Liturgia Sacra, 2021, R. 27, nr 2 (58)

Stały URI dla kolekcjihttps://theo-logos.pl/handle/123456789/29882

Błąd w numeracji. W artykułach zamiast „Liturgia Sacra 28 (2021), nr 2” powinno być „Liturgia Sacra 27 (2021), nr 2”.

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Śp. ks. prof. dr hab. Helmut Jan Sobeczko (1939–2021)
Mateja, Erwin (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2021)
Liturgia w „Liber Pontificalis”
Nowak, Jacek (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2021)
The article The liturgy in “Liber Pontificalis” starts with a depiction of the history of the Liber Pontificalis, which shows that the book had more than one author. The elaboration is divided into 5 parts: 1. The Holy Mass; 2. The Sacrament of Holy Orders; 3. The liturgical year; 4. Liturgical space; 5. Other phenomena associated with liturgy. Four parts contain issues which are grouped thematically, because they form a certain whole, whereas the last part encompasses issues appearing in single entries. The critical approach to the Liber Pontificalis, in the juxtaposition of biographies with other historical sources, shows that norms ascribed to some popes are not all credible. These anachronisms result from the fact that the book was not written by a single author, and especially the earliest pontificates were written down much later. Moreover, in this opus, apart from the liturgy, there are pieces of information pertaining to other fields, that were not the object of research of this elaborate.
Paride de Grassi – papieski ceremoniarz i dyplomata doby renesansu
Mikołajczak, Michał (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2021)
Paride de Grassi, któremu w całości został poświęcony artykuł, wpisuje się w poczet najznamienitszych mistrzów ceremonii papieskich XVI w. (obok m.in. Piccolominiego i Burckhardta). Mianowany przez Juliusza II pierwszym ceremoniarzem, wywarł ogromny wpływ zarówno na liturgię Kościoła katolickiego, jak i dyplomację papieską. Podobnie jak pozostali renesansowi ceremoniarze, pozostawił po sobie liczne dzieła, takie jak: pamiętniki (diariusze), ceremoniały, notatki, ordines. Jego zapiski stanowią cenne źródło zarówno dla historyków, jak i liturgistów, filologów klasycznych oraz specjalistów od protokołu dyplomatycznego. Artykuł, w którym zostały zebrane i porównane informacje dotyczące bolońskiego mistrza, stanowi punkt wyjścia do dalszych badań nad jego życiem i pozostawionymi dziełami. Ukazuje ponadto zależności, jakie zachodzą pomiędzy liturgią Kościoła katolickiego a protokołem dyplomatycznym, w sposób szczególny wybrzmiewające w życiu papieskiego dworu – Où tout est cérémonie.
„Kantor Chrystusa eucharystycznego” – św. Tomasz z Akwinu w przepowiadaniu do dzieci z okazji uroczystości Pierwszej Komunii Świętej
Łysy, Hubert (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2021)
John Paul II in the encyclical Ecclesia de Eucharistia mentions St. Thomas Aquinas as an excellent theologian and at the same time zealous cantor of Christ in the Eucharist. This term “cantor” poetically and figuratively reflects the entire Eucharistic devotion of Thomas Aquinas. His Eucharistic devotion consists of: the testimony of the Eucharistic life contained in the Summa Theologiae; Treatise on the Eucharist, the words of Eucharistic songs and prayers related to the Eucharist. For many years the parish of Saint Joseph the Worker in Opole-Wrzoski has carried out a project in which the traditional First Holy Communion celebration is proposed in a new form. The theme of the celebration is primarily determined by the history of the Eucharist. Saint Thomas Aquinas occupies an important place in this history. In the Church in Poland, the following slogan was proposed for the pastoral year 2019/2020: The Great Mystery of Faith. Saint Thomas fits very well in getting to know this mystery as the cantor of Eucharistic Christ. This dissertation first presents the above mentioned components of Saint Thomas Aquinas’ Eucharistic piety and thus constitutes the theoretical part of the discussion. It is followed by the practical part in which the theoretical considerations are “transferred” to the First Communion celebration, which is one great proclamation of Jesus Christ. The art of effective First Communion proclamation is based on a pictorial, simple, and understandable message of what has been conveyed in theological and poetic language. The richness of the theological thought of Saint Thomas describing the Eucharist, could become an inspiration for many First Communion celebrations. In this article, on the example of one celebration, the attempt has been made to convey all this richness, with an emphasis on the words of a song by Saint Thomas “Sight, touch, taste are all deceived in their judgment of you, but hearing suffices firmly to believe”.
