is truly he, he asks to eat with them B bis.

Having been offered a piece of broiled fish and a honeycomb C , he eats and then distributes the leftovers B ter. Throughout all this, the doors remain firmly bolted to indicate that his body, now divinized and glorified, was subject to no material impediments D. Ego sum. Nolite timere. They are sublime, first of all, in their profundity, for they penetrated the disciples interiorly and deeply, working in tandem with the bodily image of Christ revealed by his apparitio.

Touch, and see, for a spirit hath neither flesh nor bone, as you see me to have. Thus you stood in both ways, as God and as man, amidst the disciples, that is, amidst your Church. Christ added these things not only for the eternal instruction of the Church, but to amend the disciples who were using imperfectly the gifts they had received thus far: for they were troubled and fearful, and thoughts were arising in their hearts. They are signa of the Godhead. These six words, then, are sublimely pregnant with divine meaning. Nadal adverts to Augustine when he states that Christ is both teaching and converting, in the sense of impelling, the fearful and hesitant disciples bravely to embrace their gospel mission.

The linkage between verba and Verbum , vox and mysteria , fulfills the first criterion of the sublime—namely, sublimity of thought having to do with God—adduced in both the Peri hypsous and Peri ideon as an essential source of sublime expression. It is I. Marvellous too is the imaginative picture of his Battle of the Gods.

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The image of Christ speaking becomes a template for our visualization of him as originary Verbum and source of the sublime verba addressed to us. What then is the use of visualization in oratory? And then, to be sure, there is Hyperides on his trial, when he had moved the enfranchisement of the slaves after the Athenian reverse.

In all such cases the stronger element seems naturally to catch our ears, so that our attention is drawn from the reasoning to the enthralling effect of the imagination, and the reality is concealed in a halo of brilliance. And this effect on us is natural enough: set two forces side by side and the stronger always absorbs the virtues of the other.

Nadal concludes with an extended speech in the voice of Christ that demonstrates how densely packed with sublime mysteries were his words confirming the apostolic vocation and conferring the sacrament of Penance John — Accordingly, great Jesus, by many exceedingly great benefits you have made your Resurrection, adorned with the splendor of measureless glory, manifest to your Church. My mission to the world is now complete: through preaching the truth and confirming it by miracles, through my labors, Passion, and death, I conferred eternal salvation upon humankind; but in this selfsame mission I received the power of making you similar to myself, a power I now exercise by divine authority and virtue, as mediator between God and men.

For through me God reconciled the world to himself; and through me he placed in you the word [of peace] and ministry of reconciliation. Behold you are my apostles, my legates to mortal men. Understand this truly: the nature of the mission given me by the Father must be imitated by you.

Christ by his appearance to them, by his admonitory words, and by his election of an apostolic vicar viz. What can be known is the spiritualis experientia of the sublime that evokes the nature of God, enabling appreciation of his otherwise fathomless mysteries. Imago see fig.

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Ranged across the transverse bar of the cross, these letters attach to Christ, the position of whose head, tilted to his right, indicates that he is speaking to Mary and John, as well as to the good thief. This speaking gesture is thus made to stand for the full spectrum of his utterances from the cross. The annotations emphasize that Jesus spoke with great eloquence, his rhetorical gifts unabated.

First, because the effect of hearing a speech is not wont to show itself immediately, but rather, when divine providence so disposes. Shortly thereafter, many felt remorse, and they returned [to Jerusalem] striking their breasts. And that the majority of the Jews were [finally] swayed, we see in the Acts of the Apostles. These are characteristics of the sublime style, as defined by Longinus and Hermogenes; the septem verba subsume elements from what Augustine called the subdued style and Soarez the simple, in a mixing of stylistic resources licensed by the Longinian notion that the sublime transcends the traditional genera dicendi , and by the Augustinian warrant given to elisions of form and function among the three styles.

The power of the septem verba issues from their singular identity among all the things he said during his life: this is because they are phantasiai of real things—not simply expressive of his suffering but coexistent with his wounds and torments. When Jesus speaks, it is these appalling vulnera that we envisage and see speaking to us. Those [torments, that death] are the words, the utterance of the transgressions belonging to others that I made my own on account of you; this is the roaring of my transgressions, which declares the magnitude of sin.

Jesus utilizes a figure of thought paradoxon that takes the form of a figure of speech antithesis. Abject and crucified, Christ yet demonstrates that his is the kingdom, the power, and the glory, for he elevates and saves the penitent thief. The celestial Paradise, yet here amidst the depths of the earth. O ineffable sacrament! How worthy of adoration, Christ Jesus, is your power and benignity!

