Religión y creencias

COL. INSPIRACIÓN ÁNGELES . SABIDURÍA, INTROSPECCIÓN, GUÍA (ROSS, DAVID)

Ángeles del Antiguo y el Nuevo Testamento, del Islam y del protestantismo. Anécdotas rigurosas e imágenes que muestran la evolución histórica de la representación de los ángeles. Consejos y ejercicios que le ayudarán a desarrollar algunas de las virtudes de estos seres. Una obra con un texto muy ameno y, al mismo tiempo, poético. Además de resultar muy interesante, le mostrará toda la riqueza que encierra el mundo de los ángeles y le permitirá descubrirla gran diversidad que existe entre estos agentes del espíritu: en la primera parte se describen no sólo los ángeles del Antiguo Testamento, sino también los del islam, la cábala o los cósmicos. Asimismo, se trata de una obra en la que se ofrecen los más diversos consejos para alcanzar algunas de las cualidades descritas en estos seres, tales como la humildad, la serenidad o la compasión. Todo ello se acompaña de escogidas ilustraciones que trazan un recorrido por la representación pictórica de los ángeles a lo largo de la historia con obras de Giotto, Edward Burne-Jones, Delacroix o Zurbarán, entre otros. Paralelamente en el texto también se pueden leer significativas citas acerca de los ángeles de conocidos pensadores como santo Tomás, Rainer Maria Rilke o William Blake.

TRATADO SOBRE LOS SALMOS (1-100) [BPA ,112] (HILARIO DE POITIERS)

Hilario dedicó los últimos años de su vida entre 360 y 367 a componer el Tratado sobre los Salmos, su principal obra exegética: un comentario sistemático del texto sagrado del primero al último salmo, si bien hasta nosotros han llegado solo 51 piezas. Para Hilario los salmos deben interpretarse en clave cristocéntrica, con una dimensión antropológica. Todos se refieren a Cristo, quien en su Encarnación asumió la Humanidad entera con el fin de redimirla. Gracias a Él, todo hombre puede salvarse siempre que sea fiel a la ley impuesta por el Creador y elaborada en diferentes etapas: natural, mosaica, profética, cristiana. Esta última está expuesta en el evangelio y es administrada por la Iglesia. La amplitud del texto impone su división en varios volúmenes.

TIEMPO DE DIOS, TIEMPO DE LOS HOMBRES . CUADERNO BÍBLICO 187 (RAMOND , SOPHIE)

Volumen de los "Cuadernos bíblicos" con siete contribuciones que analizan el calendario y el culto, lo efímero y la eternidad, el comienzo y el fin, el tiempo de la creación, de la historia y de la lectura, el tiempo mesiánico, el tiempo favorable… Tiempo de Dios y tiempo de los hombres, del Antiguo y del Nuevo Testamento, se expresan y se articulan en numerosos aspectos, sin que ninguno de ellos agote su misterio.

NO ESTAS SOLO (BLANK, PETER)

Este libro tiene la intención de despertar la curiosidad y apoyar en la búsqueda de un buen director espiritual. Lo que se pretende es que estas páginas sirvieran, por sí mismas, de acompañante espiritual para muchos lectores y les ayudaran a convertir s

LA TIERRA ES MI CIELO (ZANGHÍ, GIUSEPPE MARIA)

Ahora el cielo lo puedo buscar en la tierra, lo infinito lo puedo encontrar en medio de los hombres, y puedo entrar en el misterio de Dios junto a mi prójimo, que es mi hermano. El pensamiento cristiano está intentando partir de la Trinidad, es decir, pensar trinitaria-mente después de siglos de pensar solo a partir de un Dios Uno. El asunto está en cómo aplicarlo. En este sentido el papa Francisco viene anunciando un nuevo paradigma cultu-ral que llama la mística del nosotros. Este pequeño volumen quiere ofrecer una primera reflexión y una propuesta de realiza-ción: el «castillo exterior». Giuseppe Maria Zanghì ha sabido extraer de su amplia mochila cultural, teológica y espi-ritual y también mística los fundamentos del símbolo del «castillo exterior» de Chiara Lubich, inseparablemente unido al del castillo interior de Teresa de Ávila, cual propuesta para poder ofrecer una elevada vida espiritual a las personas allí donde se encuentran, sin huir de su realidad.

LA BUENA NOTICIA DE JESU´S. A,B,C PACK (PAGOLA ELORZA, JOSÉ ANTONIO)

Este pack recúne los tres volúmenes dedicados a comentar brevemente los textos evangélicos que se leen en las comunidades cristianas sucesivamente en los ciclos A (Mateo), B (Marcos) y C (Lucas). El objetivo de José Antonio Pagola con esta serie es que los hombres y mujeres de nuestro tiempo conozcan un Jesús vivo y concreto, con un mensaje claro en sus labios: el amor inmenso de un Dios Padre que quiere una vida más digna y dichosa para todos. Sé que, para muchos, Jesús puede ser la mejor noticia.

