The standard interpretation of the biblical idea of the image of the God in Genesis (Gen 1:26 ff.), so called ontic interpretation, which sees in Him a religious basis for the metaphysical dogma of the creation of a man as a spiritual-corporeal being, is detached from its biblical meaning. For the biblical authors, the primary issue is not the question what kind of the human being was called by the God from nothingness into being, but that when the human being receives the status of the image and character of the God in the existential dimension. John the Baptist reached the status of the image of God at the time when he became the Anthropos (John 1:6). In turn, Paul, by the moving of the idea of the image of Jesus as a man at the turning point of the process of salvation (Romans 8:29), created the foundation for the study of triple-imaging of the God as in Jesus, as well as in initiated.
In Psalm 103, God is portrayed as full of mercy, slow to anger. The author asks himself: how can one conciliate the picture of God who in His mercy heals the sinner with the image of God who is angry. The author analyzes several ways in which God's mercy is revealed in relation to the sinner and various forms of sin. Mercy means God's way of leading man away from evil, from the sin of pride, and particularly idolatry. Sins, which destroy man and tear him away from God arouse anger in God. The autbor proves that God, in showing mercy to man who realizes the effects of his sins and calls to Him, removes in this way the cause o f His anger. There are two images of God in Psalm 103 and in other Old Testament texts which are not in contradiction: a God of mercy and a God of anger. However, they should be seen dynamically: anger invokes mercy, which is always possible then, when man turns to God, who is God of the Covenant.
The article presents the linguistic creation of God in the play Raj (“Paradise”) written by Jacek Kaczmarski and is based on the method used in research into linguistic creation of worlds in literary texts. The analysis of the excerpted material was to show in which way Kaczmarski presented God and whether his creation was in accordance with the stereotypical concept of the Supreme Being. Stereotypical conceptualisations of God has been identified: King and Judge. The God created by Kaczmarski is perfect. However, he is deprived of other features that are ste-reotypically attributed to him: goodness, love, essential identity and eternity. During the Final Judgement the heartless God deprived of any pity for people becomes an indicter of the human being. Consequently, he becomes alonely God, condemned to perpetual solitude. Such an image of God created by Kaczmarski results from his concept of totalitarian power. In this context the image of alonely God, aware of his failure, is supposed to give hope that better times will come.
PL
Celem artykułu jest ukazanie językowej kreacji Boga w spektaklu Raj Jacka Kaczmarskiego. Wykorzystano w nim metodologię związaną z badaniem językowej kreacji świata w tekstach literackich. Analiza materiału wyekscerpowanego z utworów miała pokazać, w jaki sposób Kaczmarski ukazuje Boga i czy Jego kreacja jest zgodna z ogólnie przyjętym pojmowaniem Istoty Najwyższej. Wyodrębniono stereotypowe konceptualizacje Boga: Króla, Sędziego. Boga wykreowanego przez Kaczmarskiego cechuje doskonałość i stwórczość. Pozbawiony jest natomiast innych cech zwyczajowo mu przypisywanych: dobroci, miłości, istotowej odrębności i wieczności. Podczas Sądu Ostatecznego bezduszny Bóg, pozbawiony miłości do ludzi, staje się Wielkim Oskarżycielem człowieka. W konsekwencji staje się Bogiem samotnym, skazanym na dożywotnią samotność. Taka kreacja Boga u Kaczmarskiego wiąże się z jego koncepcją władzy totalitarnej. W tym kontekście obraz Boga samotnego, świadomego swojej porażki, ma dać nadzieję odbiorcom na nadejście nowych, lepszych czasów.
The aim of this study is to present the expressions referring to God the Father in the religious poems of Konstancja Benisławska. Pieśni sobie śpiewane (Eng. Songs sung for oneself) published during the Enlightenment (1776) contain many structures showing how the poet perceived God. Characteristic combinations indicate his goodness and power: our father, our only father, our gracious father, our almightily father, our wonderful father, nice and good father. [Ojciec nasz, Ojciec jedyny, Ojciec łaskawy, Ojciec wszechmogący, Ojciec przedziwny, Ojciec miły i Ojciec dobry]. There are also anthropomorphic elements (father’s hand, father’s face [ręka Ojca, twarz Ojca ]) and an expression associated with the dogma of the Trinity which corroborate an opinion that God the Father is a person of the Trinity.
