Liturgia Sacra, 2014, R. 20, nr 1 (43)

Stały URI dla kolekcjihttps://theo-logos.pl/handle/123456789/28408

Przeglądaj

Teraz wyświetlane 1 - 20 z 24

Krzyż na ołtarzu lub obok niego
Lijka, Kazimierz (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2014)
In the Church of the West the cross placed near the altar appeared much earlier than the cross on the altar. The processional cross was used in the 5th century. Originally it was without a figure of Christ. The first information about the placement of the cross on the altar comes from the 11th century. According to the theologians of the middle ages, the cross is at the center of the altar between the two candlesticks, to give him honor and to remind the passion of Christ and his mediation between two nations: Jewish and pagan. In the Roman Missal of 1570 appears an obligation to place a cross in the middle of the altar. However, it was not respected in some churches still in the 18th century. The altar cross in the liturgy of Pius V was venerated by the incensation and bows. The Second Vatican Council has reintroduced a possibility of putting the cross near the altar, and a few years later the General Instruction to the Roman Missal has informed that the processional cross may be placed next to the altar to serve as the altar cross (n. 122). This decision has created a significant diversity concerning the placement of the cross, and has provoked criticism from some of the clergy. The most significant critic was expressed by Cardinal Joseph Ratzinger. He has argued that the cross announces our Lord’s Second Coming, and in the earliest liturgical tradition the sign o f the cross was linked with the symbol of the assembly facing the East during a celebration. Where nowadays a direct common turning toward the East is not possible, the cross can serve as the interior “East” of faith. Thus the cross on the altar is an important reference point for the celebrant and the faithful. Cardinal Ratzinger has expressed an opinion that moving the altar cross to the side was a mistake and an example of the truly absurd phenomena of recent decades. The altar cross has a great importance during the celebration of the Eucharist. Its appreciation is evident especially in the solemn celebration, when it is venerated by incensation and profound bows. The celebration of the Eucharist with a cross in the middle of the altar, as exemplified by the Pope Benedict XVI and recently also Pope Francis, seems to be the best option. Such positioning of the cross helps the priest to pray to God and protects him from distraction. It places before his eyes the figure of the crucified Christ, recalling his sacrifice. Therefore it seems that the return of the cross to its position at the center of the altar is desirable in all the Catholic churches.
Liturgia musi być piękna. O pięknie liturgii Kościołów różnych tradycji
Nowakowski, Przemysław (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2014)
The liturgy of Christian Churches is beautiful because its primordial author is not man but God himself, who is present and active. This conviction is shared by all Christian denominations and can be proven by referring to numerous documents and texts of various authors. The starting point in discovering and demonstrating this beauty is always the liturgy itself. Its aesthetics can be acquired from the theology of liturgy. The liturgy is as beautiful because it reflects the gestures of Christ, for it is He on who the real and true beauty depends. The beauty of the liturgy, both in the West and East, is expressed mainly in its order (ordo) and simplicity. The concept being discussed in the article unites the Churches of different traditions. Indeed, in all of them it is the Divine and human action and encounter which determines the inner beauty of the liturgy, which flows from its heart and accomplishes itself in the numerous external forms, relevant to the particular cultures and particular traditions.
Celebracje Mszy świętych w wielkich zgromadzeniach
Krakowiak, Czesław (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2014)
The article touches upon the issue of celebrating Holy Mass in large gatherings of worshippers, which traditionally serve to be a concelebration of the Eucharist at the same time. It draws readers’ attention to the necessity of sustaining the general norms of the celebration of the Holy Mass as presented within the General introduction to the Roman Missal and the relevant instructions issued by the Apostolic See, in particular the Redemptionis Sacramentum Instruction. Further on, it refers to the recommendations of the Congregation for Divine Worship and the Discipline of the Sacraments, which are directly related to the preparation of the liturgy of the Holy Mass in large gatherings of worshippers. These are mainly concerned with the place of celebration (hall, stadium), the preparation of the place for the main celebrant, concelebrating priests and ministers, the altar and the pulpit (presbytery), the vestments and liturgical vessels, the appropriate sound system and the possibility of granting the Holy Communion. The Celebration itself should not bear resemblance to a spectacular show; nor should it be reminiscent of any other gatherings, even of specifically religious character, let alone the lay ones.
Niedzielne celebracje w przypadku niemożności uczestniczenia w Eucharystii (kan. 1248 § 2)
Adamczyk, Jerzy (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2014)
The subject of this study is the issue of Sunday celebrations in the case of inability to participate in the Eucharist (canon 1248 § 2 Code of Canon Law). First, the matter of an obligation to attend the holy Sunday Mass was discussed. Next, attention is drawn to the issue of the causes of inability to participate in the Sunday Eucharist. Finally, substitute forms of Sunday celebrations in the case of inability to participate in the Eucharist were presented.
