Anthropogenic climate change challenges theology to inspire a reverence for the earth that is authentically Christian and resolutely modern, while at the same time recognizing that something has gone ecologically wrong in Christendom. Please join us for a lecture on this subject by Sean J. McGrath, Professor of Philosophy and Theology at Memorial University. Professor McGrath graduated from the University of St Michael’s College in 1999 with an MA in theology and finished his doctorate in philosophy at the University of Toronto (2002), serving as USMC Residence Don throughout that time. He is the author of several books in the philosophy of religion, most recently Thinking Nature: An Essay in Negative Ecology (Edinburgh University Press, 2019).
First Printed edition of the Summa
African Contextual Theology Roundtable, March 2017
Please join us on Thursday, March 22, for our third annual African contextual theology roundtable with Dr. Joseph Alozie.
Respondents include: Khwaka Kukubo, Anthony Ezeonwueme, and Jean Bertin St Louis, SJ
This round-table discussion will take place from 2-4pm in the Jay Boardroom, Toronto School of Theology Building (corner of Queen’s Park and St. Joseph Street).
No registration required. All are welcome to attend and participate!
Co-sponsored by the Toronto School of Theology
The latest work from our Artist in Residence, Br. Emmaus O’Herlihy, will be on exhibit at King’s University College at Western University (London, Ontario) from April 5-6, 2017.
Composed of two separate canvases, the Annunciation diptych will be displayed above two matching doorways in a Roman Catholic chapel in London, Ontario. This explains why both the gaze of the Virgin Mary and the angel Gabriel is directed downwards. The Virgin’s right hand is raised in a gesture of blessing intended for all who move below this image when entering or exiting through the doorway of the chapel. While the figure’s two hands and face compose the painting’s pyramidal composition, the energetic bright yellow paintwork surrounding the Virgin’s head, the most vivid colour in the work, draws the viewer’s attention. Clearly an adaptation of the more traditional circle of light (the halo, common in the iconography of many religions to represent a subject’s holiness), it is used here to accentuate Mary’s response to the angel in terms of her intelligence and willingness to accept God’s will for her (Lk.1:34, 38). At the same time it also alludes to the “tongues, as of fire” (Acts 2:3) that symbolize the transforming energy of the Holy Spirit’s actions. More often associated with depictions of the descent of the Holy Spirit upon the apostles and Mary at Pentecost in illuminations and sacred art (dating back as far back as the sixth century), this is an appropriate allusion in a work depicting Mary on the occasion of her Annunciation: It is on this day that she is celebrated as the one who will be overpowered by the Holy Spirit and bear the Son of the Most High (Lk.1:31).