Idea participatio actuosa Soboru Watykańskiego II w dobie pandemii
Filipowicz, Krzysztof (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2021)
This article is an attempt to answer how the conciliar idea of participatio actuosa could be implemented in the conditions of the Covid-19 pandemic. Participation in the liturgy presupposes the unity of time and place. The possibilities offered by the modern media basically meet the participation condition regarding the unity of time. A much bigger problem concerns the unity of the place, which entails restrictions on participation in the liturgy understood as the world of persons and relationships. Undoubtedly, even such a limited mode of participation need not automatically impose limits on the effectiveness of the order of grace. These issues were already raised at the Council of Trent. This means that even the restrictions imposed by the pandemic do not completely exclude man from joining opus Dei. In addition to the analysis of documents and scientific works devoted to the liturgy, the article takes into account sociological studies of the religiosity of Poles in the time of the pandemic.
Obrzęd konsekracji dziewic i sakrament małżeństwa – różne, a jednak bliskie rzeczywistości. Analiza syntetyczna
Ziemski, Jakub (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2021)
The sacrament of marriage and the rite of consecration of virgins are celebrations belonging to two worlds that seem to have no contact points. The consecration of virgins itself appears as something ancient and exotic at the same time, and interest in its meaning is still faint. This article is a synthetic presentation of the research that ended in April 2021, resulting in a work entitled: The Nuptial Character of the Sacrament of Marriage and the Consecration of Virgins. Analytical and comparative study. The recognition of this spousality of the rites studied, both in their entirety and in their individual elements, while at the same time commenting on the documents of the Holy See and of the Fathers of the Church, clearly speaks in favour of the fact that these realities are very close to each other and even complement each other.
The Qudasha of Mar Theodore – a Critical Study
Pittappillil, Francis (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2021)
This paper is a critical study of the popular in syro-oriental liturgical tradition anaphora attribuited to Mar Theodore of Mopsuestia. The author analyses the structure and content of this liturgical document as well as its theological meaning. The research reveals that this eucharistic prayer is correct from the theological point of view and constitutes a valuable heritage of the Christian euchological space.
Przyczynek do dziejów działalności kapeli bernardyńskiej w Budsławiu
Godek, Andrzej Edward (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2021)
The musical culture of the Bernardine Order is still quite a new issue in Polish musicology. In the 18th and 19th centuries, in most of their convents bernardines performed a monophonic repertoire, and sometimes also polyphony consisting of parallel thirds and sixths (canto fratto repertoire). Against this background, the musical life of the convent in Budsław (currently in the territory of Belarus) attracts our attention. In this convent, in 1756 Barbara Skorulska founded a musical chapel that was organised as a school of music. A number of students of this institution changed, fluctuating between 12 and 20, all of them coming from poor noble families from nearby area. The history of the chapel, analysed in the following article, is a unique example of such a musical organisation in bernardine convents so fat.
Posługa muzyka kościelnego w świetle „Musikalisch-liturgisches Wörterbuch” Bernharda Kothego (1821–1897)
Pawlik, Karolina (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2021)
In the tradition of the Catholic Church, music is an indispensable and integral part of its solemn liturgy. This statement is a reminder of a centuries-old belief in the unity of these two realities. Over the centuries, various causes have resulted in periods of better or worse condition of liturgical music. The second half of the 18th century and the beginning of the 19th century were considered a time of crisis. It manifested itself primarily in the low level of education and carelessness of church musicians, as well as the lack of appropriate musical literature and drawing on secular models. In response to these phenomena, the Allgemeiner Cäcilienverein society was founded in 1868. This movement brought together clergy and laity concerned about the state of contemporary church music. Particular emphasis was placed on education. For this purpose, collections of music literature, textbooks and magazines began to be developed. One of such items is Bernhard Kothe’s Musikalisch-liturgisches Wörterbuch dictionary published in 1890. It is an organized collection of information presented in the form of basic entries with their descriptions, which gives it the form of a lexicon. It contains not only general music and liturgical knowledge, but also the author’s thoughts on the ministry of a church musician.