PL
Celem pracy jest przedstawienie określeń odnoszących się do Boga Ojca w wierszach religijnych Konstancji Benisławskiej. Pieśni sobie śpiewane opublikowane w oświeceniu (1776 r.) zawierają wiele struktur wskazujących na to, jak poetka wyobraża sobie Boga. Charakterystyczne połączenia wskazują na jego dobroć i potęgę: Ojciec nasz, Ojciec jedyny, Ojciec łaskawy, Ojciec wszechmogący, Ojciec przedziwny, Ojciec miły i Ojciec dobry. Obecne są też elementy antropomorficzne (ręka Ojca, twarz Ojca), a także wyrażenie związane z dogmatem trynitarnym przekonują, że Bóg Ojciec jest osobą Trójcy Świętej.
The paper concentrates around three religious and theological problems which occur in Is 1-39, i.e. the conception of God, the relation between Israel and Jahve, and the idea of the future regeneration. The source of Isaiah’s conception of God is the prophet's experience of the existence and salvatory will of Jahve within the frameworks of the prophetic revelation. The most important attributes of Jahve's will are: holiness, royal dignity and undivided sovereignty over the world. Israel appears in Is as a nation particularly linked with God. This relation has its roots in the calling of Abraham. The basic value for the nation is the Law by means of which God grants justice and law and order. Hence the prophet reprobates and reprimands Israel for trespassing the Law both in the religious and social sphere, and he calls on to them to repent and entirely stand for Jahve. The foundation of a multi-faceted regeneration which is going to take place is, according to Isaiah, the hitherto promisses and institutions made by God. Salvatory expectation is linked especially with Zion and the royal branch of David. The ideal Descendant of David as a future salvatory figure bears the characteristics which may later be termed as „messianic”.
The First Book of Maccabees – although belongs to the historical books of the Old Testament – also has an important theological value. The issue ofthe image of God, outlined in this article, is one out of the many theological themes presented in that work. This image – as it is clear from the analysis of the text of 1 Macc – was presented by the biblical author in the context of historical events which constituted, for the hagiographer, the space of God’s activity, through which God let Himself known. The featured image of God is undoubtedly an expression of faith of the hagiographer and of the community to which he belonged. This is evidenced by terms referring to God (Heaven, He, You etc.), which very strongly emphasize His transcendence. As it is clear from the analysis of texts, the biblical author explicitly referred to the entire theological tradition of the Old Testament and therefore presented God, who helped Israel in the whole history, also in Hellenistic times as punishing for unrighteousness, listening to prayers, supporting and saving His people from its enemies, as well as taking vengeance on them.
The lecture deals with the peculiarity of the anthropology of Eastern Christians, which in broad outline is already present in the writings of many Greek Fathers. It consists especially in considering state of divine grace as divinisation (théôsis) of man. Its other distinctive features are real diff erence between image and likeness of God and threefold composition of man, according to Platonic expression of saint Paul: „your spirit and soul and body” (1 Thess 5, 23). Because Greek anthropology basicly agrees with Latine doctrine and in the new orthodox theology it obtains more and more attention, it seems that exchange of ideas in this field between Western and Eastern theologians is advisable, also in order to facilitate their dialogue on the main subjects.
W praktyce duszpasterskiej i ewangelizacyjnej Kościoła często pojawia się kwestia tak zwanego obrazu Boga. Chodzi o przekonania i wyobrażenia o Bogu, jakie nosi w swoim sercu człowiek wierzący. Kwestia obrazu Boga jest na tyle kluczowa, że warto przyjrzeć się jej z perspektywy teologicznej. Dla teologii chrześcijańskiej nie ma innego kryterium oceny wszelkich wyobrażeń na temat Boga, jak tylko samo Boże objawienie. Ostatecznym kluczem odczytywania prawdziwości obrazów Boga jest objawienie w Chrystusie, nazywane przez Paula Tillicha objawieniem fi nalnym. Według Tillicha objawienie to ma moc osądzania i oczyszczania wszelkich doświadczeń religijnych. O ile każdy człowiek ma swoją własną, niepowtarzalną relację z Bogiem, o tyle nie może być innego obrazu Boga niż ten objawiony w Synu – obraz miłości umierającej dla ludzi.
