Liturgia Sacra, 2012, R. 18, nr 2 (40)
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Pozycja Annales Lublinenses pro Musica Sacra 1 (2010); 2 (2011)Pośpiech, Remigiusz (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2012)Pozycja Rivista Liturgica (2011), nr 5-6; (2012), nr 1-4Lijka, Kazimierz (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2012)Pozycja Posługa zakrystianina i jego formacja liturgicznaEkert, Helmut (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2012)Pozycja Bogarodzica Dziewica w tajemnicy Chrystusa i Kościoła w świetle potrydenckiego Officium parvum Beatae Mariae VirginisPałęcki, Waldemar (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2012)Pozycja Chrześcijańska architektura sakralna – problem świątyń desakralizowanych oraz przestrzeni parasakralnychRabiej, Jan (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2012)The notion sacrum summarizes the transcendent horizon of human’s consciousness {homo religiosuś). Hierophany acts are states in which a man experiences a participation in the reality of sacrum is witnessing its views, has an insight behind the “mystery of the curtain” the characters, places, buildings, in which the assimilation of sacral space’s values occur, are the anticipation forms of the same reality – initiated by a man. They are an essence of places of worship, sanctuaries and churches. Signs – appropriate to the sacral spaces, we find today in the architecture, which does not serve to functions of religious cult: in museums, concert halls and wellness centers. At the same time, it becomes more common to transform structures originally sacred into secular functions – from the widely understood culture, through the housing to the entertainment. These phenomena enhanced the state of “confusion” in a semantic dimension of the contemporary architecture – especially the sacral architecture. The crisis of the contemporary Christian church architecture is related to an increasing relativization of values identified with the concept of sacrum. A permanent source of references, from which the creators of modem churches bring inspirations, is a liturgy – act of believers’ community rooted in the tradition and conditions of the space and time.Pozycja Bł. ks. Gerhard Hirschfelder (1907-1942) – niezłomny duszpasterz młodzieży i błogosławiony ziemi kłodzkiejFitych, Tadeusz (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2012)Pozycja Kształtowanie się kultu i nauki o Maryi – „Róży Duchownej”Wojtczak, Adam (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2012)The article presents the development of the devotion to, and teaching about, the Blessed Virgin Mary – Mystical Rose (Rosa Mystica) in the life of the Church. It consists of three points. The first points out how the Bible is very restrained in its use of rose metaphors in general, mainly due to its profanation in ancient pagan civilizations (roses were used to decorate goddesses and lecherous lips). In fact, the Hebrew text makes no mention of it at all, while Greek and Latin texts of the deuterocanonical books (Wisdom of Sirach) refer to its symbolism only a few times. At first, the Fathers of the Church were equally guarded. Only later did they overcome the stigma of pagan connotations associated with the rose, and used it metaphorically to express the Blessed Virgin’s spiritual beauty. Thus theological and devotional foundations for the title “Mystical Rose” were established. Historically, the title emerges in the Middle-Ages. This leads to the second point, namely, how the term came into being and who it was that contributed to its dissemination (writers, mystics, liturgy, poetry, sacred art, and pilgrimage centers). The third point concentrates on the modem development of the devotion and teaching about the Rosa Mystica. It first points out the role of the Rosary and the Litany of Loreto in the popularization of the title. It then demonstrates that the height of its popularity coincided with the baroque period, which relied heavily on biblical, patristic and medieval Marian symbolism. The cult of the Mystical Rose appeared in preaching, poetry, hymns and iconography. Teaching about her flourished in numerous theological works, whose authors attempted to build their Mariology based solely on the Litany of Loreto. The Enlightenment put a damper on the devotion and to the teaching about Rosa Mystica. However, by the end of the 19th century and throughout the 20th both the devotion and teaching about it was slowly restored. Noteworthy in the process of its reemergence are the reflections of Blessed John Henry Newman. Soon, Marian sanctuaries where the Mystical Rose is venerated (Fontanelle, Gostyń) began to thrive and post-councilor popes would bear them gifts of golden roses. Theologians began to explore the theological significance of beauty, thus making the mystery of Mary more accessible. This, in tum, evoked interest in her mystical life, which is the hermeneutical key to understanding her spirituality.Pozycja Hezychastyczna teoria teotyzacji człowieka i jej wpływ na przedstawienie światłości w ruskiej ikonografii XIV-XV wiekuCyrek, Olga (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2012)The article describes the theory of man’s deification developed by Gregory Palamas (d. 1359) and its impact on the iconography of the fourteenth and fifteenth century concept teosis mainly influenced the image of light on images. Particularly evident in the work of artists working in Ruthenia, such as Greek Teofanes (d. 1410) and Andrew Rublev (d. 1430). The vision of light was important not only for ascetics who sought to be achieved through prayer and contemplation. Light was also expressed over the icon with color, mostly by white or gold. Painters usually avoid dark colors and used color palettes illuminated. Sometimes, however, wanted to emphasize the inscrutability of God, and therefore painted light around the body of Christ in shades of dark blue or green. It is significant that the two greatest artists of other Russians on the icons light imagined “Transfiguration” and “Trinity” Teofanes emphasized the greater the contrast and brightness and darkness, and painted a light suddenly pouring only at certain places on the icon. However, in the works of Rublev light