This book is essential reading for anyone interested in medieval thought, be they students of theology, philosophy or literature.

This book offers Hugh of Saint Victor’s early scholastic thoughts on sacrament in order to re-discover the pre-modern theological understanding of ontological signification. The Christian understanding of sacrament through the category of ‘signs’ results in a theology that inherently shares in the philosophical notion of semiotics. Yet, through the advent of post-structuralism, current sign-theory is effectively shaped by post-Kantian, ontological foundations. This can lead to misinterpretations of the sacramental theology that predates this intellectual turn. The book works within a context of Christological, realist mysticism. Such an approach allows mutually informing debates in semiotic development and studies on sacramental theology to sit side-by-side. In addition, as a work of ressourcement, influenced by the methodology and concerns of the historical, French Ressourcement, this study seeks to continue an engagement with some of the most promising sacramental positions that have emerged throughout twentieth-century theology, particularly with the revival of interest in Victorine theology. By providing an examination of sacramentality and theories of signification in the early scholastic theology of Hugh of Saint Victor, this book gives fresh impetus to the theology surrounding sacrament. As such, it will be of great interest to scholars of mysticism, theologians of sacrament, philosophical theologians, and philosophers of religion.

Here is the first volume in English which enables the reader to form a vivid impression of the great twelfth-century Paris master, Hugh of Saint-Victor. Among the classical authorities on the contemplative life in the Western world, no one has been accorded higher honor than Hugh. An extraordinary productive writer and teacher, Hugh's influence was felt throughout Europe during his own lifetime. He was the first great writer of dogmatics in the West. The greater part of this volume is devoted to substantial selections from Hugh's great works on the symbolism of Noah's Ark. In these works his aims as one skilled in critical explanation and as a theologian are constantly implicit. The charming later group of works on charity is represented by the first English version of a short piece, On the Nature of Love. From Hugh's unfinished commentary on Ecclesiastes, there is a short passage, The Soul's Three Ways of Seeing. In his full and concise introduction Aelred Squire discusses the more recent studies of the many biographical and literary problems of Hugh's career. He shows the close unity of Hugh's thought by examining his spiritual teaching in its wider theological context.

Born in Saxony in 1096, Hugh became an Augustinian monk and in 1115 moved to the monastery of Saint Victor, Paris, where he spent the remainder of his life, eventually becoming the head of the school there. His writings cover the whole range of arts and sacred science taught in his day. Paul Rorem offers a basic introduction to Hugh's theology, through a comprehensive survey of his works. He argues that Hugh is best understood as a teacher of theology, and that his numerous and varied writings are best appreciated as a comprehensive pedagogical program of theological education and spiritual formation. Drawing his evidence not only from Hugh's own descriptions of his work but from the earliest manuscript traditions of his writings, Rorem organizes and presents his corpus within a tri-part framework. Upon a foundation of training in the liberal arts and history, a structure of doctrine is built up, which is finally adorned with moral formation. Within this scheme of organization, Rorem treats each of Hugh's major works (and many minor ones) in its appropriate place, orienting the reader briefly yet accurately to its contents, as well as its location in Hugh's overarching program of theological pedagogy.

In this book, Conrad Rudolph studies and reconstructs Hugh of St. Victor's forty-two-page written work, The Mystic Ark, which describes the medieval painting of the same name. In medieval written sources, works of art are not often referred to, let alone described in any detail. Almost completely ignored by art historians because of the immense difficulty of its text, Hugh of Saint Victor's Mystic Ark (c. 1125-1130) is among the most unusual sources we have for an understanding of medieval artistic culture. Depicting all time, all space, all matter, all human history, and all spiritual striving, this highly polemical painting deals with a series of cultural issues crucial in the education of society's elite during one of the great periods of intellectual change in Western history.

Bringing together the research of several eminent scholars, A Companion to the Abbey of Saint Victor in Paris seeks to provide a deep introduction to the significance, scope, and reach of the abbey’s influence in the twelfth century and beyond. Sixteen chapters introduce the history of the abbey from its beginnings through the reception of its major writings. Chapters are grouped in the areas of the life and ministry of Victorine canons, the abbey’s contributions to biblical exegesis, sacramental and theological teachings, and the Victorine understanding of Christian life and prayer. Such a thorough introduction to the Abbey of Saint Victor has never before been published. Contributors are: David Albertson, Rainer Berndt, Boyd Taylor Coolman, Marshall Crossnoe, Torsten K. Edstam, Christopher P. Evans, Margot E. Fassler, Hugh Feiss, Karin Ganss, Franklin T. Harkins, Donna R. Hawk-Reinhard, C. Stephen Jaeger, Juliet Mousseau, Dominique Poirel, Patrice Sicard, and Frans van Liere.

A dialogue between a man and his soul to discern true love of self and love of God. -- Introduction (page 11).

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