EN
The problem of the so-called “view of God” is more and more popular in pastoral practice, as well as in evangelization. The term “view of God” refers to images and conceptions, which occurs in the heart of every believer. This topic is so vital that it is defi nitely worth theological refl ection. For the Christian theology, there is only one criterion of all views of God, which is Revelation of God. Revelation in Christ, called by Tillich the fi nal revelation, is an ultimate key to judge all conceptions about God. According to Tillich, this revelation can also judge and purge all religious experiences
It is often said today that the current religious crisis is caused by a false image of God. The question therefore is how is He to be presented, so that with all the limitations of the human intellect and language in the face of the apophatic character of the Divine Majesty, God will be expressed in a way that will be the least “detrimental” to Him (and also to man)? It seems that the Egyptian Desert Fathers may be qualified teachers, even masters in this matter, not only, because the “semblance of God” was an issue that greatly engaged their community which had to deal with the heresy of anthropomorphism, but even more so, because as men of deep faith and prayer, often great mystics, they had an experience of God and so they continue to be for us unrivalled “experts” in this field. Analysing therefore their teaching on the image of God contained in the Apophthegmata of the Desert Fathers, we have arrived at the following conclusions. The Desert Fathers were fully aware how important the image of God is in the process of faith, knowing that a false image may lead not only to personal tragedies, but even to social unrest, and that it always leads to an atrophy of prayer and is an obstacle on the way to perfection. In spite of this, even though the word “God” appears in the Apophthegmata very often, the search for some uniform image of God and even clauses of the type: “God is…” that are extremely rare, would be in vain. What could be the reasons for the “silence” of the Desert Fathers in this matter? In our view, first of all the fundamental reason was their humility and the fact that they did not see themselves as teachers of others, and second, their suspicion as to their own visions that could in fact hide the ruses of Satan. However, the most important reason for the “omission” of the image of God in the Apopthegmata is, in our view, Eastern spirituality which treated every endeavour to define God and to demonstrate His image as an attempt to limit His divine nature. The ineffable and infinite God in the understanding of the Desert Fathers was also a God who is unique and unspeakable, to such an extent that each individual has to arrive alone, in his own heart, as far as this is possible, at His true image. Thus, in the Apophthegmata we do not find univocal statements declaring what is the true image of God, and the only thing that the Desert Fathers have conveyed to us is that approaching God is something of a process, at the beginning of which, yes certainly, some even infantile imagination of God may be admissible (hence a “leniency” towards anthropomorphism), but then it has to be subjected to a progressive purification, in the knowledge that “that which is perfect will come later”. This will come, not so much as a result of hearing about God or the acquisition of knowledge about Him, but through the practice of prayer, pe-nance and almsgiving.
The problem of the so-called “view of God” is more and more popular in pastoral practice, as well as in evangelization. The term “view of God” refers to images and conceptions, which occurs in the heart of every believer. This topic is so vital that it is definitely worth theological reflection. For the Christian theology, there is only one criterion of all views of God, which is Revelation of God. Revelation in Christ, called by Tillich the final revelation, is an ultimate key to judge all conceptions about God. According to Tillich, this revelation can also judge and purge all religious experiences. It is true that every human being has his own relationship with God, but it is also true that the only one real view of God is that revealed by God himself in his Son. This view is a view of Love dying for the salvation of people.
PL
W praktyce duszpasterskiej i ewangelizacyjnej Kościoła często pojawia się kwestia tak zwanego obrazu Boga. Chodzi o przekonania i wyobrażenia o Bogu, jakie nosi w swoim sercu człowiek wierzący. Kwestia obrazu Boga jest na tyle kluczowa, że warto przyjrzeć się jej z perspektywy teologicznej. Dla teologii chrześcijańskiej nie ma innego kryterium oceny wszelkich wyobrażeń na temat Boga, jak tylko samo Boże objawienie. Ostatecznym kluczem odczytywania prawdziwości obrazów Boga jest objawienie w Chrystusie, nazywane przez Paula Tillicha objawieniem finalnym. Według Tillicha objawienie to ma moc osądzania i oczyszczania wszelkich doświadczeń religijnych. O ile każdy człowiek ma swoją własną, niepowtarzalną relację z Bogiem, o tyle nie może być innego obrazu Boga niż ten objawiony w Synu – obraz miłości umierającej dla ludzi.
