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Miejsce i rola kantyków w księdze Liturgii Godzin. Kwestie redakcyjne

100%
Stefański J.
Teologia Praktyczna
|
2015
|
issue 16
187-199
EN
The former Roman Breviary contained only canticles of the Old Testament (with the excep-tion of the Gospel Canticles), which occurred in a one week in laudes I and laudes II. This article describes several years of editorial work of the Study Group III Consilium, that led to its inclusion in the new book of the Liturgy of the Hours enlarged the amount of canticles of laudes and espe-cially, for the first time, in vespers and some feasts (canticles of the New Testament).
PL
  W przedsoborowym Breviarium Romanum, kantyki, czyli śpiewy, hymny zaczerpnięte ze Starego Testamentu, występowały wyłącznie w jutrzni (laudes). Psalmodia tejże godziny kanonicznej obejmowała cztery psalmy plus kantyk. Kantyk znajdował się zawsze na czwartym miejscu, czyli po trzech kolejnych psalmach następował kantyk, a potem na piątym miejscu ostatni z czterech psalmów. Psalmodia zaś była w układzie jednego tygodnia, natomiast laudes na każdy dzień były podwójne (I laudes oraz II laudes). Artykuł prezentuje problematykę rewizji kantyków Breviarium Romanum, która należała do kompetencji Grupy Studyjnej (Consilium) nr III De psalmis distribuendis.
2
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Poeta poranka i wieczoru. Hymny św. Ambrożego w Liturgii godzin

85%
Nocoń A.
Vox Patrum
|
2012
|
vol. 57
437-451
EN
Following the example of the Lord, who frequently sang hymns with his dis­ciples, and encouraged to sing by St Paul, the early Christians praised God in music and song. The first Latin hymns were composed by Hilary of Poitiers. Their metrical complexity and content discouraged their liturgical use by the Church. Thus, St. Ambrose of Milan is considered the first „official” Latin hymnodist. He composed several hymns, still used in the Liturgy of the Hours, which were mu­sicated by himself. These hymns come from the particular circumstances of the Arian controversy and derive, in the main, from the necessity of encouraging „or­thodox” Christians in their defence of the Basilica Porziana in Milan. They were designed to guide their prayer at different times of the day. The Author’s text-critical analysis of two of these hymns – Aeterne rerum conditor, sung at dawn (in gallicinium) and Deus, creator omnium, sung at dusk as the lamps were lit (ad horam incensi) – well testifies to the literary and pastoral genius of the Bishop of Milan as he transforms the complex theological reflection of his time into poetry and music, while not only retaining the integrity of the depth of that reflection but also enhancing its aesthetic profile by drawing on a repertoire of images based on the parallelism of cosmic reality and human reality. St Ambrose’s corpus of hymns, together with his prose works, was admired both by his contemporaries and by successive generations. They promoted the flowering of a merciful Chris­tocentricity which, according to the experts, is the most original and attractive feature of his poetry. As is clearly seen in the hymns received into the Divine Of­fice, Ambrose’s singular ability effectively to stimulate the soul to prayer through a powerful and insuperable lyrical inspiration, is capable literally of transforming the daily hours into songs of praise, and explains Petrarch’s habit of rising during the night to sing hymns to the Lord.
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Invitatorium oraz Te Deum w księdze Liturgii godzin. Kwestie redakcyjne

80%
Stefański J.
Teologia Praktyczna
|
2016
|
issue 17
191-201
EN
The article presents the editorial work on the role and place of invitarorium and Te Deum in reformed Liturgy of the Hours in the post-conciliar period. It describes discussions and proposed solutions. It indicates different types of argumentation and ways of understanding the meaning of these prayers in the breviary. It allows you to trace the organization of the team responsible for the editorial staff and consultors. It presents the final results of the editing process and justifying of the decisions taken.
PL
Artykuł przedstawia prace redakcyjne nad rolą i miejscem invitarorium i Te Deum w reformowanej w okresie posoborowym Liturgii godzin. Opisuje przebieg dyskusji oraz proponowane rozwiązania. Wskazuje na różne rodzaje argumentacji i sposoby rozumienia znaczenia tych modlitw w brewiarzu. Pozwala na prześledzenie organizacji prac zespołu odpowiedzialnego za redakcję oraz konsultorów i ekspertów. Prezentuje ostateczne wyniki procesu redakcyjnego i uzasadnienia podjętych decyzji.
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