Project MUSE®: Logos: A Journal of Catholic Thought and Culture - Latest Articles
https://muse.jhu.edu/journal/120
Project MUSE®: Latest articles in Logos: A Journal of Catholic Thought and Culture.daily12026-05-14T00:00:00-05:00text/htmlen-USVol. 1 (1997) through current issueLatest Articles: Logos: A Journal of Catholic Thought and CultureTWOProject MUSE®Logos: A Journal of Catholic Thought and Culture1533-791X1091-6687Latest articles in Logos: A Journal of Catholic Thought and Culture. Feed provided by Project MUSE®Preface
https://muse.jhu.edu/article/987654
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the spring 2026 issue of logos begins and ends with the theme of the cemetery and its cultural and spiritual meanings, including its call to the virtue of hope. Our issue also features thoughtful explorations of Catholic art, specifically painting and fiction, and moves from there into philosophical investigations of, first, what must underlie any responsible artistic critique and, second, the role of Aristotelian intuition, its own kind of knowing, in our intellectual as well as our ordinary daily lives.Our first article, by Alan R. Perry, “Dante’s Purgatorial Trench Art: The German Military Cemetery at Cassino,” examines the German Military Cemetery at Caira, near Monte Cassino, through the lens of Dante’s
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/120/image/coversmallPreface2026-04-03text/htmlen-USPreface2026-04-032026TWOProject MUSE®132062026-05-14T00:00:00-05:002026-04-03Dante’s Purgatorial Trench Art: The German Military Cemetery at Cassino
https://muse.jhu.edu/article/987655
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the abbey of monte cassino is just beyond the line of sight from the very top of the German Military Cemetery at Caira, about four kilometers (2.5 miles) from one of Christendom’s most famous shrines and chief house of the Benedictine Order. During World War II, Allied bombardment and shelling infamously obliterated the ancient abbey in February 1944 (Figure 1). The destruction aimed to dislodge German defenders, mistakenly believed to occupy positions inside the abbey’s courtyard and residences, so that troops could strike north both to capture German armies and seize Rome. The brutal Battle of Monte Cassino lasted for five months, and many of those Wehrmacht soldiers who fell in the vicinity are buried here under
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/120/image/coversmallDante’s Purgatorial Trench Art: The German Military Cemetery at Cassino2026-04-03text/htmlen-USDante’s Purgatorial Trench Art: The German Military Cemetery at Cassino2026-04-032026TWOProject MUSE®936222026-05-14T00:00:00-05:002026-04-03Art, Faith, and Russia’s Soul: Mikhail Nesterov’s The Vision to the Youth Bartholomew
https://muse.jhu.edu/article/987656
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mikhail vasilevich nesterov (1862–1942) holds an important place in Russian art history as an artist who merged realism, symbolism, and religious themes in a deeply personal and reflective way. While many Russian painters of the late nineteenth century turned toward social critique or European modernism, Nesterov focused on spiritual longing and national identity.1 His most celebrated painting, The Vision to the Youth Bartholomew (1889–1890), captures a quiet yet profound moment of transformation,2 one that speaks not only to the life of a saint but to the soul of a country seeking stability, faith, and moral clarity. The painting illustrates a pivotal episode from the childhood of St. Sergius of Radonezh, one of
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/120/image/coversmallArt, Faith, and Russia’s Soul: Mikhail Nesterov’s The Vision to the Youth Bartholomew2026-04-03text/htmlen-USArt, Faith, and Russia’s Soul: Mikhail Nesterov’s The Vision to the Youth Bartholomew2026-04-032026TWOProject MUSE®784302026-05-14T00:00:00-05:002026-04-03The Porous Characters of Flannery O’Connor and the Buffered Characters of Walker Percy
https://muse.jhu.edu/article/987657
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flannery o’connor and walker percy were the two most notable Catholic writers of the American South in the second half of the twentieth century. Indeed, a case could be made for lifting the regional qualification. Yet seeing them in the frame of the region is helpful in a number of ways, one of which is using their work as a gauge for cultural change. Despite the fact that Percy was nine years her senior, O’Connor began to publish fiction a decade before Percy. The more rural and backward South that H. L. Mencken famously called “the Sahara of the Bozart” in 19171 was still recognizable in O’Connor’s work, and so far as setting goes, her milieu fit recognizably with that of Faulkner’s Yoknapatawpha County or even