The lion is known as the “king of beasts”. Its physical appearance, its strength, dignified movements and fierceness in killing have all left a deep impression upon the human mind. Not surprisingly, lions are mentioned in the Bible for their might (2Sam 1:23), boldness (2Sam 17:10), ferocity (Ps 7:2) and craftiness (Ps 10:9). Biblical leonine references occur in both literal and metaphorical usage. A “king of beasts”-type image is very often used to describe YHWH and His power, especially in the Prophets (Isa 5:29; 31:4; 38:13; Jer 25:38; 49:18-19; Hos 5:14; 13:7). Additionally, there are six mentions of the lion in the Book of Amos (Amos 1:2; 3:4,8,12; 5:19). There the prophet compares God to a lion, a word-picture which allows him to convey two core themes: First, the image serves to elucidate the relationship between God and the prophet – YHWH and His messenger. Amos achieves this through the metaphor of hearing the roar of the lion, an image of God’s voice, which in reality is heard by all people (Amos 1:2). Secondly, Amos heralds the coming punishment and its terror. God himself has spoken, and thus the prophet speaks (Amos 3:8). The key message of this second lion image in Amos is the inevitability of God’s punishment: in the same way that a lion devours its prey, YHWH will punish the crimes of Israel, and the Israelites will not be able to run from Him (Amos 3:4,12; 5:19).
PL
Lew jest nazywany królem zwierząt. Jego wygląd, dostojne ruchy i gwałtowność w zabijaniu pozostawiły głębokie ślady w ludzkim umyśle. Lwy występują także w Starym Testamencie, gdzie m.in. są wspominane ze względu na ich siłę (2 Sm 1,23), śmiałość (2 Sm 17,10), drapieżność (Ps 7,2) czy zwinność (Ps 10,9). Pojawiają się one zarówno w dosłownym, jak i metaforycznym sensie. „Król zwierząt” jest także bardzo często przywoływany dla opisania YHWH i Jego potęgi. Jest szczególnie obecny w księgach prorockich (Iz 5,29; 31,4; 38,13; Jr 25,38; 49,18-19; Oz 5,14; 13,7; Lm 3,10-11). W Księdze Amosa jest sześć wzmianek o tym drapieżnym zwierzęciu (Am 1,2; 3,4.8.12; 5,19). Prorok porównuje Boga do lwa i ta metafora pozwala mu przekazać następujące przesłanie: (1) relację pomiędzy Bogiem i prorokiem, (2) zapowiedź kary i jej grozę. Bóg przemówił, i dlatego prorok mówi (Am 3,8). Stąd pierwsze znaczenie obrazu, w którym pojawia się lew, dotyczy Boga i proroka – YHWH i Jego posłańca (rzecznika). Amos używa metafory ryku lwa, aby zobrazować Boży głos, który dociera do wszystkich ludzi (Am 1,2). Drugim przesłaniem jest nieuniknioność Bożej kary – w taki sam sposób jak lew pożera swoją ofiarę, YHWH ukarze zbrodnie Izraela, a Izraelici nie będą w stanie uciec (Am 3,4.12; 5,19).
Wielu autorów zajmujących się egzystencjalną sytuacją człowieka odwoływało się do postaw „być” i „mieć” (np. G. Marcel, E. Mounier, Jan Paweł II, E. Fromm). Bronisław Grulkowski (1995, 2000, 2007) skonstruował oryginalną psychologiczną Skalę Postaw Być i Mieć (SPBiM). Prezentowane badania przeprowadzono wśród narzeczonych przygotowujących się do zawarcia sakramentu małżeństwa oraz osób żyjących w konkubinatach. Za pomocą skali SPBiM wydzielono grupy osób o postawach skrajnych pod względem postaw „być” i „mieć”. Przeanalizowane zostały różnice postaw i wypowiedzi na temat narzeczeństwa, małżeństwa, rodziny oraz trudności i kryzysów, które mogą dotykać współczesne małżeństwa i rodziny. Zaprezentowana analiza potwierdza słuszność wysuniętych wcześniej hipotez, że badani o postawach „być” mają bardziej pozytywny obraz Boga i dojrzalszą religijność, bardziej doceniają znaczenie miłości do współmałżonka, a także bardziej akceptują naukę katolicką na temat małżeństwa i rodziny.
