Abelard


Also found in: Dictionary, Thesaurus.

Abelard

Peter. French name Pierre Abélard. 1079--1142, French scholastic philosopher and theologian whose works include Historia Calamitatum and Sic et Non (1121). His love for Hëloïse is recorded in their correspondence
References in periodicals archive ?
NCR: Abelard and Heloise have been depicted in literature many times, but the focus is often on their romance rather than their relationship with the church.
Mews and Neville Chiavaroli, found in Mews's The Lost Love Letters of Heloise and Abelard: Perceptions of Dialogue in Twelfth Century France (St Martin's Press, 1999).
Abelard makes readers question the wisdom of the world's expectations of conformity.
Long before his scandalous love affair with his young student Heloise, (a fine performance from Jo Herbert) herself no slouch when it came to philosophical debate, Abelard (the excellent David Sturzaker ) was already known throughout Europe for his debunking of phoney religious orthodoxy favouring in its place the radical logic found in Aristotle's Ethics and similar tracts.
A fine performance, too, from Sam Crane, playing Abelard's bitter rival Bernard of Clairvaux.
Abelard is already on thin ice with the church over his contentious views and when Heloise bears his child out of wedlock, their affair becomes the scandal of the age.
The other COC premieres include Mario and the Magician (1992, music by Harry Somers to a libretto by Rod Anderson), Heloise and Abelard (1973, Charles Wilson/Eugene Benson), The Luck of Grier Coffey (1967, Raymond Pannell/Ron Hambleton) and Louis Rid (1967, Somers/Mayor Moore in collaboration with Jacques Languirand).
Successive chapters treat Augustine, Boethius, Abelard, Gilbert of Poitiers, Peter Lombard, Bonaventure, Albert, Thomas Aquinas, Scotus, and Ockham, but only after reminding us of the need for precision in the use of prepositions (and the rules of operahon for logical sequencing that these undergird) as well as the formal definitions implied by the interplay of such terms as "universals," "accidents," "substances," and "individuals." Thom's own analytic framework provides a helpful point of comparison throughout.
Saint Bernard of Clairvaux, for example, severely criticized Abelard and other early scholastics, calling for traditional monastic learning: "Bernard's idea of knowledge," Hitchcock notes, "was as much personal and affective as intellectual."
Linking him to figures like Abelard (and Heloise), Tintoretto, and Andrew Marvell, Szentkuthy invests Casanova with a terrible grandeur, his austere indictment of sentimentality and the cult of reason flying in the face of the testimony of the Enlightenment.
Other romantic hot spots on the list include the self-explanatory Taj Mahal in Agra, India, Juliet's House in Verona, Italy, the Heart Reef on Australia's Great Barrier Reef, the tomb of medieval lovers Abelard and HeloE[macron]se in the Pere Lachaise Cemetery in Paris and the Alley of the Kiss in Guanajuato, Mexico.