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1

Misterium Bożego gniewu: perspektywa klasyka i teologa współczesnego

100%

Frąckowiak J.

Verbum Vitae

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2018

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vol. 33

423-443

EN

Divine wrath is a common theme within many cultures and religions. The biblical revelation also describes God as the One who sometimes is angry. Today, the message of God’s anger is very difficult to understand in a proper way. On the one hand, an excessive fear of God can become the basis for an unhealthy spirituality . On the other hand, to our modern way of thinking anger can seem to stand in conflict with the merciful love of God. Our short reflection explores divine wrath as seen from two different perspectives: the medieval scholastic system of Saint Thomas Aquinas and the twentieth century theology of Hans Urs von Balthasar. Analysis of the two authors’ texts, and the comparison of their solutions, allow us to discover some parallels and also identify some differences, which reflect the sensitivities of their respective epochs. The theologians’ efforts to express precisely the meaning of God’s mystery can be fruitful for our contemporary reflection and proclamation, inspiring the reader to delve further into the issue.

PL

Boski gniew jest doświadczeniem wspólnym wielu kulturom i religiom. Także Objawienie biblijne opisuje Boga jako tego, kto się gniewa. W dzisiejszych czasach orędzie o gniewie Bożym napotyka trudności we właściwym zrozumieniu. Z jednej strony możemy dostrzec niezdrową duchowość opartą na nadmiernym lęku przed Bogiem, z drugiej natomiast – dla naszej współczesnej mentalności gniew Boga zdaje się być nie do pogodzenia z miłosierną Jego miłością. Nasza krótka refleksja jest poświęcona Bożemu gniewowi widzianemu z dwóch perspektyw: średniowiecznego systemu scholastycznemu św. Tomasza z Akwinu oraz dwudziestowiecznej teologii Hansa Ursa von Balthasara. Analiza tekstów naszych autorów, jak również porównanie ich rozwiązań pozwala nam odkryć zbieżności i sformułować niektóre różnice, wskazujące na odmienne wrażliwości ich epok. Wysiłki teologów zmierzające do precyzyjnego nazwania tajemnicy Boga mogą okazać się użyteczne we współczesnej refleksji i przepowiadaniu.

2

INSPIRACJE I METODA FILOZOFICZNA W TEOLOGII HANSA URSA VON BALTHASARA

94%

Smykowski K.

Studia Ełckie

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2017

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vol. 19

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issue 4

392 - 399

EN

The purpose of this article is showing the inspiration behind the basis of system created by Hans Urs von Baltahasar. During years of studies and scien-tific career, the Swiss philosopher became fascinated by various theories, Neo-platonism, existentialism and classical metaphysics in particular. Furthermore, the article attempts a description of system methodology. Balthasar mixed methods of various scientific fields in exceptionally creative way, which led to creation of a unique system.

3

Pojęcia muzyczne w narracji teologicznej Hansa Ursa von Balthasara

83%

Guzek D.

Poznańskie Studia Teologiczne

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2012

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issue 26

177-188

EN

The article focuses on the role that musical terminology and musical masterpieces perform in the theological narration of Hans Urs von Balthasar. The author analyses the major musical terms present in Balthasar’s works and the various interpretations of those terms in the theologian’s thought. Next, he shows how Hans Urs von Balthasar uses the musical masterpieces to focus on the unspoken content of faith. The analysis confirms that Hans Urs von Balthasar treats music as an important theological source: a „locus theologicus”.

4

Mariological Interpretation of the Eight Beatitudes (Matt 5:3–10)

71%

Wołowski L.