EN
Many authors dealing with the existential situation of a man have referred to the attitudes ‘to be’ and ‘to have’ (i.e. G. Marcel, E. Mounier, John Paul II, E. Fromm). Bronisław Grulkowski (1995, 2000, 2007) built an original psychological Scale of To Be and To Have Attitudes (SPBiM). The research described was done among the fiancées preparing for the sacrament of marriage and the couples who cohabit. With the use of the SPBiM scale, groups of people with extreme attitudes towards ‘to be’ and ‘to have’ were distinguished. The analysis comprised the differences of attitudes and opinions on engagement period, marriage, family, problems and crises which may concern contemporary couples and families. The conclusions confirm the earlier hypotheses that the examined with ‘to be’ attitudes have a more positive picture of God and more mature religiousness. They appreciate the meaning of love for the spouse more and they accept the Catholic teaching on marriage and family to a greater extent.
Gisbert Greshake distinguishes between “Theology of the Trinity” and “Trinitarian theology”. The first designates a theological treatise among others, the second points to a trinitarian vision of all reality. The aim of this paper is to verify the renewal experienced by theological reflection on the Trinitarian mystery of God, trying to check if an authentic “Trinitarian theology” exists in the sense in which Greshake understands it. The path we have chosen consists of approaching four fields of reflection: anthropology, theology of the family, reflection on the Church and social doctrine. For each of them, we try to expose to what extent Trinitarian theology has been a renewal factor. We focus especially on ecclesiology, an area in which the influence of the Trinity has been most decisive. In particular, we look at the Trinity as the origin of the Church, as an inspiration to the institutional configuration of the Church, and as the eschatological destination to which the Churchis heading
In the writings of St. Augustine, the Latin word cor occurs more than8,000 times, being one of the most important, though ambiguous, terms ofhis anthropology and spirituality. As a synonym for the inner man (homointerior) it encompasses the whole life: affective, intellectual, moral andreligious. In this sense, it is the privileged place for a personal encounterwith God.Analysis of Augustine’s writings reveals a link between the concept ofthe Trinity and indications concerning the spiritual life of man. Reflectionson the “heart” can be put into a kind of triptych: creation “in the imageof God”, enlightenment by Christ, and expansion by the Holy Spirit. Theimpact of God on the human heart should find their completion in a voluntarilyadopted attitude of adoration, humility and love.
The article takes the issue of the image of God in the perspective of the relationships between faith and science. The structure of the article determines the three kinds of relationships between them. The first two are relations of conflict resulting on the one hand from the supremacy of faith over science, on the other - the reduction of faith by science. The third group of relations is the positions of dialogue and integration. Each relationship casts on the image of God. The consequence of the supremacy of faith over the science is the understanding of God as a distant, unknownable, inaccessible to man, and on the other as a tyrant who does not respect the autonomy, freedom and dignity of his creation. In the reduction of faith by science the image of God is twofold. On the one hand, God is reduced to the role of physics premise and assumption of the mechanics of the universe or to the Newtonian Watchmaker, and on the other is by science rejected as an unnecessary assumption. These claims of science are, however, included in the materialistic and atheistical position and going beyond their competences. The positions of dialogue and integration show that not only is no conflict between faith and science, but also that the results of science are the basis for a credible understanding of God’s image, which is consistent with his biblical image.
The current elaboration concerns the literary, exegetical and theological analysis of the second song of the Suffering Servant of the Lord. Following a general introduction to the themes of the song, and subsequent literary characterisation Is 49,1-13, the text was subjected to exegetic analysis. Finally, a theological message is exposed. Is 49,1-13 draws a comprehensive image of the Lord. He is pictured as a mighty warrior, who appoints his Servant to carry the fighting and administer justice. God is a Holy Redeemer and Comforter, who embraces the whole earth with His salvation, and particularly those who need it the most. The image of the Servant of the Lord is no less rich. His personage comprises of qualities of the Israel, as well as historical figures; however, He cannot be identified with them fully. The best qualities of the great figures of the history of Israel were the material from which the song’s author painted the image of the Lord’s Servant. The Servant focused the hopeful expectations of the Abraham’s descendants. After all, since the dawn of time, the Lord was announcing the alteration of the man’s life predicament. The alteration was to be made by the figure who we call the Messiah.
