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The great Franciscan theologian St. Bonaventure (c.1217-74) engaged in philosophy as well as theology, and the relation between the two in Bonaventure's work has long been debated. Yet, few studies have been devoted to Bonaventure's thought as a whole. In this survey, Christopher M. Cullen reveals Bonaventure as a great synthesizer, whose system of thought bridged the gap between theology and philosophy. The book is organized according to the categories of Bonaventure's own classic text, De reductione artium ad theologiam. Cullen follows Bonaventure's own division of the branches of philosophy and theology, analyzing them as separate but related entities. He shows that Bonaventure was a scholastic, whose mysticism was grounded in systematic theological and philosophical reasoning. He presents a fresh and nuanced perspective on Bonaventure's debt to Augustine, while clarifying Aristotle's influence. Cullen also puts Bonaventure's ideas in context of his time and place, contributing significantly to our understanding of the medieval world. This accessible introduction provides a much-needed overview of Bonaventure's thought. Cullen offers a clear and rare reading of "Bonaventurianism" in and for itself, without the complications of critique and comparison. This book promises to become a standard text on Bonaventure, useful for students and scholars of philosophy, theology, medieval studies, and the history of Christianity.
In September, 1219, as the armies of the Fifth Crusade besieged the Egyptian city of Damietta, Francis of Assisi went to Egypt to preach to Sultan al-Malik al-Kâmil. Although we in fact know very little about this event, this has not prevented artists and writers from the thirteenth century to the twentieth, unencumbered by mere facts, from portraying Francis alternatively as a new apostle preaching to the infidels, a scholastic theologian proving the truth of Christianity, a champion of the crusading ideal, a naive and quixotic wanderer, a crazed religious fanatic, or a medieval Gandhi preaching peace, love, and understanding. Al-Kâmil, on the other hand, is variously presented as an enlightened pagan monarch hungry for evangelical teaching, a cruel oriental despot, or a worldly libertine. Saint Francis and the Sultan takes a detailed look at these richly varied artistic responses to this brief but highly symbolic meeting. Throwing into relief the changing fears and hopes that Muslim-Christian encounters have inspired in European artists and writers in the centuries since, it gives a uniquely broad but precise vision of the evolution of Western attitudes towards Islam and the Arab world over the last eight hundred years.
Emanating from the tradition of the Italian hermit communities the Franciscans developed organisational structures already early in their history, allowing them to offer pastoral care on a wide scale. This process of transition led firstly to constitutional structures as defined in the order's early legislation but it also occurred within relationship networks at different levels, in the context of Church and papacy, within the different European regions and before the background of the emerging Canon Law. The term "organisation" has been given a wide definition in the articles published in this volume. They offer a survey of general issues related to the structuring and running of religious orders as well as a number of case studies. Comparisons with other mendicant orders offer an analysis of the issues in a wider context.
Political strife and religious faction lacerated fourteenth-century Italy. Giotto's commissions are best understood against the background of this social turmoil. They reflected the demands of his patrons, the requirements of the Franciscan Order, and the restlessly inventive genius of the painter. Julian Gardner examines this important period of Giotto's path-breaking career through works originally created for Franciscan churches: Stigmatization of Saint Francis from San Francesco at Pisa, now in the Louvre, the Bardi Chapel cycle of the Life of St. Francis in Santa Croce at Florence, and the frescoes of the crossing vault above the tomb of Saint Francis in the Lower Church of San Francesco at Assisi.