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Front Cover: Surrexit Domine, page of Gregorian chants. Biblioteca Francescana, Assisi, Italy. Alfredo Dagli Orti / Art Resource, NY.
The musical aesthetic of Benedict’s theological anthropology begins to crystalize: choral music represents God and congregational music, man. The recapitulationary analogy does stop there, however, because congregational music can also represent God. But if congregational music represents God, what type of music represents man? Benedict’s answer is equally clear: it is not another type of music; it is listening. For Benedict active participation involves not just active singing, but active listening as well, not just to music but also to text, because liturgical listening and singing recapitulate the divine simplicity in which all men are intended and born to participate: “the conception of activity . . . the power of shared listening, shared wonder, the shared experience of being moved at a level deeper than words. At all events, one thing has become clear in recent years: the retreat into utility has not made the liturgy more open; it has only impoverished it. This is not the way to create the required simplicity.”
From “Anthropology, Theology, and the Simplicity of Benedict XVI’s Chant”

Logos: A Journal of Catholic Thought and Culture

In this Issue

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Anthropology, Theology, and the Simplicity of Benedict XVI’s Chant
Bennett Zon
pp. 15-40
DOI: https://doi.org/10.1353/log.2016.0004

Criticism and Contemplation: Steps toward an Agapeic Criticism
Michael Martin
pp. 41-56
DOI: https://doi.org/10.1353/log.2016.0006

Blessed Vladimir Ghika: Prince, Priest, and Martyr
Andrei Gotia
pp. 79-97
DOI: https://doi.org/10.1353/log.2016.0009

Sacramental Usury in The Merchant of Venice
Ken Colston
pp. 98-129
DOI: https://doi.org/10.1353/log.2016.0000

Eros and Contemplation: The Catholic Vision of Terrence Malick’s To the Wonder
Kathleen E. Urda
pp. 130-147
DOI: https://doi.org/10.1353/log.2016.0001

The Fundamental Starting Point of Transcultural Communication
František Burda
pp. 148-166
DOI: https://doi.org/10.1353/log.2016.0003

The Formal and Moral Challenges of T. S. Eliot’s Murder in the Cathedral
James Matthew Wilson
pp. 167-203
DOI: https://doi.org/10.1353/log.2016.0005

Preface
pp. 5-13
DOI: https://doi.org/10.1353/log.2016.0002

Contributor Notes
pp. 204-206
DOI: https://doi.org/10.1353/log.2016.0007

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