Ekumeniczne nieautoryzowane modlitwy eucharystyczne
Przybylak, Maciej (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2014)
After the II Vatican Council, the position of the Roman Canon was disturbed. Some theologians and liturgists began to create new anaphoras without authorisation of the Holy See. The phenomen of the uncontroled liturgical progression coincided with the ecumenical opening of the Catholic Church. Thus ecumenical eucharistic prayers began to be created and distributed. One of the most significant person in this process was Max Thurian, member of Taizé ecumenical community who as first before the II Vatican Council adapted the Roman Canon according to the ecumenical reasons. Three anaphoras was analysed: Canon of Taizé published in 1967, Canon of Christian Unity issued in Baltimore in 1968 and Canon of Lima Liturgy from 1982. They represent three different circles that edited and applied them during the celebrations. Even if Max Thurian is author of two mentionned anaforas, they emerged in different circumstances. Three ecumenical eucharistic prayers presented here, show up three features related with theological divergences concerning the understanding of the Eucharist as well as the existance of the purgatory: the Eucharist is not called sacrifice directly, rather defined as a sign of the Jesus sacrifice, the real presence of Jesus Christ in bread and wine is not expressed enough, the intercessions for the dead who passed away are omitted. On the other side, all ecumenical anaphoras emphasise the prayer for the unity of the Christians according to Saviours will let all be one. The application of these ecumenical eucharistic prayer is not know in all their dimensions. There were used particulary during the Eucharist with the participation of other non-catholic Christian. Even if these anaphoras were never approved by the Holy See, they deserve an attention, because apart from the theological divergences, they manifest the strong desire of Christian unity, where all could celebrate one Eucharist that is the sacrament of unity indeed.
Woda w czasie Mszy świętej. Znak wody i jej symbolika
Superson, Jarosław A. (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2014)
According to Julien Ries water belongs to the triad of the cosmic structure, which embraces three great symbols: water, tree and mountain, through which sacrum is being revealed. During the Holy Mass celebrated of the Paschal Season water is present very often either in the words of the prayers or as a sign. The use of water is not only for hygienic reasons, but the water formerly blessed through aspersion reminds everybody about their relationship with the Church and God; the act of adding a drop of water into the chalice of wine reminds the Mystery of Christ’s Incarnation, His manhood and divinity; cleaning hands of the one who is offering the gifts means his purification; the epicletic formula Spiritus tui rore santifica emphasizes the efficiency and fertility of this intervention; the intercession prayer, which speaks about the reborn from the water and the Holy Spirit points to the newly baptized; a prayer ascribed to the purification of the chalice and paten expresses the will and possibility that all who receive Christ in the Eucharist.
Nowe formy performatyki
Solski, Zbigniew Władysław (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2014)
The text relates interdisciplinary liturgical and cultural research carried out in collaboration with national and international research centers at the Faculty of Philology and Faculty of Theology of the University of Opole. The ten-year study resulted in four collective publications, which are Icons of the Invisible ed. M. Lis, Z.W. Solski (2003), Liturgy in the world of entertainment ed. H.J. Sobeczko, Z.W. Solski (2005), Word and gesture ed. H.J. Sobeczko, Z.W. Solski (2009), Between liturgics and performance studies. Exploration I ed. E. Mateja, Z.W. Solski (2012). In recent years, the focus was on performative research at the threshold of liturgy and theater. The Faculty of Theology of the University of Opole is currently the only Polish catholic academic center, which ventured to conduct performative research on the liturgy. Results of the research conducted at the University of Opole, the author presents on the broad background of the development of performance studies in Poland and abroad.
Dramatyzacje liturgiczne Wielkiego Tygodnia w żagańskim klasztorze kanoników regularnych pod koniec XV wieku
Ziętek-Krysiński, Piotr (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2014)
The basis of the source considerations in this article is the manuscript book of musicalliturgical, that once belonged to the regular canons of the monastery of Żagań. This manuscript in the library catalogs is usually listed under the name Cantionale et Agenda. The main part of the manuscript is dated back to 1494 year and contains a description of the monastic liturgy on Holy Week. The article discusses all of Holy Week liturgical dramatization which are present in the book, i.e.: Processio in ramis palmarum, Denudatio et ablutio altaris, Mandatum, Depositio crucis and Elevatio crucis. These ceremonials are well known in the literature. Analysis of these celebrations showed that at the end of the fifteenth century in the monastery of Żagań a gradual disappearance of interference in the liturgy can be noticeable, and the rituals are evolving towards the more symbolic forms. That what happened for instance with the Palm Procession proposed by Cantionale et Agenda, which course was minimized to some actions and gestures was a prelude to the coming liturgical reform in the sixteenth century (The council of Trent). The unquestionable influence on it was the continually deepening of people’s awareness and understanding of the church rites by successive generations, which resulted transitioning to more theological forms, moreover, each age has its own and different spirituality and various internal needs. It should also be mentioned that this process did not only concerned to the abbey of Żagań, but also to the whole of the Diocese of Wrocław, where the official liturgy was indisputably the model for the Silesian regular canons as well. Nevertheless, the presented image of the Holy Week liturgical dramatizations still expresses the richness of ritual forms of the late Middle Ages.
