Liturgia Sacra, 2015, R. 21, nr 1 (45)
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Pozycja Niedzielna liturgia bez Mszy świętej? Doświadczenia pastoralne i wskazania KościołaKrakowiak, Czesław (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2015)Due to the fact that only a priest (presbyter or bishop) can preside at Holy Mass, his absence means that the faithful cannot fully participate in the celebration of the Eucharist. In such cases the celebration of Sunday Mass by the community of faithful who are deprived of a priest, requires alternative liturgical forms to take place. However these organizations are responsible and answerable both to the diocesan bishop and the local parish priest. Among the most common celebrations in such situations are found the Liturgy of the Word: consisting of Sundays’ readings with the distribution of the Holy Communion. Another form that can be applied is the celebration of an appropriate part of the Liturgy of the Hours (Lauds or Vespers). If the liturgy is presided over by a deacon, he sits in the sanctuary (Sedilid), if it is presided by an authorized moderator, a lay man or woman, he/she presides the liturgy from outside the sanctuary. The indications and principles of the Sundays liturgical celebration without a priest are given by the Congregation for Divine Worship and the Discipline of the Sacraments. If the faithful cannot attend these kinds of celebrations, it is recommended for them to take part in religious broadcasting or to read the Bible with prayers from the missal. It is also suggested to encourage the desire for the Eucharist and for spiritual communion.Pozycja Eucharistic Christ in the Syriac tradition. The Anaphora of Addai and Mari in his liturgical and dogmatic contextApostolache, Ioniţă (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2015)Niniejszy artykuł stanowi analizę tekstu anafory Addaja i Mariego – pierwszego tekstu eucharystycznego tradycji syryjskiej. W tym kontekście, idąc za liturgicznymi i doktrynalnymi ideami, opisano realną obecność Chrystusa w świętych postaciach eucharystycznych. Dlatego też autor podjął się zadania ukazania piękna syryjskiego tekstu i jego starożytnej tradycji. Bardzo ważną częścią przeprowadzonej analizy są odniesienia do tekstu oraz podobieństwa i różnice zachodzące między tekstem syryjskim oraz bizantyjskimi. Podstawowymi źródłami opracowania są tłumaczenia Ene Braniştego oraz komentarz Nicolasa Cabasilasa „Wyjaśnienie Świętej Liturgii”.Pozycja Wymiar teologiczny tożsamości diakonów stałychSelejdak, Ryszard (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2015)On the basis of an analysis of the concilliar documents and the post-concilliar teaching of the Church, the author sets out in this article the manner in which permanent deacons participate in the sacrament of order, which is constituted in three degrees. They are not ordained, however, ad sacerdotium sed ad ministerium, that is to say not for the celebration of the Eucharist but for service. Deacons participate in the mission and the service of Christ in a special way by the sacrament of order; they receive an indelible seal, „which configures them to Christ, who made himself the «deacon» or servant of all” Paul VI teaches that the order of diaconate, „is not to be considered as a mere step towards the priesthood, but it is so adorned with its own indelible character and its own special grace so that those who are called to it can permanently serve «the mysteries of Christ and the Church»”. In this way the ancient tradition of the Church was taken up anew, restoring the ministry of deacon, „as a reminder of the service, that is the diaconia of the Church towards the local Christian communities, the sign or sacrament of Christ the Lord, who «came not to be served but to serve»” (Mt. 20: 28).Pozycja Liturgia w mediachKulbacki, Piotr (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2015)In the last hundred of years, a great development of radio, television and new dynamics of multimedia communications resulting from modem information technology (eg. Internet) has been taking place. It formulates a major theological question – whether the participation in the liturgy of people connecting to the celebration through the media is the same as a direct presence in the church. The reception of the physical dimension of the liturgy is done by human senses which are also able to receive stimuli generated by the technical devices imitating real impulses. On this background, there are two questions asked: Shall the electronic intermediataion be regarded as the real participation in liturgical celebration? And why has this form of participation a different value? The, Church recognizes it to be obtained as some act of God’s grace due to the media, however, no men should participate in sacraments in this way. Thus, in the Church documents there are indications concerning the celebration of the liturgy, when the transmission