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1

Mélancolie de la Beauté. L’hymne à Pulchritudo de saint Augustin

100%

Lequin Y.-M.

Rocznik Teologii Katolickiej

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2015

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vol. 14

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issue 1

EN

In Book X of his Confessions, Augustine calls God Pulchritudo, “Beauty”. This “Beauty” is invoked at a point in his book where we move from biographical elements to a series of philosophical and theological treatises on Creation and Time. Creatures possess beauty, only the Creator is beauty in himself, free of disharmony, and only He can grant access to His beauty. This irruption of Pulchritudo lighting up his memoirs gives Augustine’s life a new meaning. This is where he confesses his transgressions, through hymns of praise, and eventually through a life marked by the longing to eventually meet Beauty. There is great melancholy in the Confessions which the hymn to Pulchritudo gives both the tone and the key to understanding to.

2

Aldo Clementi musicus mathematicus

100%

Carapezza P. E.

Interdisciplinary Studies in Musicology

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2013

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issue 12

57-72

PL

Like that of Liszt and Stravinsky, the composers by whom he was attracted in his adolescence and early youth, Aldo dementi’s (Catania 1925-Rome 2011) musical production went through various phases, greatly changing on the surface and in appearance, though not in depth and substance. He himself suggests a division into five phases: 1. Preliminary (1944-1955), juvenile and apprenticeship works. 2. Structural (1956-1961). 3. Informal material (1961-1964). 4. Non-formal optical (1966-1970). 5. Polydiatonic (1970-2011): groups of letters indicating musical notes (for example: B-A-C H), or canti dati (modal or tonal - monodic or polyphonic - compositions of the western tradition, from the Stele of Sicilus to Stravinsky), but most often segments of melodic lines inferred from them. But - in the polyphonic counterpoint that derives from it - they are simultaneously intoned in the different voices in different tonalities: hence their superimposition restores the chromatic dodecaphonic total. Clementi himself proclaims the constitutional continuity of this development. The substance of his music consists in the direct transposition of a figurative project into a sonorous structure. Geometrie di musica: the title of the 2001 book by Gianluigi Mattietti refers first of all, as the subtitle says, to The diatonic period of Aldo Clementi, but it perfectly defines his whole musical production, all pervaded by dense polyphonic counterpoints. For Clementi construction is a goal, not a means to articulate discourse: indeed, he was even to do without discourse in his three central creative periods; and when in the fifth and latest one he has returned to it, he has enslaved it entirely to construction : he draws fragments from it, to be used as raw material, i.e. the diatonic subjects, of his dodecaphonic counterpoints. After the different phenomenology of the eruptions of sound matter of Varèse and Stravinsky, dementi’s music represents a further peak of pure construction in the sonorous space. His counterpoint however, like Webern’s, is limpid, subtly articulated, and dominated by reason: but here construction reigns supreme, and the composer in accordance with his requirements uses discursive melodic segments as raw material, as bricks (“modules” he says, and he describes them as mosaic tiles). “The idea of a construction achieved with the dovetailing of mirror-like images is also at the base of the figurative research of Escher, hinging on the concept of division of the plane, through repeated figures, mirror-like and congruent” (Mattietti). Indeed, dementi’s music is “disciplina quae de numeris loquitur” (discipline that speaks of numbers), according to the definition by Cassiodorus, rather than “scientia bene modulandi” (art of singing well), according to the definition by Augustine; and it is, more precisely, paraphrasing the famous definition by Leibniz, “exercitium arithmeticae manifestum coscientis se numerare animi” (evident arithmetical exercise of the mind aware of counting). Three compositions of dementi’s polydiatonic period are here thoroughly considered: two canons for string quartet, the very simple four-voiced Canone on a fragment by Platti (1997) and the very complex eight-voiced Tributo (1988) on “Happy birthday to you!”; and a de-collage, Blues and Blues 2, “fantasies on fragments by Thelonious Monk”, for piano (2001).

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Uszanowanie charakteru władzy w średniowieczu

80%

Pasierbek W.