Collectanea Theologica

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2020

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vol. 90

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issue 5

637-679

EN

The article examines the question of the Mariological interpretation of the eight beatitudes contained in Matt 5:3–10. Christian theologians of all ages, from Clement of Alexandria to the authors of contemporary biblical commentaries, have proposed various interpretations of this biblical text. Among the multitude of interpretations developed throughout history, the Mariological aspect appears quite rarely. Yet, as Pope Benedict XVI observes, the very biblical Marian title “Blessed” should direct the theological thought to the Mariological aspects of this issue. In modern times, a very deep reflection on the subject was conducted by two great theologians of the XX century, J. Ratzinger (Benedict XVI) and H.U. von Balthasar. On the Polish ground, the task was partly undertaken by J. Tischner, who elaborated the theme of eight beatitudes in the key of the Marian pilgrimage of the nation. The present work is meant to deepen the Mariological-biblical analysis of the eight beatitudes and revive the discussion regarding this subject in the perspective proposed by Benedict XVI, to understand the beatitudes as a program of life for a modern Christian.

5

Theology of science: Its collocation and critical role for understanding of limits of theological and scientific investigations

71%

Sierotowicz T.

Zagadnienia Filozoficzne w Nauce

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2023

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issue 75

211-231

EN

The paper presents a brief outline of Michał Heller’s programme of theology of science, with specific attention to its collocation and critical role with respect to both theology and science. The former consideration is based on a third domain of truths (Hans Urs von Balthasar), while the latter is inspired by Józef Tischner’s presentation of religious thinking. Theology of science as such will be described with reference to Larry Laudan’s approach, considered here as a very useful and pragmatic tool for the description of basic concepts of this theology.

6

Mariologiczna interpretacja ośmiu błogosławieństw (Mt 5,3-10)

67%

Wołowski L.

Collectanea Theologica

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2020

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vol. 90

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issue 3

79-121

EN

The article examines the question of the Mariological interpretation of the eight beatitudes contained in Mt 5:3-10. Christian theologians of all ages, from Clement of Alexandria to the authors of contemporary biblical commentaries, have proposed various interpretations of this biblical text. Among the multitude of interpretations developed throughout history, the Mariological aspect appears quite rarely. Yet, as Pope Benedict XVI observes, the very biblical Marian title “Blessed” should direct the theological thought to the Mariological aspects of this issue. In modern times, a very deep reflection on the subject was conducted by two great theologians of the XX century, J. Ratzinger (Benedict XVI) and H.U. von Balthasar. On the Polish ground, the task was partly undertaken by J. Tischner, who elaborated the theme of eight beatitudes in the key of the Marian pilgrimage of the nation. The present work is meant to deepen the Mariological-biblical analysis of the eight beatitudes and revive the discussion regarding this subject in the perspective proposed by Benedict XVI, to understand the beatitudes as a program of life for a modern Christian.

PL

Artykuł podejmuje kwestię mariologicznej interpretacji ośmiu błogosławieństw zawartych w Mt 5,3-10. Różnorodnych interpretacji tego biblijnego tekstu podejmowali się teolodzy chrześcijańscy wszystkich epok od Klemensa Aleksandryjskiego po autorów współczesnych komentarzy biblijnych. Wobec mnogości rozpatrywanych na przestrzeni dziejów interpretacji aspekt mariologiczny pojawia się dość rzadko. Tymczasem, jak zauważa papież Benedykt XVI, już sam biblijny tytuł maryjny „Błogosławiona” powinien wyraźnie nakierowywać myśl teologiczną na mariologiczne aspekty tego zagadnienia. W czasach współczesnych bardzo głęboką refleksję w tym zakresie prowadzili dwaj wielcy teologowie XX w., J. Ratzinger (Benedykt XVI) i H.U. von Balthasar. Na gruncie polskim zadanie to częściowo podjął J. Tischner, opracowując temat ośmiu błogosławieństw w kluczu maryjnej pielgrzymki narodu. Niniejsza praca pragnie pogłębić mariologiczno-biblijną analizę ośmiu błogosławieństw i ożywić dyskusję dotyczącą tej tematyki w zaproponowanym przez Benedykta XVI kluczu rozumienia błogosławieństw jako programu życia współczesnego chrześcijanina.

7

Hans Urs von Balthasar i jego rozważania muzyczno-teologiczne

67%

Górna M., Karcz B., Tyrała R., Zając A., Delimat W., Janicki J. J., Malik J., Sterczewska L., UPJPII i., Pasek W., Karcz B., Malik J., Sterczewska L., UPJPII i., Pasek W.