Truly it is yours to conjoin the lowest and the highest; man to God, death to life eternal, hell and heaven: in which things your divine mercy shines forth, and your infinite potency is revealed. O, holy Lord Jesus, dying you bestow Paradise, wherefore by your death you give access to eternal life, and at the same time cause me in spirit to supplicate as did the thief from the cross. Even more than he, I stand before you, in the sight of my transgression, which you know.

Look at me as a friend, reprove me as a son, receive me as a brother. If you grant this. We see something of the same kind in painting. Though the highlights and shadows lie side by side in the same plane, yet the highlights spring to the eyes and seem not only to stand out but to be actually much nearer. So it is in writing. What is sublime and moving lies nearer to our hearts, and thus, partly from a natural affinity, partly from brilliance of effect, it always strikes the eye long before the figures, thus throwing their art into the shade and keeping it hid as it were under a bushel.

Most obviously, Christ announces that his every faculty is nearly spent: only the fundamental humor shared by every mortal body radicalis humor universus , its need for water, is still intact. My strength is dried up like a potsherd, and my tongue hath cleaved to my jaws: and thou hast brought me down into the dust of death. I offer this to all, that they may quench my thirst.

This exemplifies how sublimity, though it sometimes arises from figurative amplification, can also proceed from elevating simplicity. Amplification, they say, is language which invests the subject with grandeur. Now that definition could obviously serve just as well for the sublime, the emotional, and the metaphorical style, since these also invest the language with some quality of grandeur.

But in my view they are each distinct. Sublimity lies in elevation, amplification rather in amount; and so you often find sublimity in a single idea, whereas amplification always goes with quantity and a certain degree of redundance. It is thus seen dually to fulfill the Longinian criteria of intensive simplification and figurative elaboration.

The septem verba , then, are epitomes of the sublime, but more than this, they exemplify all three categories of style and function set out by Augustine.

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Their figurative richness, paradoxically encoded into their simplicity, qualifies them as paragons of the temperate style that pleases even as it compels, by deploying ornaments that seize and sustain attention. Their grandeur and elevating simplicity make them paragons of the majestic style that chiefly aims to move and compel. These same characteristics confer the clarity and instructive force more commonly associated with the subdued style. As they are comprised by the conjunction in him of simplicity of essence and infinity of being, so, Nadal implies, the simplicity and majesty of the septem verba signify spiritually to us his essential sublimity.

You acknowledge that you are sustained by these truths [viz.

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The Passion, concludes Nadal, is immensely sublime also in its persuasive effect, for it inspires and motivates us, in the Augustinian sense, to do something we may have been reluctant to do—namely, suffer and die for the faith, in imitation of Christ. For by your prior suffering Sin had been repeatedly slain: whence we are taught repeatedly to bear our suffering, and to mortify our sins: just as death followed upon your Passion, so you merited for us that from our mortifications, there should follow the death of our sins and victory over our passions.

Invariably what inspires wonder, with its power of amazing us, always prevails over what is merely convincing and pleasing. For our persuasions are usually under our own control, while these things exercise an irresistible power and mastery, and get the better of every listener. There is need here of sublime discernment [sublimi hic intelligentia opus est]. This crying out belongs to Mary, this labor, this travailing in birth, but neither in her conception nor gestation [of Jesus], or in her delivery [of him]; seek not to find these things in Mary, in whom none is to be found. The Church, and through her, Mary.

But where? For Lucifer, in striving against truth and God, strives against Christ, against his mother, against the Church. The difference between His essence and His attributes is like 25 the difference between existence and the essence of the entities that possess essence meaning that the attributes are the detailed level of the Essence, in 26 the manner that essence in contingent entities is the speicification and the 27 definition of the degree of essence of the entity save the fact that the Necessary 28 Being has no quiddity for He is sheer I-ness Anniyah from whose begin- 29 ningless sources have sprung the rest of the I-ness Anniyyat and existents.

Ashtiyani, 35 Mashad, , pp. VI, pg. Henceforth God in Greek and Islamic Philosophy. Abdurrahman Badawi, Cairo, , pg. Recently in the past few 24 years, another text was gradually introduced to teach students of Islamic philosophy, i. This 27 texts has also been translated into English by two students of the Ayatullah 28 and published as Philosophical Instructions, An Introduction to contemporary Islamic Philosophy, trans.

Damad, pg. Man as the microcosm contains within him all the macrocosm and thus the divine names. It is only if man realizes his potential that he will 21 achieve this station of the perfect man. The perfect 25 equilibrium of the names is actualized by the perfect assumption of every 26 trait in the form of which human beings are created i.

Thus comprehend from that 23 and become a practitioner in this epistle, so that it becomes apparent 24 for you the true state! Related Papers. By Muhammad U Faruque.

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