Horyzonty Polityki

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2019

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vol. 10

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issue 33

EN

RESEARCH OBJECTIVE: The research objective of the article is to present the nature of authority and respect it enjoyed in the first centuries of the modern era. THE RESEARCH PROBLEM AND METHODS: As political authorities are hardly respected today, it is worth reflecting on the phenomenon of authority by analysing it in the first centuries of Christianity and posing the question: what was the nature of authority in this period? The answer to it will be sought by analysing the main areas of the theological-political thought of that time. THE PROCESS OF ARGUMENTATION: Starting with the beginnings of human existence and the need to give order to the world in chaos caused by sin, we will analyze the nature of authority in the first centuries of Christianity and the Middle Ages. Beginning with the teachings of St. Paul, and three models of the government advocated by: Eusebius of Caesarea, St. Augustine, and St. Ambrose and St. Pope Gelasius I, we will prove that authority comes from God and through the authority of the Church and the emperor, brings order and peace to the world. RESEARCH RESULTS: The analysis of the views of the thinkers of the Middle Ages reveals three ways in which they undertsood authority: the primacy of the emperor with the participation of the Church, superiority of ecclesiastical authority over secular and pagan authority and the separation between ecclesiastical and secular authorities. CONCLUSIONS, INNOVATIONS AND RECOMMENDATIONS: The analysis of the nature of authority in the Middle Ages demonstrates that respect for both ecclesiastical and secular power was widespread and was justified by its divine nature and by concern for the common good. Thus, the wisdom of Christian and medieval thinkers should serve as stimulus to reflect on the nature and the attitude to authority in modern democratic civilization.

PL

CEL NAUKOWY: Celem naukowym niniejszego artykułu jest ukazanie charakteru władzy i szacunku do niej w pierwszych wiekach nowożytnej ery. PROBLEM I METODY BADAWCZE: Ponieważ dzisiaj władzy politycznej raczej się nie szanuje, warto się zastanowić nad tym fenomenem, analizując pierwsze wieki chrześcijaństwa i stawiając pytanie: jaki był charakter ówczesnej władzy? Odpowiedzi będziemy szukać, analizując główne nurty myśli teolo‑giczno‑politycznej tamtych czasów. PROCES WYWODU: Wychodząc od początków ludzkiego istnienia i potrzeby uporządkowania świata z chaosu spowodowanego grzechem, przeanalizowany zostanie charakter władzy pierwszych wieków chrześcijaństwai średniowiecza. Począwszy od Jezusa Chrystusa, naukę św. Pawła, a później trzech wariantów rządów według Euzebiusza z Cezarei, św. Augustyna oraz św. Ambrożego i św. papieża Gelazego I, będziemy dowodzić, iż władza bierze swój początek w Bogu, by później poprzez władzę Kościoła i cesarza zaprowadzać porządek i pokój w świecie. WYNIKI ANALIZY NAUKOWEJ: Analiza poglądów schyłku starożytności i średniowiecza dowodzi, iż istniały trzy rodzaje rozumienia władzy: prymat cesarza przy współudziale Kościoła (Euzebiusz z Cezarei), wyrazista wyższość władzy kościelnej nad świecką i pogańską (św. Augustyn) oraz rozdział pomiędzy władzą kościelną i świecką (św. Ambroży i św. papież Gelazy I). WNIOSKI, INNOWACJE, REKOMENDACJE: Analiza charakteru władzy z pierwszych wieków chrześcijaństwa i średniowiecza dowodzi, iż powszechnie okazywano szacunek zarówno władzy kościelnej, jak i świeckiej, uzasadniając taką postawę jej boską naturą i jednocześnie troską o dobro wspólne. Mądrość, która płynie od chrześcijańskich i średniowiecznych myślicieli, winna być zatem poważnym bodźcem do refleksji nad charakterem i stosunkiem do władzy we współczesnej cywilizacji demokratycznej.

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"Nunc antichristi multi facti sunt." - Idea společenství v Husově spisu "De ecclesia"

71%

Šenovský J.

Filosofický časopis (Philosophical Journal)

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2021

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vol. 69

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issue 2

323-346

EN

This study explores the relationship between the metaphysical conception of the Church that can be found in Jan Hus’ treatise De ecclesia, and its possible social realization. The influences of this approach (Wycliffe and Augustine) are looked at, as are the problems that these influences bring with them. Hus’ conception of the church has broad social consequences, because Hus understands the church non-institutionally, i.e. as a collective organism of all who are predetermined for salvation. That is why, according to him, the Church is the pinnacle of all creation. If however we take this conception of the Church and the associated dualism between the Damned and the Church of the Chosen truly for what they are, and add in the eschatological expectation of the end of time and the coming of the Antichrist, then we might expect the revolutionary result of Hussitism. Lastly, the possible areas in which we can see Hus’ potential for broad social reform are shown.