Pro Musica Sacra

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2015

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vol. 13

EN

Music, according to Hans Urs von Balthasar, can most reach human's emotions. Art reflects our greatness and weakness. In a theologist's opinion it is God, who breathed art into human's souls, it is the greatest gift which man received from God. The role of an artist should be to serve others. On the one hand music tries to find a form of a metaphysical dimension, on the other it expresses things which are low and conceivable. In music, as it is in religion, man becomes touched by what is invisible. Beauty present in the world and in human's works leads to the discovery of God's source.

PL

Muzyka w myśli Hansa Ursa von Balthasara potrafi najbardziej dotrzeć do człowieka. Sztuka odzwierciedla naszą wielkość i słabość. Według teologa to, że Bóg tchnął sztukę w ludzkie dusze, jest najwyższym darem, jaki człowiek otrzymał od Boga. Rola artysty powinna być służebna. Muzyka z jednej strony poszukuje formy metafizycznego wymiaru, a z drugiej jest wyrazem tego, co niskie i wyobrażlane. W muzyce podobnie jak w religii człowiek zostaje dotknięty przez to, co niewidzialne. Piękno obecne w świecie i dziełach człowieka prowadzi do odkrycia boskiego źródła.

8

Droga duchowa Hansa Ursa von Balthasara – lata 1940–1988

67%

Gałda W.

Tarnowskie Studia Teologiczne

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2015

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vol. 34

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issue 1

EN

Hans Urs von Balthasar is considered to be one of the most significant Roman Catholic theologians of the Twentieth century. His bibliography is an interesting introduction not only to his original theological writings but also to understand the central motives of the whole theology of the Twentieth century. The years 1940 through to 1988 were a period in Balthasar’s life, which was then generously filled with important events and encounters with people that significantly influenced his life and his theological work.During this time Balthasar lived and worked in Basel, Switzerland, the place he is mostly associated with and where he met Adrienne von Speyr. This meeting had a major influence on his writings as well as his private life (it led him to the difficult decision about leaving the Society of Jesus). According to Balthasar the fruit of his relationship with Adrienne von Speyr and theirs mission – was the foundation of a religious society „Community of Saint John” (Johannesgemeinschaft), a new publishing house Johannes Verlag and especially the new theological thought which was also influenced by the writings of Saint John the Apostle. Furthermore it was a time that the Second Vatican Council was highly significant for Balthasar’s life and in his literary works.These factors and other important events and people he had met in his life may help us to understand the process that led to the publishing of the well-known Balthasar’s Trilogy (Theological Aesthetics, Theo-Drama and Theo-Logic). This major work inspired Balthasar’s Theology of Holy Saturday and led to express the Christian thought with the assistance of tools borrowed from theatrical theory.

PL

Hans Urs von Balthasar był jednym z najwybitniejszych teologów XX wieku. Jego biografia stanowi interesujące wprowadzenie zarówno do jego oryginalnego teologicznego dorobku, jak i do zrozumienia zasadniczych motywów całej XX-wiecznej teologii. Okres przypadający na lata od 1940 do 1988 to czas w życiu von Balthasara obfitujący w ważne wydarzenia i spotkania z osobami, które decydująco wpłynęły na jego losy i teologiczną twórczość. W tym czasie Balthasar związał się z miejscem, z którym najczęściej jest kojarzony, tzn. z Bazyleą w Szwajcarii. Tam właśnie poznał Adrienne von Speyr. Spotkanie to miało kapitalne znaczenie zarówno dla jego dzieła, jak i dla jego osobistej biografii (zwłaszcza doprowadziło go do trudnej decyzji opuszczenia szeregów Towarzystwa Jezusowego).Owocem ich – według oceny Balthasara – wspólnego posłannictwa było powstanie nowej wspólnoty (Johannesgemeinschaft), nowego wydawnictwa (Johannes Verlag), a przede wszystkim nowej myśli teologicznej, które inspirował św. Jan Apostoł. Jest to także oczywiście czas II Soboru Watykańskiego, który miał wielkie znaczenie dla życia i dzieła von Balthasara. Te i inne ważne wydarzenia i spotkane osoby pomagają nam zrozumieć, jak doszło do napisania słynnej Balthasarowskiej „trylogii” (Estetyka teologiczna, Teodramatyka i Teologika), skąd płynęły inspiracje do Teologii Wielkiej Soboty i co doprowadziło do wyrażenia myśli chrześcijańskiej przy pomocy instrumentarium zaczerpniętego z teorii teatru.