Redaktorzy „Cantionale ecclesiasticum” jako kontynuatorzy ksiąg piotrkowskich
Bodzioch, Beata (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2014)
Cantionale ecclesiasticum is a group of supplementary liturgical books originating on the territory of Poland between 1822 and 1954. They contain a variety of chants that belong to the liturgical Latin repertoire, with some carefully-selected chants in the Polish language added to them. So far, eleven editors of Cantionale ecclesiasticum have been successfully identified, including two congregational (The Congregation of the Mission), and nine diocesan editors (the Poznań, Gniezno, Vilnius, Lviv and Warsaw dioceses). The largest number of Cantionale (eight) was published by the Missionary Priests, and the hymn book by Rev. J. Surzyński enjoyed the greatest popularity among diocesan authors. There is a total of 30 Polish editions of Cantionale ecclesiasticum. All editors claim to have relied on the printed Piotrków Graduals. Examples of substantial affinity with those books can be noticed, for example, in the rites for Holy Week, which are a continuation of customs preserved in Poland, and also in the conveyance of the so-called Piotrków melodies, i.a. in Lamentations. In addition, the Polish chants being introduced in gradually-increasing numbers are a tentative attempt to make reference to the Piotrków Graduals (Resurrection Sunday). Therefore, the editors of hymn books are heirs of the Piotrków Graduals authors and at the same time the precursors of changes that followed the Second Vatican Council.
Inspiracja „zewnętrzna” i „wewnętrzna” w muzyce polskiej związanej z osobą i myślą Jana Pawła II
Kiwała, Kinga (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2014)
The article refers to selected compositions from the abundant work of Polish composers inspired by John Paul II and his teachings. This work constitutes an exceptional and very frequent phenomenon in Polish music (and not only sticte religious music) which continued since the beginning of the pontificate. The inspiration in this type of compositions is an interesting issue. It usually is (at least) twofold: “external” (referring to the person of the pope) and “internal” (referring to a given composer’s style/interest) which is manifested, among others, in the diversity of genres and forms of these compositions, their closer or further reference to music traditionally perceived as religious, their approach towards the “papal” subject, etc. That is why the problem of inspiration is the centre of the article’s considerations. The theoretical reference point is Władysław Stróżewski’s concept of inspiration as “the dialectics of interiority and exteriority”.
Siostry Franciszkanki Rodziny Maryi a muzyka polskich emigrantów w południowej Brazylii
Gacek, Gabriela (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2014)
In 2006, The Congregation of the Franciscan Sisters of the Family of Mary celebrated it’s 100th anniversary of the evangelization in Brazil. The article describes the history of the congregation (established in Russia by Zygmunt Szczęsny Feliński in 1850’s) and it’s activity among Polish diaspora in southern part of Brazil, especially in Aurea, RS. Franciscan nuns worked there in a school as teachers of the Polish language, culture – including music – and catholic religion. Their work was very important for preservation the national identity of Polish emigrants who have been coming to Brazil since 1840’s. The author of the article concentrates on describing and analyzing remembered folk music repertoire which used to be learned at Polish school in Aurea before the World War the 2nd – in 1930’s.
Sacrum i profanum w obrazie „Maria in sole” Geertgena tot Sint Jans (część II)
Kubies, Grzegorz (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2014)
The second part of the study of the painting Maria in sole by Geertgen tot Sint Jans from the Museum Boijmans van Beuningen in Rotterdam is divided into two sections. Both are accompanied by theological and iconographic reflections as well. The Christ Child playing two handbells is depicted at the moment of generating the very first movement, creative “energy”, first sound that is going to be taken up by one of the angel musicians holding the same idiophones. Christ, incarnated God is perceived as the Musicus initiating the heavenly harmony represented by the three angelic rings. Profanum aspects in that Marian work of art are reflected in the outermost ring where angels play various musical instruments which I interpret as an incomplete catalogue of the 15th century instruments; the main reference work is Musica getutscht und aussgezoge written in 1511 by Sebastian Virdung. Four thematic sections of the study are as follows: Et signum magnum paruit in caelo: mulier amicta sole / Rosarium Virginis Mariae / Motus autem non est ens completum, sed est via in ens... / Musica coelestis vel mundana
Śląskie sanktuaria – miejsca zachowania transkulturowej ciągłości
Rabiej, Jan (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2014)
Sanctuaries are very special places for all religions, which are rooted in various, cultural settings. The essence of pilgrimage to them flows from a free choice of taking a trek, overcoming divisions as national borders and distinct ethnic, national or religious groups. Holy hills, wonderful sources and other natural relics of supernatural events, and above all, a silhouette of pilgrimage shrines are still recognizable signs of transcendent intuition, which are inscribed in human’s nature. In Silesia – the borderland – where precious threads of their traditions were located by Poles, Germans and Czechs for centuries. Sanctuaries create an extremely colorful mosaic of places – “the guest houses” such as: Wambierzyce in Lower Silesia, Mount St. Anne in the Opole and Piekary in Upper Silesia. They are engraved in the landscape thanks to recognizable qualities of architectural forms of churches, monasteries, calvary chapels and Pilgrim houses. As the history of Silesian sanctuaries proves, they have become an milieu of a local communities crystallization. In their light, generations of many nations grow up to overcome mutual differences, animosities or even a hostility fueled at times of wars, uprisings and subsequent occupations. Undoubtedly, an assimilation of newcomers from abroad, who settled in Silesia permanently, has occured in these places. These “houses” are still alive, as both religious centers and treasures of a widely implied notion of the culture.