W artykule przedstawiono podstawy teo-logii Guardiniego. Chodzi tu o wąski zakres teo-logii wywodzący się wprost z etymologii. Podstawy „słowa o Bogu” profesora z Monachium zawierają się w twórczym napięciu wyrażonym w słowach „Bóg daleki – Bóg bliski”. Bóg, nie przestając być Bogiem nieznanym, całkowicie Innym, poza „granicą”, jest jednocześnie Bogiem bliskim – w objawione tajemnicy stworzenia na obraz i podobieństwo Boże, w relacji „ja – Ty” do której zaprasza oraz w tajemnicy opatrzności. Kulminacją bliskości Boga jest wcielenie, dzięki któremu możemy mówić o „ludzkim” Bogu i możemy Go „zobaczyć”. Podsumowaniem jest prezentacja Bożych paradoksów oscylujących między biegunami bliskości i oddalenia
EN
Romano Guardini, one of the greatest theologians of the 20th century, can be called a ‘man of borders’. Guardini was born in Italy but lived in Germany. He was an educated theologian and philosopher, with a passion for knowledge of literature, art, psychology and pedagogy. Being a ‘man of borders’ has resulted in a comprehensive and wide-eyed glance at God, world, man, and their reciprocal relation to life, which has contributed to the development of deep religious culture of his lifetime. This article attempts to present the basics of Guardini’s theology. Precisely, it concerns a narrow range of theology derived directly from etymology. The foundations of the Munich Professor’s theology about the ‘word about God’ lie in the creative tension expressed in the words ‘Close God – Remote God’. Being the God that can be defined as unknown, completely different, outside the ‘boundary’, God is also at the same time a close God – in the revealed mystery of creation, in the image and likeness of God, in the relationship ‘me – You’ to which He invites. Also in the mystery of Providence. The culmination of God’s closeness is the Incarnation, thanks to which we can speak of a ‘human’ God whom we can ‘see’. The summary of the article constitutes a presentation of God’s paradoxes oscillating between the poles of proximity and distance.
Prezentowany artykuł jest raportem z empirycznych studiów dotyczących religijności słuchaczy studiów podyplomowych teologii, którzy przygotowują się do nauczania religii w szkołach i przedszkolach. Sformułowano następujący problem badawczy: czy słuchacze studiów podyplomowych teologii są osobami posiadającym kompetencje duchowe w aspekcie ich rozwoju religijnego i rozwoju wiary, tak aby mogli w przyszłości umiejętnie wspierać duchowo swoich uczniów? Czy są religijni i czy ich religijność posiada cechy dojrzałości? W celu weryfi kacji hipotezy badawczej wykorzystano następujące narzędzia diagnostyczne: ankietę do badania wymiarów religijności, Skalę Praktyk Religijnych (Chaim 1991), Skalę Tożsamości Religijnej A. Wieradzkiej-Pilarczyk (2015), Skalę Religijności Personalnej R. Jaworskiego (1989). Badania przeprowadzono w latach 2017-2019 wśród słuchaczy (N=62) Studiów Podyplomowych Teologiczno-Katechetycznych oraz Studiów Podyplomowych Katechezy Przedszkolnej na WT UAM w Poznaniu. Grupę porównawczą stanowili posiadający wyższe wykształcenie rodzice dzieci pierwszokomunijnych (N=145). Wszyscy badani byli wyznania rzymskokatolickiego. Uzyskane wyniki potwierdzają zasadność oczekiwania, że słuchaczy studiów podyplomowych teologii powinien charakteryzować wyższy poziom religijności. Zmienna niezależna, jaką jest podjęcie studiów podyplomowych teologii, łączy się w sposób istotny z wyższym niż u innych dorosłych katolików poziomem intensywności wyróżnionych zmiennych psychologicznych,takich jak: autodeklaracja wiary, obraz Boga, praktyki sakramentalne i religijne, zaangażowanie w życie wspólnoty kościelnej, tożsamość religijna oraz religijność personalna.
Romano Guardini, one of the greatest theologians of the 20th century, can be called a ‘man of borders’. Guardini was born in Italy but lived in Germany. He was an educated theologian and philosopher, with a passion for knowledge of literature, art, psychology and pedagogy. Being a ‘man of borders’ has resulted in a comprehensive and wide-eyed glance at God, world, man, and their reciprocal relation to life, which has contributed to the development of deep religious culture of his lifetime. This article attempts to present the basics of Guardini’s theology. Precisely, it concerns a narrow range of theology derived directly from etymology. The foundations of the Munich Professor’s theology about the ‘word about God’ lie in the creative tension expressed in the words ‘Close God – Remote God’. Being the God that can be defined as unknown, completely different, outside the ‘boundary’, God is also at the same time a close God – in the revealed mystery of creation, in the image and likeness of God, in the relationship ‘me – You’ to which He invites. Also in the mystery of Providence. The culmination of God’s closeness is the Incarnation, thanks to which we can speak of a ‘human’ God whom we can ‘see’. The summary of the article constitutes a presentation of God’s paradoxes oscillating between the poles of proximity and distance.