uniformly permeates the image plane and spreads evenly. It is cheerful, has a positive message and indicates the transfiguration and deification of the world.Pozycja Sprawozdanie z XXVI Sympozjum Liturgicznego (Ląd n. Wartą, 19 października 2012 r.)Błaszczyk, Radosław (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2012)Pozycja II Tarnowskie Dni Cecyliańskie (Tarnów, 18, 21 i 22 listopada 2012 r.)Piekarz, Grzegorz (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2012)Pozycja Liturgia w różnych Kościołach. Podstawowe kwestie liturgiczne w międzykonfesyjnej perspektywie Sympozjum AKL (Chur / Szwajcaria, 3-7 wrzesień 2012 r.)Mateja, Erwin (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2012)Pozycja XXIV Międzynarodowy Festiwal Muzyki Religijnej im. Ks. Stanisława Ormińskiego w Rumi (18-20 października 2012 r.)Niegowski, Krzysztof (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2012)Pozycja Sprawozdanie ze zjazdu Stowarzyszenia Polskich Muzyków Kościelnych (Białystok, 11-13 września 2012 r.)Garnczarski, Stanisław (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2012)Pozycja Kantor psalmu, psałterzysta, psalmistaFilaber, Andrzej (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2012)Pozycja Omówienie nadesłanych książekKoenig, Franciszek (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2012)Pozycja Muzyka instrumentalna w liturgii po soborze watykańskim IIWiśniewski, Piotr (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2012)Pozycja Ruch liturgiczny rezultatem powrotu do źródeł liturgicznych. III Międzynarodowe Sympozjum Liturgiczne „Ad fontes liturgicos” (Preszów, 25-26 października 2012 r.)Mateja, Erwin (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2012)Pozycja Kontemplacja oblicza Chrystusa zadaniem i podstawą programów duszpasterskich Kościoła trzeciego tysiącleciaRopiak, Sławomir (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2012)Pozycja Zbiór „Pieśni do Najświętszej Maryi Panny Niepokalanie Poczętej...” Ks. Franciszka Walczyńskiego. Studium teologiczno-muzykologiczneGarnczarski, Stanisław (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2012)The ongoing for centuries in the Catholic Church cult of Mary, lived to see in 1854 proclamation of the dogma of the Immaculate Conception. The belief that Mary, from conception has been blessed with a special glow of holiness expressed in the act of proclamation of the dogma, lasted for many centuries in the minds of believers. Already in the eighth century in the East, St. Andrew of Crete, St. German of Constantinople and St. John of Damascus, have provided valid certificates for the original holiness of Mary. From this time comes also feast Conceptio s. Annae matris Dei Genitricis. In 1447, Pope Sixtus IV approved the official celebration and Holy Mass, which included confirmation of the privilege of the Immaculate Conception. Over two hundred years later Pope Alexander VII has published bull Sollicitudo on Immaculate Conception, and Clement XI obligatory extended the feast, to the whole Church. Announcement of the dogma, has become the moment, even more than ever, revival of worship and devotion to Mary in the mystery of the Immaculate Conception. Also experience of the 50lh anniversary of this fact enjoyed great popularity. Appeared on this occasion a number of initiatives aimed at the development of Marian devotion. One of these was the publication in 1904 by Rev. Francis Walczyński (20X11 1852-12 VII 1937), Tarnów’s priest and musician, a collection of songs Pieśni do Najświętszej Maryi Panny Niepokalanie poczętej..., containing 12 songs a 2. Source research has shown, that they are already pre-existing songs from the seventeenth, eighteenth and nineteenth centuries. Succeeded to get to some of the oldest collections containing the texts, and in the later finding their melodies too. However, in a collection of Walczyński are melodies different from the source, which may indicate that the author is Walczyński. These are strophic songs, in the range from 4 to 14 stanzas, mostly in the structure heterosyllabic. Stanzas are 4 ,5 ,6-, 7- and 10-verses, with verses rather longer from 5 to 11 syllables, with a large majority of the latter. 4-verse stanzas are characterized by a certain regularity; we find among them Ambrosiana and Sapphic stanza. In the relationship between the verses prevail rhyme accurate and even, of the system aabb. Melodies, which has already been stated, are mostly written by Rev. F. Walczyński. They are generally two-piece and three-piece structure. The first consists of two sentences, remaining together in predecessor and successor relationships. There are two parts similar AA,, in which the internal layout of the phrases most frequently occurring is aaba, and two parts various AB in which the most common arrangement of the phrases is abed. The three-part structure, which can be seen in the studied material, consists of segments AAB and combines it with a four-, six-and seven-verses stanzas. Among the intervals the most important is the role of seconds and thirds, whereby the songs have a very cantilena character. Waveforms rhythmic features variety. In terms of the time signatures prevailing even. Rhythmic personifications of bars are getting slower. Predominates course of syllabic; melismas appearing are not too numerous. Among the rhythmic phenomena should be noted the presence of dotted rhythm. In terms of tonality the tested material is included as a major and minor modes, mostly in the first. The songs starts with tonics, mediants and fifths, and ends on the tonic or mediants. The terms of office are contained in two types: reaching tonic the upper or lower step of the second, and ending in mediant reaching it by second movement from the top. The conclusion is that the songs of the Immaculate Conception by Rev. F. Walczyński are within the ideological assumptions of the Cecilian Movement, fulfilling a condition of general availability. They are characterized by simplicity sticking to diatonic melodies. They are testimony to Marian devotion of the author and the people who perform them in the temples.Pozycja Kongresy eucharystyczne jako szczególne formy kultu eucharystycznego. Aspekt prawnyAdamczyk, Jerzy (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2012)