Inspiracje gregoriańskie w „Łatwej mszy polskiej w stylu choralnym” ks. Brunona Schmidta (1895–1961)
Sobczak, Dariusz (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2021)
The Rev. Brunon Schmidt was born in Poznań in 1895 (in the Prussian Partition). He took holy orders in the Gniezno Cathedral in 1921. From 1934 he was a parish priest in Łabiszyn. In the years 1934 and 1936 he published prayer-books written by himself. These prayerbooks contained the Litany of the Sacred Heart of Jesus and the Order of the Mass in Polish and in Latin. He was interested in liturgy and church singing. He composed ”The simple Polish mass in a choral style” under the pseudonym ”Brunon Poznańczyk”. Its printed version was probably issued in 1936 or 1937 and it was positively evaluated by the distinguished composer, Feliks Nowowiejski. The Rev. Schmidt tried to preserve in this composition the characteristics of Gregorian chant, such as lightness, free rhythmics, spirituality, calmness, and a smooth male voices’ cantilena. The mass by the Rev. Schmidt is divided into five parts: Kyrie, Gloria, Credo, Sanctus and Benedictus (forming a whole), Agnus Dei. Analyzing the melodics of this composition, it can be seen that some melodic themes were adopted by the Rev. Schmidt from the post-Gregorian Mass VIII ”De Angelis”. Judging by this composition written by the Rev. Brunon Schmidt, he appears a fine musician, liturgist and theologian. His ”The simple Polish mass in a choral style” referring to the Gregorian chant tradition is, at the same time, a pioneering work of the post conciliar period whose aim was to engage more music performers and all the faithful in the liturgy. In the 1960s this composition was made well-known in the Archidiocese of Gniezno by the Rev. Władysław Zientarski. Despite the passage of time, the free parts of the mass: Kyrie, Sanctus and Agnus Dei are eagerly performed in many churches of the former and present Archidiocese of Gniezno.
„Kościół tak niezwykle zły, że zdaje się być oborą”, czyli jak przekonać luteranów do wizyty w brzydkim kościele. Problem wyglądu i lokalizacji świątyni w kazaniu konsekracyjnym pielgrzymkowego kościoła granicznego w Cigacicach (1655, wyd. 1665)
Gruk, Wojciech (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2021)
The article discusses the inconvenient location and the ugliness of the church as factors potentially discouraging the faithful from visiting it, as well as attempts to overcome them discursively. The article is based on a sermon by pastor Zacharias Textor published in 1665 on the occasion of the consecration of the newly built pilgrimage church located in the secluded Cigacice Forest, in the Margraviate of Brandenburg, near the Silesian border. According to the preacher, the building was so modest that for pilgrims - Lutherans from the neighboring Duchy of Głogów, where their worship was forbidden – it resembled a barn rather than a church. The article provides a reconstruction of Textor’s sermon, aimed at a positive reinterpretation of the negative features of the temple, based on the story of the biblical Jacob (Genesis 28). The analysis of Textor’s argument allows us to better understand the significance of the church building and its equipment in the specific pilgrimage culture of Silesian Lutherans, which developed after the Thirty Years’ War, providing the basis for a more complete interpretation of the related works of architecture and art. The article is enriched with numerous quotations from the sermon, including extensive fragments of a unique description of a temporary temple that has not existed for centurie.
Krucyfiks „Cristo vivo” w kościele pw. św. Michała Archanioła w Urazie. Wirtuozerskie przedstawienie Chrystusa Ukrzyżowanego Lwowskiej Szkoły Rzeźbiarskiej Doby RokokaKrucyfiks „Cristo vivo” w kościele pw. św. Michała Archanioła w Urazie. Wirtuozerskie przedstawienie Chrystusa Ukrzyżowanego Lwowskiej Szkoły Rzeźbiarskiej Doby Rokoka
Feliks, Maria (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2021)
This paper deals with the question of the “Cristo vivo” crucifix type, a relatively rarely realized motif of the Crucified Christ with his head raised upwards, on the example of a sculpture from the church of Assumption of the Blessed Virgin Mary in Navaria, currently located in St. Michael’s the Archangel church in Uraz near Brzeg Dolny. This crucifix, together with a part of the furnishings of the Navarian temple, was transported in 1945 by the Polish people leaving the Eastern Borderlands to Lower Silesia. The aim of the article is to outline the possible sources of inspiration for this performance, as well as its influence on the faithful as an element of the Baroque theatrum sacrum.
Międzynarodowa Konferencja Naukowa w ramach Programu Ministra MNiSW „DIALOG” Dziedzictwo Synodu Zamojskiego 1720–2020. Wyzwania i perspektywy Kraków 18–19 listopada 2020 r.
Nowakowski, Przemysław (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2021)
Sprawozdanie z XXXIV Sympozjum Liturgicznego „Triduum Sacrum centralnym wydarzeniem roku liturgicznego”. Ląd nad Wartą, 15 października 2021 r.
Błaszczyk, Radosław (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2021)

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