Three medieval examples of “pure love”: The cathar heresy, Peter Abelard’s doctrine of the love of God and the “pure love” of Heloise

We focus on three medieval examples of pure love – the conception of love in the Cathar heresy, which is manifested in the legend of Tristan and Isolde, Peter Abelard’s doctrine of the love of God and the pure love of Heloise -, to show that there is a philosophical and theological conception of love. Allows us to draw a general conclusion: behind the myth of romantic love there is a secret that has to do with death. Since there is a close correlation between the way we understand human love and the way we understand man’s love for God, an error in the interpretation of the one inevitably leads to an erroneous interpretation of the other.

On intellectual desire according to Thomas Aquinas

The aim of this article is to offer a metaphysical analysis of the notion of intellectual desire in Thomas Aquinas. Intellectual desire is studied from its origin in the esse of the personal subject to its full development in the “love of friendship”. It is shown that the intellectual appetite consists of a singular faculty, that is, distinct from the intellect. In addition, the intellective desire is rooted, like the intellect, in the esse of the subject, of which it can be considered as an “expansion” or “distension”; it also examines the “relative” superiority of love in the interpersonal relationship; it is considered the radical ordering of intellectual desire to “happiness”, which is also, ultimately, an ordination to God; and finally, it is exposed that, from Aquinas’ point of view, man’s “happiness” is impossible without the “coming out of oneself” implied in the “love of friendship”.

El cant sagrat com a plenitud del llenguatge en Sant Tomàs d’Aquino

El presente artículo se propone interpretar el canto sagrado, siguiendo a Tomás de Aquino, como un “verbum cordis”. En primer lugar, se afirma que la experiencia mística, por su propia naturaleza, es manifestativa de sí misma en una “palabra interior” irreductible al lenguaje conceptual. En segundo lugar, se observa que el canto litúrgico está ordenado a expresar y a provocar esta experiencia. En tercer lugar, se comenta la definición tomista de canto sagrado. En cuarto lugar, se estudia el “jubilus” como un caso privilegiado en el que se revela la naturaleza de la alabanza cantada. Y por último se investiga la causa final del canto sagrado y de toda obra de arte