9

Silence and the Audibility of the Word: Contemplative Listening as a Fundamental Act of the New Evangelization. Part 2: Jesus Christ, the Eternal Listener

48%

Siegmund J. M.

Studia Gilsoniana

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2018

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vol. 7

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issue 1

119-137

EN

In the second part of her arguing for contemplative listening as a fundamental act of the new evangelization, the author turns to the theological perspective of Jesus Christ as the eternal Listener and, thus, focuses upon his act of listening, which is the unique personal form of his eternal divinity. The author addresses the following issues. Granted that listening has to do with obedient readiness, how can one say it is in the eternalSon, who, being God, would seem to be naturally exempt from obedience? In order to answer this question, the author looks at the Balthasarian “enfleshment” of Thomas’ notion of the divine persons as subsistent relations. In brief, to say that the Son is the subsistent relation of sonship means that the Son receives himself from the Father. But this self-reception implies, the author argues, an obedient readiness. And, since the Son is Word, this obedient readiness translates into a “listening.” The Son is not only the eternal Word. He is also the eternal listener of the Word he is. Within the Godhead, each person is his relation (of “opposition”) to the others and there is no difference between the person and his action. For example, the Son is his relation of sonship to the Father. But, one might ask, how could one speak of the Son’s obedience? How does one avoid subordinationism? The key is to see how the Son’s possession of divinity is compatible with a reception of it. If the Father is the “source and origin of all divinity,” the Son does, in fact, receive his divinity from the Father while, at the same time, he is co-equal and co-eternal with the Father. That the Father generates the Son does not mean, as Arius asserted, that there was a time when the Son was not. Rather, the Son always possesses his divine sonship as being given fromthe Father, while the Father possesses divinity as being given away. Divinity is compatible with relationality in the mode of reception. In the Godhead, reception is perfection. There are a number of texts from Thomas that the author presents in favor of this argument. Having established that reception is perfection in the Godhead, the author develops how this receptivity encompasses obedience and listening. For, in his receiving, the Son performs an act that, by an intrinsic analogy, one may describe as the taking of the gift of the Father into himself. In this sense, the Son is obedient to the “sense” of the Father’s self-gift. But, in the case of the Son, he isthe gift. Not only that, he isthe gift as Word. This suggests, as the author argues, that the obedience that characterizes him as a divine person is something intrinsically analogous to listening. Here, then, we find the ultimate theological reason that we are listeners: we are listeners because we are created on the model of Christ, the eternal Listener.

10

Karlheinz Stockhausen’s stage cycle Licht. Musical theatre of the world

48%

Draus A.

Interdisciplinary Studies in Musicology

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2009

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issue 8

217-226

PL

The main idea of the paper is a presentation of the stage cycle Licht, absorbing the composer for over one-third of his active creative life. The question arises as to the generic affiliation of Stockhausen’s opus magnum: close to operatic works by Luciano Berio and Mauricio Kagel or to pop productions of works by Philip Glass? Analysing the subject matter and content of Licht, as well as its message and the means of expression employed, it is difficult not to discern the unification, within a single work, of what might appear to be contrasting musical genres and kinds of theatre (mystery play, expressionist drama, happening). It is worth remembering that the composer himself does not employ any specific generic term except for Opernzyklus. He often, however, refers to the forms and genres of theatre, cultivated in many different parts of the world, which have inspired him (e.g. in Malaysia, Japan, Bali, the USA), and he admits to the evolution of his views on faith. Can the substance of Licht be reduced to a common denominator? Can the heptalogy be called ‘sacred’ theatre? Or - on the contrary - an extremely profane, ‘pagan’ avant-garde spectacle?

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