Akustyka wnętrz sakralnych a wrażenie przestrzenności pomieszczeń
Rosiński, Adam (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2014)
The acoustics of sacred rooms is a substantial factor, which is often belittled by architects. Architectonic designing of sanctuary building ought to be based on consultation pertained to acoustics of each sacred building. The author of the following publication, perceiving many acoustic discrepancies concerning sacred interiors, sets himself an aim: to present general acoustic problems relative to the crucial acoustic parameter – spatial impression. The following parameter resultant from the improper architectonic project poses a serious acoustic problem. It causes disturbance in the comprehension of priests words and anomalies concerning resounding of liturgical music. The topic of this article connects knowledge of specialized disciplines, which thorough understanding expands versatility and skill of architects, acousticians and clerics, not to mention the better results in improvement of sacred interior’s acoustics.
Biel papieskiej sutanny w źródłach ikonograficznych i literaturze
Wendland, Mateusz (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2014)
The peculiarities of life behind the Vatican walls have stirred popular interest since the very first centuries of papacy. This curiosity resulted in the creation of numerous biographical works concerning St. Peter’s successors, as well as inquiries into the rules regulating the pope’s behavior, from the stratification of the Church to seemingly mundane questions considering the papal attire. The latter matter in particular was heavily discussed, as symbolic meanings of papal clothing came to reflect the evolution of ecclesiastical thought across centuries. The tradition of a white cassock serving as a distinct papal garment dates back to the 16th century, and is said to have its origins in the pontificate of Pius V (1566–1572), who, being a Dominican monk, continued wearing the habit of his order after his election. While this explanation is well preserved in historiography, it seems rather unconvincing in the light of iconographic sources, as they show that the white cassock had been worn by Pius V’s predecessors. The history of the white cassock as an integral part of the papal attire can be said to go back to the late 11th century. Literary and iconographic mentions of the garment that Victor III allegedly declined to wear serve as a basis for opposing the concepts proposed by various other researchers. These sources serve as a proof for the ancient origin of the garments, as well as the evolution of their symbolic meaning, undoubtedly influenced by the world view shifts occurring between different periods of history. The sources also show that the white cassock was not seen as conveying any specific ideological or theological message, at least originally. This message became clear as late as in the 13th century, when Gregory X became the Roman Pontiff. It is worth noting that his election led to a new approach to the matter of papal attire, and, consequently, to its various reinterpretations in the centuries to follow. The white cassock ultimately became an inherent symbol of papal authority, undermining the idea of Dominican origins of white as a papal colour.
Liturgia i muzyka w zakonie paulinów (Liturgy and Music in the History of the Pauline Order). Międzynarodowa konferencja naukowa (Budapeszt – Esztergom, 25–27 listopada 2013 r.)
Rozen, Fryderyk (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2014)
Sesja naukowa „Piękno liturgii” – aspekty franciszkańskie (Katowice-Panewniki, 29 listopada 2013 r.)
Tkocz, Benigna (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2014)
Poznawać liturgię i nią żyć – między tradycją a innowacyjnością. Sympozjum o Piusie Parschu (Klosterneuburg, 13–16 marca 2014 r.)
Mateja, Erwin (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2014)
Liturgia godzin jako środek nowej ewangelizacji. Międzynarodowa konferencja naukowa o liturgii godzin (Prešov, 25 marca 2014 r.)
Nowakowski, Przemysław (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2014)
Sprawozdanie ze zjazdu Stowarzyszenia Polskich Muzyków Kościelnych (Wrocław, 10–12 września 2013 r.)
Garnczarski, Stanisław (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2014)

Przeglądaj

Ostatnie zgłoszenia