PL
W artykule przedstawiono podstawy teo-logii Guardiniego. Chodzi tu o wąski zakres teo-logii wywodzący się wprost z etymologii. Podstawy „słowa o Bogu” profesora z Monachium zawierają się w twórczym napięciu wyrażonym w słowach „Bóg daleki – Bóg bliski”. Bóg, nie przestając być Bogiem nieznanym, całkowicie Innym, poza „granicą”, jest jednocześnie Bogiem bliskim – w objawionej tajemnicy stworzenia na obraz i podobieństwo Boże, w relacji „ja – Ty”, do której zaprasza oraz w tajemnicy opatrzności. Kulminacją bliskości Boga jest wcielenie, dzięki któremu możemy mówić o „ludzkim” Bogu i możemy Go „zobaczyć”. Podsumowaniem jest prezentacja Bożych paradoksów oscylujących między biegunami bliskości i oddalenia.
Szkic stanowi próbę przedstawienia ewolucji obrazu Boga w poezji Zbigniewa Jankowskiego. W toku metamorfoz wizerunku Stwórcy daje się wyodrębnić trzy etapy: fazę Boga o kamiennym wnętrzu (prezentowaną w utworach z lat 1959–1966), fazę Boga wszelkich możliwości, wzlotów i upadków (prezentowaną w utworach z lat 1970–2000) oraz fazę Boga wiekuistego (prezentowaną w utworach z lat 2001–2014). W pierwszej części rozważań Bóg o kamiennym wnętrzu przedstawione zostały odczytania utworów pochodzących z czterech pierwszych tomów poetyckich, w których Bóg jawi się podmiotowi lirycznemu jako słaby, bezwzględny demiurg, twórca ludzkiego cierpienia. Kolejny fragment pracy Bóg wszelkich możliwości, wzlotów i upadków zawiera interpretacje wybranych wierszy z lat 1970–2000, w których wizerunek Boga ulega metamorfozie – podmiot liryczny postrzega Stwórcę jako miłosiernego ojca i wszechobecne uosobienie miłości. Natomiast ostatnia część opracowania Bóg wiekuisty, przywołując utwory z lat 2001–2014, pokazuje, że Najwyższy stał się synonimem wieczności, z którą scalenia pragnie podmiot liryczny. Całość wywodu została opatrzona dotyczącymi wiary i Boga wyznaniami Z. Jankowskiego znajdującymi się w jego autobiograficznych tekstach, które wzbogacają eksplikację o kontekst biograficzny. Paralela rozwoju obrazu Boga zarówno w poezji jak i prozie Jankowskiego pozwala wysnuć wniosek o integralności podmiotu lirycznego i narratora.
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This essay constitutes an attempt to show the evolution of the image of God in Zbigniew Jankowski’s poetry. One can identify three stages in the metamorphosis of the Creator’s image: the rock-solid God phase (presented in poems in the 1959–1966 period), the almighty God of ups and downs phase (presented in poems in the 1970–2000 period) and the eternal God phase (presented in poems in the 2001–2014 period). The initial section, The Rock-solid God, concentrates on poems from the first four poetry volumes, in which the God presents Himself to the lyrical I as a weak, ruthless demiurge, the creator of human suffering. The next part, The Almighty God of ups and downs, contains interpretations of selected poems created in the 1970–2000 period. In those poems the image of God has undergone a metamorphosis – the lyrical I perceives the Creator as a merciful father and an omnipresent personification of love. The last part, The Eternal God, based on the poems created in the 2001–2014 period, shows that the Sovereign has become synonymous with the eternity, which the lyrical I craves to be united with. The whole study has been complemented with the comments on faith and God made by the author himself in his autobiographical texts, which adds the biographical context to the explication. The parallel of the evolution of God’s image in both Jankowski’s poetry and prose may lead one to a conclusion that the lyrical I and the narrator are integrated.
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