takes place. Nevertheless, some theologians (Pinsk, Rahner) generally questioned the transmissions of the liturgy basing on its personalistic nature and the respect for arcani diciplinae. Due to the inadequacy of the concept “to hear Holy Mass”, Sacrocanctum Concilium emphasized the principle of actuosa participatio. Hence, the need for the direct presence in the liturgy according to its salvific nature is connected with its personal and ecclesial nature. Moreover, the idea of celebrating the liturgy through the media was also rejected in Protestant churches. It can be stated that the virtual space only gives a substitute of the real participation in the liturgy of sacraments. Therefore, the Church points out the need to transfer the community out from the cyberspace to the real true religious community. Hence, there is the need for liturgical formation of both celebrants and media directors.Pozycja Ucałowanie ołtarza i EwangeliarzaLijka, Kazimierz (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2015)During the solemn celebration of the Mass in the seventh century, the pope reached the altar and venerated the Gospel Book and the altar with a kiss. Until the 12th century it was customary in Rome to kiss the altar only upon coming in for Mass and departing. However, in the later Middle Ages the kissing of the altar seems to have been multiplied. Innocent III speaks of the altar being kissed three times and in the days of Durandus nine such salutations were in use. The altar was regarded already in late antiquity as the symbol of Christ, abiding permanently with His Church in the Sacrifice of the Mass. This kiss has also special reference to the relics of the saints therein enshrined. In the Tridentine liturgy the altar was kissed ten times. There is no doubt that during the Eucharistic celebration among the most significant kisses were those of the altar and of the Gospel Book. By kissing the Book of the Gospels the Church and its minister is venerating or revering Christ himself. The Book of the Gospels was brought to the Bishop after the proclamation of the reading to be kissed as a sign of reverence toward the Word of God. In the liturgy of the Middle Ages, provision was made that all clerics participating in the celebration would kiss the Book of the Gospels. Today the altar is kissed only twice in conformity with the earlier tradition. On arriving at the altar and before leaving it the principal celebrant and the Deacon venerate the altar with a kiss. When the Eucharist is concelebrated, the concelebrants venerate the altar with a kiss at the beginning of the Mass. When the deacon is assisting the bishop, he carries the Book of the Gospels to him to be kissed, or else kisses it himself, saying the formula: “Through the words of the Gospel may our sins by wiped away”.Pozycja „O nich zawsze święta Matka-Kościół pamięta”. Liturgiczna klasyfikacja zmarłych w „intercessiones” modlitw eucharystycznych Mszału rzymskiego dla diecezji polskichSzczych, Jan (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2015)Liturgy of the Eucharist is a sacrifice for the living and the dead members of the Church who have been called to eternal happiness. Apart from prayer forms, dedicated only for the funeral’s celebrations, in the content of the Eucharistic Prayer was built intercessory prayer for the dead, which ipso facto clearly highlights the spiritual solidarity of Mother Church to those, who after the death of “achieve the holiness necessary to enter the joy of heaven” (CCC 1030). The content of these Eucharistic Prayers intercessiones Polish edition of the Missale Romanum emphasize a kind of classification of deceased persons, for which the Church prays in the most height of the Eucharistic celebration. At each Holy Mass Church intercedes primarily for his faithful sons and daughters who through baptism have become “household of God” (Eph 2,19). In addition, the Church also prays for those of dead, whose faith was known only to God, therefore in the intercessory prayer of the Church are included all those, whom God in his providence gives an eternal happiness. However, spiritual care of the Church, does not include the damned. The Mass’s intercessiones for the dead are heavily permeated by eschatological perspective. Through the believer’s death, he gives himself totally and definitively to God, and spiritual support of the Church, given after his death, is a help for him to complete his homeland in heaven.Pozycja Serce Jezusa w formularzach Mszału rzymskiegoSłoma, Ireneusz (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2015)In 1765 pope Clement XIII approved liturgical celebration of the Solemnity of the Sacred Heart of Jesus with own prayers. In 2015 will be the 25Oth anniversary of this event. It is really important time for every priest, because the Sacred Heart is the origin of the priesthood. This time is especially important for monastic congregations which have the worship