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/120/image/coversmallThe Porous Characters of Flannery O’Connor and the Buffered Characters of Walker Percy2026-04-03text/htmlen-USThe Porous Characters of Flannery O’Connor and the Buffered Characters of Walker Percy2026-04-032026TWOProject MUSE®1046482026-05-14T00:00:00-05:002026-04-03Finnegans Wake and the Foenix Culprit: Here Comes Everybody’s Original Sin
https://muse.jhu.edu/article/987658
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alternately maddening and marvelous, the puns of James Joyce’s Finnegans Wake contain a playful retelling of the faith’s joyful core: “O foenix culprit!”1 The culprit? Protagonist Humphrey Chimpden Earwicker, known by his initials HCE, which also stand for “Here Comes Everybody.” HCE—a publican (pub owner) and sinner by trade—is introduced as an archetype: “An imposing everybody he always indeed looked, constantly the same as and equal to himself and magnificently well worthy of any and all such universalisation . . . from good start to happy finish the truly catholic assemblage gathered together.”2 HCE—everybody—is not so much guilty as charged as guilty regardless of the charges brought against him. Like the rest
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/120/image/coversmallFinnegans Wake and the Foenix Culprit: Here Comes Everybody’s Original Sin2026-04-03text/htmlen-USFinnegans Wake and the Foenix Culprit: Here Comes Everybody’s Original Sin2026-04-032026TWOProject MUSE®656292026-05-14T00:00:00-05:002026-04-03From Nowhere to Someone: Personalist Realism as an Alternative to Academic Critique
https://muse.jhu.edu/article/987659
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a certain critical consensus has been growing through the late twentieth and early twenty–first centuries that “critique”— the general model of and approach to academic analysis for literary and cultural studies in Western universities and academics—has run out of steam. Its postures of suspicion and negation, its various methods of interrogation and unmasking, and its general orientation toward deconstruction and subversion (as opposed to construction and position), have ceased to produce returns politically, intellectually, and ethically. Consequently, a crisis in the humanities has emerged (or reemerged), and the need has returned to justify what it is exactly that the humanities are for and what it is exactly
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/120/image/coversmallFrom Nowhere to Someone: Personalist Realism as an Alternative to Academic Critique2026-04-03text/htmlen-USFrom Nowhere to Someone: Personalist Realism as an Alternative to Academic Critique2026-04-032026TWOProject MUSE®782962026-05-14T00:00:00-05:002026-04-03The Divine Gaze: Aristotelian “Intuition” and the Gift of Understanding
https://muse.jhu.edu/article/987660
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the writer luke burgis observed: “a child doesn’t learn metaphysics from textbooks; she learns it by looking into her father’s eyes during a thunderstorm.” Burgis continues:In that moment, she either understands that the world is dangerous, random and indifferent—or that it is wild yet trustworthy, shot through with purpose and order. If her father’s gaze is steady, his hand firm on her shoulder, the crash of thunder becomes an invitation to wonder rather than a signal to flee. If his eyes betray fear, the same flash of lightning brands the universe as hostile and capricious. Long before she masters grammar or geometry, the child has already drawn a first, indelible map of reality: one in which agency either
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/120/image/coversmallThe Divine Gaze: Aristotelian “Intuition” and the Gift of Understanding2026-04-03text/htmlen-USThe Divine Gaze: Aristotelian “Intuition” and the Gift of Understanding2026-04-032026TWOProject MUSE®500112026-05-14T00:00:00-05:002026-04-03“The City of the Dead”: Dante’s Cemetery of Dis and the Poetics of the Threshold
https://muse.jhu.edu/article/987661
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we often think of cemeteries and graves in terms of finality—the grave is our domus ultima, our “final resting place.” But the etymology of the word cemetery shows it was originally meant to suggest a sleeping place, a usage that survives when Jesus says of Lazarus, “Our friend Lazarus sleepeth; but I go that I may awaken him out of sleep” (Jn 11:11, KJV). The grave then can be understood as, on the one hand, the end of a person, or, on the other, as a site of transition. In the pagan world, the tomb is a monument to an irretrievable past. But for a Christian, the cemetery is a sleeping chamber (a dormitory, in the etymological sense of the word) oriented toward future awakening. Among the many heresies one
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/120/image/coversmall“The City of the Dead”: Dante’s Cemetery of Dis and the Poetics of the Threshold2026-04-03text/htmlen-US“The City of the Dead”: Dante’s Cemetery of Dis and the Poetics of the Threshold2026-04-032026TWOProject MUSE®387272026-05-14T00:00:00-05:002026-04-03