GAUDÍ, ARCHITECT OF LA SAGRADA FAMÍLIA . A SHORT BIOGRAPHY (TARRAGONA CLARASÓ, JOSEP MARIA)

Anton Gaudí i Cornet (1852-1926) is the most popular architect in history. His architecture and plastic arts revolution laid the bases of the art of today and tomorrow. Gaudí?s work is a search for the perfection of art, for personal perfection and the perfection of human society. He expressed it thus: ?Doing a good job requires firstly, love, and then technique?. Gaudí was born in Catalonia on 25 June 1852. He was a sickly child, and this prevented him from attending school regularly while forcing him to spend long periods in the countryside. There he grasped the Mediterranean light and the images of nature, which he would always consider his great teacher. Furthermore, helping his father, a boilermaker, in the workshop, he learned the virtues of hard work and about the transformation of flat surfaces into volumes. This greatly facilitated the development of his spatial imagination. He completed his secondary school education at the Piarist School in Reus. During the Glorious Revolution of 1868, he moved to Barcelona to study architecture, his life?s passion. He was a bad student, but he spent hours looking at photographs of Oriental buildings and he frequented classes on philosophy, aesthetics, and history, along with concerts, classical and modern theatre, poetic readings, intellectual discussions, and visits to all the monuments and landscapes of Catalonia. Gaudí joined the Catalan Renaixença movement and would become one of its major figures. Gaudí was aware from a very young age of his role as an art genius, and knew his ideas were no repeat nor even mere continuation of what architects had done up to that point. The only thing that scared him was that no other architect had put them into practice previously, so he would have to be the first. He had studied and discovered the geometric and constructive laws of which nature ?the masterpiece of the Creator? is made and he aimed to produce his own art using those same models, i.e. not copy Creation, but follow its course, cooperate with the Creator. From there his words: ?Originality consists of returning to the origin?. Then he met Eusebi Güell, an important business entrepreneur with a great artistic sensitivity who understood Gaudí and became one of his best friends and his main lifelong client. Gaudí produced for Güell, among other design projects, the gates of Finca Güell, Palau Güell, the Quadra del Garraf winery, the Catllaràs Chalet and the two most creative works of his mature years: Park Güell and the Church of Colònia Güell. Gaudí attempted to get married on several occasions, but ultimately he never married. As a young man, he experienced at close quarters and studied in depth the problems of the working class, especially the pitiful living conditions of the proletariat. It was the time of the First International, with the socialist tendency of Marx and the anarchist trend of Bakunin. Gaudí was the architect of the worker?s cooperative La Obrera Mataronense, which advocated bringing together capital and work in a single element: the cooperativist worker. La Obrera Mataronense was the first factory in Catalonia and one of the first in the world to be owned by its workers. At the age of 31, in 1883, Gaudí was commissioned to continue with the building work on the barely commenced Sagrada Família. He transferred his office there and for forty-three years, until his death, devoted all his energy to developing, in the design of this basilica, his ideas on structure, form, and symbolism, merged into a synthesis of rational forms extracted from nature. Gaudí was friends with various clergymen who were innovative in their approach to society and to Church liturgy: the poet and priest Jacinto Verdaguer; Joan Baptista Grau i Vallespinós, Bishop of Astorga, who commissioned him with the Episcopal Palace; Enric d?Ossó, founder of the Teresians, who commissioned him with the order?s Central School; Pere Campins, Bishop of Mallorca, who commissioned him with the reform of the Cathedral, etc. Outstanding above all of them was his friendship with Josep Torras i Bages, Bishop of Vic, and Christian ideologue of the Renaixença in Catalonia. Gaudí combined his work on La Sagrada Família with other commissions, large and small, not just ecclesiastic design projects or work for Güell, but for other customers too. These included El Capricho, Casa Vicens, Casa Calvet, Casa Batlló, Bellesguard, and La Pedrera. His religiousness intensified progressively with the years. Thus, during Lent of 1894, at the age of 42, he went on a fast that was on the verge of killing him. In 1906, at the age of 54 years, he moved to live at Park Güell. Every morning he would leave his house and walk down to the parish church of Sant Joan de Gràcia to take part in the Eucharist and then continue on to the Sagrada Família. Every evening, when he finished work, he would visit the Church of Sant Felip Neri to practice his personal daily devotions. Convinced that without sacrifice no work can be successfully brought to fruition, he committed himself to a life of penitence and voluntary poverty. Gaudí had made clear his desire to die at a Christian charitable hospital, like any other poor person. God granted him his wish. On Monday 7 June 1926, he was hit by a tram. Since nobody recognised him and because he was humbly dressed, he was taken as a poor person to the Hospital de la Santa Creu. Three days later, surrounded by his friends, he uttered his final words: ?My God! My God!? His burial was a mass gathering, which accompanied the deceased from the hospital to the crypt of La Sagrada Família, where he is buried.

THE WORKS OF THOMAS SHEPARD (SHEPARD, THOMAS)

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NEW SAYINGS OF JESUS AND FRAGMENT OF A LOST GOSPEL FROM OXYRHYNCHUS (HUNT, ARTHUR SURRIDGE)

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

ESSAYS ON THE SACRED LANGUAGE, WRITINGS, AND RELIGION OF THE PARSEES (WEST, EDWARD WILLIAM/HAUG, MARTIN)

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.