of the Sacred Heart in theirs constitutions. It is also important for every worshipper, because Sacred Heart is indissoluble connecting with person and mystery of Jesus. After 1765 many people wrote special prayers for this Celebrity. For Poland the most important there were two texts of the Mass: Miserebitur approved in 1765 and Cogitationes approved in 1929. The second of them is still using with some differences. There are a way which leading to participation in mystery of Sacred Heart and to the Christian life.Pozycja Przepowiadanie z nauczania i ze świadectwem św. Jana Pawła II w czasie Triduum Paschalnego na przykładzie parafii św. Józefa we Wrzoskach k. OpolaŁysy, Hubert (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2015)At the time John Paul II was being canonised, there were many pastoral initiatives taking place with the aim to prepare for this event. In the St Joseph parish in Wrzoski, it was decided to devote the Easter Triduum to the teaching and testimony of John Paul II’s life. This article is a detailed account of both liturgical and non-liturgical preaching of this period. It presents the method that should be employed for communicating this kind of teaching and testimony. The said preaching should be “based on” the Pope’s teaching, not just “accompanied” by it. In the latter approach, teaching becomes merely an argument for the proposed theses, or an “embellishment” of a sermon or homily. The Holy Scripture is the primary source of preaching. However, the Pope’s teaching draws from it as well, so the concept of “preaching based on teaching” is well-justified. The difficulty of preaching “based on teaching” is that it should be simple and clear. The simplicity of communication is favoured by verbal and actual demonstration (visualisation of the word). It was attempted to apply it in the preaching based on John Paul II’s teaching and testimony during the Easter Triduum in Wrzoski. Though it is for sure that not all mistakes were avoided, especially in terms of conveying a clear message, the proposed method of presenting the teaching and testimony may prove to be useful for all those who will take the trouble to preach based on John Paul II’s teaching and testimony.Pozycja Kompozycje liturgiczne Gizeli Marii Skop zamieszczone w śpiewniku „Exsultate Deo” i ich duszpasterska percepcja na przykładzie modlitewnika i śpiewnika „Droga do nieba”Koenig, Franciszek (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2015)The article presents the composing output of Gizela Maria Skop (born 1939), the representative of the contemporary Polish composers of liturgical chants. Her compositions are embedded in the liturgical reform of Vatican Council II and emerged in close correlation to the biblical and liturgical texts. Thanks to the skilful combination of text and melody, her compositions gained a considerable appreciation and have become a part of the canon of the commonly used liturgical chants. In the article above the author discussed explicitly eighteen chants composed by Gizela M. Skop featured in both the liturgical song book “Exultate Deo” and the prayer book and song book “Droga do nieba” (Opole 2001 20062). Making use of the composer’s personal comment, the author presented as far as possible the history of each chant, its textual foundation and its potential inspirations in the area of melodics. The significant element of the discussion are the indications concerning the use of chants within the framework of the liturgical celebrations throughout the entire liturgical year.Pozycja Twórczość religijna Wojciecha Kilara – kontemplacja i spełnienieNidecka, Ewa (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2015)Wojciech Kilar (1932-2013) is an outstanding composer in Polish music in the second half of the XXlh and next century. His works is divided into three phases. The last one began since 1974 and developed along two parallel lines: neofolklorism and national-religious trend. Especially in national-religious trend Wojciech Kilar expressed his own religious attitude and spiritual values. In this area he saw the deepest meaning of his life and artistic fulfillment. National-religious trend is a predominant feature of his last phase. To the most important religious works of this period belong: Exodus, Angelus, Missa pro pace, Hymn Paschalny. The composer derived form the texts of psalms, historical lament songs and liturgical texts. He referred to the music of the Middle Ages using modal harmonic, organum and polyphonic technique. Love for God and Love for man was for him the highest values. To the features of the matures Kilar’s style belong: reduction of the sound material, repeatably of music phrases, meditative nature of musical narrative and processual development of musical tension based on the principle of textural crescendo.Pozycja Pasja według św. Mateusza (Water Passion after st. Matthew) Tana Duna i realizacja idei „muzyki organicznej”Subel, Joanna (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2015)The anniversary of the death of Johann Sebastian Bach in the year 2000 was not only an opportunity to honour the artist with concerts, but also to present Bach-inspired pieces from the late 20th century. Helmut Rilling, Head of Internationale Bachakademie in Stuttgart, approached four composers from various cultures around the world with the idea to create a passion. One of them was Tan Dun from China. Raised by his grandmother, who was living in the country, cut off from civilization, he gained his music experience from having contact with folk, shaman practices and playing primitive instruments. The music of nature, the rustling of leaves, the singing of birds, and above all water and the various sounds it can produce became the fabric of his music. A prolonged lack of access to European musical culture led to his using in the composition creating process not only traditional instruments, but also organic material such as water, stone or paper as sources of sound. This is why Tan Dun describes his music as ‘organic music’. In his Water-Passion, to the text of the Gospel of St. Matthew, the composer used, apart from traditional instruments, also the ‘play’ of water and stones. As it is common in Chinese folk practice, the singers not only sing, making use of aliquots, but also play ceramic wind instruments, and the choir generates sound by striking stones. The scene of the renouncement of Jesus by Peter, whose name etymologically means ‘rock’, was called by the composer the ‘Stone Song’ Transparent, water-filled bowls placed on the stage in the form of a cross are used not only to generate various acoustic phenomena, but are also part of the stage scenery, which is pointed out in the score. The composition of the performing ensemble is quite unique, as it includes: a soprano, a solo bass, a choir, a violin, a solo cello, three percussionists, who play multiple water instruments, and an electronic sound producer. The piece starts and ends with the sound of moving water.Pozycja Organy w kościele parafialnym pod wezwaniem św. Mikołaja biskupa w DzielowiePóźniak, Grzegorz (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2015)Pozycja Mecenat rodu von Oppersdorffów w XVII w.Adamus, Kamil (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2015)The subject of the article is the Oppersdorff family patronage in Głogówek area in the seventeenth century. Jan from Eberstein, the knight, who came from Switzerland was the ancestor of the Silesian Oppersdorff family. The first seat of the Oppersdorff family was Gać and the next one – Głogówek. In 1562 Głogówek and twenty-four surrounding villages were leased by the baron Jan von Oppersdorff and since that time the catholic count’s family started on a grand scale foundations according to a saying cuius regio eius religio. To such foundations belong: the Loreto Chapel (1629), the Replica of Lord’s Sepulchre from Jerusalem (1644), The Eight O’clock Bell (1650) and a church on so called Gliniana Górka, the St. Anthony Chapel in the franciscan church, the Marian Column in the market square from 1669 and the chapel dedicated to the Virgin Mary of Bardo from 1658. Apart from architectural projects, the family von Oppersdorff founded liturgical garments. In the treasury of the former collegiate church there are three liturgical garments with the founder and his wife’s coats of arms. Three generations of the Oppersdorffs raised Glogówek’s values to such a level, that the town can be called “Upper Silesian Rome”. Numerous foundations confirm the pioneering role and the importance of the Oppersdorff family activities in the spread of Tridential Catholicism in Silesia.Pozycja Ksiądz profesor Jerzy Pikulik (1928-2015)Grajewski, Czesław (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2015)Pozycja Liturgia i religijny pluralizm (Sympozjum AKL, Monaster/Niemcy, 1-5 września 2014 r.)Mateja, Erwin (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2015)Pozycja Badania nad liturgią w Polsce po Vaticanum II (historia – kierunki badań – metodologia). 50 Sympozjum Wykładowców Liturgiki w Wydziałach Teologicznych i Wyższych Seminariach Duchownych (Licheń, 9-11 września 2014 r.)Mateja, Erwin (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2015)Pozycja Jubileusz 50-lecia działalności Instytutu Szkolenia Organistów przy Papieskim Wydziale Teologicznym w Warszawie (Warszawa, 15 czerwca 2015 r.)Struczyńska, Anna (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2015)Pozycja Recenzje i omówienia nadesłanych książekPotoczny, Mateusz; Grajewski, Czesław; Koenig, Franciszek; Wiśniewski, Piotr (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2015)Pozycja Rivista Liturgica (2014), nr 3-4; (2015), nr 1Lijka, Kazimierz (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2015)Pozycja Studia Gregoriańskie 8 (2015)Grajewski, Czesław (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2015)