CS

Tato studie se zabývá vztahem mezi metafyzickým pojetím církve, které nalezneme ve spisu Jana Husa O církvi, a jeho možným společenským uskutečněním. Je poukázáno na vlivy tohoto přístupu (Viklef a Augustin) a na obtíže, které tyto vlivy s sebou nesou. Husovo pojetí církve má celospolečenské důsledky, protože Hus chápe církev neinstitucionálně, tedy jako kolektivní organismus všech, kteří jsou predeterminováni ke spáse. Proto je podle něj církev vrcholem všeho stvoření. Pokud se však toto pojetí církve a s ním spojený dualismus mezi církví vyvolených a zatracenými vezme skutečně realisticky, spolu s eschatologickým očekáváním konce časů a příchodu Antikrista, pak lze očekávat revoluční vyústění, které nastalo s husitstvím. Nakonec je poukázáno na možné body, ve kterých můžeme vidět Husův celospolečenský reformní potenciál.

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Dobry Pasterz a pasterze Kościoła w Sermo 46 św. Augustyna

71%

Mejzner M.

Ruch Biblijny i Liturgiczny

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2010

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vol. 63

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issue 3

EN

Sermo 46 of St. Augustine’s, offered for meditation in the 24th and 25th week of the Liturgy of the Hours, is entitled De pastoribus. The scriptural basis is constituted by the reading of Ez 34 : 1–16 where the prophet criticizes the shepherds of Israel who feed themselves and not their sheep, and announced the Lord’s promise to feed his people himself. Augustine, by using an actualizing, allegorical exegesis, develops his homily to describe a true Christian shepherd distinct from a mercenary. The latter only searches for his own interest and honour, symbolized by the sheep’s milk and wool. His selfish attitude causes damage: the strong sheep become weak, then sick and in the end are lost. For Augustine the scattering of the sheep signifies approaching heretic and schismatic groups. The bishop of Hippo disputes especially with the donatists. He emphasizes that Christ is the foundation of our salvation, the only Good Shepherd whose sheepfold is the Catholic Church throughout the world. The shepherds are good when they belong to that sheepfold, and following Christ they accomplish their mission to feed the sheep. The meaning of priesthood is indeed to serve God’s people by proclaiming the Word, distributing the Sacraments and promoting unity. The priest accomplishes Christ’s work and not his own. Therefore his responsibility is immense, since it deals with the eternal life to which God will welcome all those who faithfully served him.

PL

Sermo 46 of St. Augustine’s, offered for meditation in the 24th and 25th week of the Liturgy of the Hours, is entitled De pastoribus. The scriptural basis is constituted by the reading of Ez 34 : 1–16 where the prophet criticizes the shepherds of Israel who feed themselves and not their sheep, and announced the Lord’s promise to feed his people himself. Augustine, by using an actualizing, allegorical exegesis, develops his homily to describe a true Christian shepherd distinct from a mercenary. The latter only searches for his own interest and honour, symbolized by the sheep’s milk and wool. His selfish attitude causes damage: the strong sheep become weak, then sick and in the end are lost. For Augustine the scattering of the sheep signifies approaching heretic and schismatic groups. The bishop of Hippo disputes especially with the donatists. He emphasizes that Christ is the foundation of our salvation, the only Good Shepherd whose sheepfold is the Catholic Church throughout the world. The shepherds are good when they belong to that sheepfold, and following Christ they accomplish their mission to feed the sheep. The meaning of priesthood is indeed to serve God’s people by proclaiming the Word, distributing the Sacraments and promoting unity. The priest accomplishes Christ’s work and not his own. Therefore his responsibility is immense, since it deals with the eternal life to which God will welcome all those who faithfully served him.

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Mélancolie de la Beauté. L’hymne à Pulchritudo de saint Augustin

Aldo Clementi musicus mathematicus

Uszanowanie charakteru władzy w średniowieczu

"Nunc antichristi multi facti sunt." - Idea společenství v Husově spisu "De ecclesia"

Dobry Pasterz a pasterze Kościoła w Sermo 46 św. Augustyna