Liturgia Sacra, 2011, R. 17, nr 2 (38)

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Wychowanie liturgiczne dzieci i młodzieży w nowej podstawie programowej katechezy Kościoła katolickiego w Polsce
Kostorz, Jerzy (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
Children’s and teenagers’ liturgical education is an important task of integral catechesis. It is accomplished at school and in parish. The knowledge about liturgy is passed on at school while the formation of attitudes and introduction to Christ mystery, present and acting in sacraments, is done in parish. The aim of this article is to describe the above mentioned issues based on the new, signed on March 8,h 2010 “Catechesis curriculum of Catholic Church in Poland.” First, liturgical education is briefly discussed. Then, the new catechesis curriculum is synthetically characterized. Next, liturgical eductation and forming liturgical attitudes according to the new curriculum is presented. The particular stages of education in kindergarden, primary school, gimnazjum and secondary school are underlined. Summarising these considrations the author evaluates children’s and teenagers’ liturgical education that is proposed in the new catechesis curriculum. New catechetical and pastoral challenges are also mentioned here.
Świętość liturgii zobowiązaniem do poprawnej celebracji
Matwiejuk, Kazimierz (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
Hierarchia prawd a patroni kościołów
Mieczkowski, Janusz; Gilski, Marek; Cholewa, Marcin (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
The objective of the article is to answer the question of the degree to which the II Vatican Council concept of the hierarchy of truths finds reflection in dedications of parish churches. The material for this study constituted of the dedications of churches in the Archdiocese of Kraków. The analyses allowed formulating the following conclusions. The post-Council increase in dedications referring to God should be perceived as a positive tendency equal to understanding the Holy Trinity and Incarnation as central truths of the Christian faith. An analogous increase has been noted in dedications to Our Lady, which has been undoubtedly influenced by the Marian dogmas proclaimed in the recent centuries. The complete disappearance of dedications to angels appears to be a symptom of the diminishing devotion to them. The substantial decline in the number of churches dedicated to saints accompanied by a rise of canonizations is a sign of a shift in focus toward the central truths of the Christian faith.
Rodzina wspólnotą i miejscem wzrastania w wierze przez liturgię domowego Kościoła
Stala, Józef (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
O pastoralnych inspiracjach encykliki „Redemptoris Mater” 25 lat później
Wojtczak, Adam (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
The article offers an attempt to reanalyze the pastoral inspirations for the encyclical Redemptoris Mater by John Paul I I 25 years since its publication with reference to Marian pastoral work in Poland. These inspirations have been discussed a number of times however they have not been appreciated enough in pastoral service. Their implementation is slow and resistant. This jubilee study is to bring them closer to the priests and encourage them to consistently apply them within Marian pastoral instruction. The image of Mary as the First Believer needs to be promoted. Mary perceived from the angle of faith becomes closer to us rather than perceived from the angle of her privileges. Moreover, faith enables us to consider her from Trinitarian and ecclesiastic perspective (paragraph 1). A preference for the piety of imitation, in tum, enables one to enter “the school of Mary” – the First Believer, in order to follow in her footsteps upon the path of faith. Then all Marian practices are not only of devotional nature but also formative (paragraph 2). Mary’s motherly closeness gives rise to cordiality and warmth. In return we filially confide in her. Her spiritual beauty fascinates, encourages to make an effort and it reveals God (paragraph 3). It is essential to enhance the status of complementarity of the formulae “through Mary to Jesus” and “through Jesus to Mary” The latter has cognitive sense (we get to know Mary through Jesus) and existential one (from the mystery of Jesus emerges an active and model presence of Mary in the Church). This also evokes the need to correct the image of God, i.e. not to contrast his justice with Mother’s mercy (paragraph 4). Papal apologia for popular Marian piety encourages its promotion within pastoral service. It ought to be evangelized (base on the Scripture, comply with the liturgy, purge the language), so that Marian cult would not be perceived as independent or competitive but incorporated within one Christian cult that leads “to the Father through the Son in the Holy Spirit like Mary and with Mary” (paragraph 5). This is how “the Polish Marian way”, developed and corrected, has a chance to remain a significant bond in the life of both the Church and the nation.
Pojmowanie uczestnictwa w liturgii w okresie po soborze watykańskim II
Żądło, Andrzej (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
Wstępny zestaw literatury źródłowej do badań nad liturgią papieską
Krzych, Bartłomiej K. (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
It may first seem that history, theology, ceremonies and the customs of the Papal liturgy, and their impact on sacred rites celebrated everywhere in the world over the centuries of the Church have not been researched by scientists. This is but misbelief. Extremely important research has been conducted for the past decades (with the special mention deserved by Professor M. Dykmans; the publications of the contemporary Papal Office of Liturgical Celebrations are also important), which is undoubtedly owed to the development of liturgical sciences initiated by the liturgical movement. Sadly, Polish bibliography is very modest indeed – besides works of Archbishop A. J. Nowowiejski (Wykład liturgii Kościoła katolickiego) and articles written by Fr Professor Jerzy Stefański PhD hab., we seem to have no noteworthy publications. Since 2010, there have been attempts to bring in new air (publications or audiovisual aids), which has been initiated by a new website (www.caeremonialeromanum.com) Caeremoniale Romanum – Liturgia et mores Curiae Romanae. In order to explain the subject to Polish readers, we feature some introductory publications for research on the Papal liturgy. The available sources may comprise four main categories: Liturgical books, Publications, Articles, Diaries of Papal Masters of Ceremonies The above categories may be split into subcategories, depending on topics touched, e.g. into language or thematic. The Papal liturgy is to be further explained in Polish liturgical writings, all the more that the late 1990s and early 2000s have been marked by the reign of the Great Pole – blessed Pope John Paul II. Let the article be the incentive to further study.
Retoryczne zorganizowanie kilku średniowiecznych hymnów do Ducha Świętego
Janus, Katarzyna (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
In the present sketch the three hymns to the Holy Spirit were analyzed They were made in the three stages of the Middle Ages. They differently actualize ars rhetorica. It should be noted at this point that, he medieval hymns seem to be particularly submitted to the rhetorical reading. They have the pathetic form, for instance, prayers – orationes. From invention, regarding the Bible as the main and inexhaustible source of subjects, through disposition with via argumentorum, capitano benevolentiae, confirmatio, to eloquence, where pathos is often consequence of juggling with words and almost the ascetic simplicity. Presented hymns belong to collection of Analectas hymnica maedii aevi. Their selection being subjective, presents the variety subjects regarding the Holy Spirit and diversity of versification proposed by writers. There was respected works’ chronology in the article. The oldest hymn, submitted to the rhetorical reading, in the present analysis, is one of Bede, the Venerable (672-735). The second analyzed literary work Ad Spiritum Sanctum was written about XI century by the unknown writer. That hymn was not often used in the liturgy. It is amazing originality in its invention stratum and the artistic form that has the ancient provenance. The next hymn was selected because of the particular rhetoric skill of his author. Comparison of the three hymns shows the different ways of realization regarding the same topic.
Michał Anioł i Wolfgang Amadeusz – dwie wizje końca świata
Grajewski, Czesław (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
This article refers to the subject often undertaken by artists in the history of art – the vision of the end of the world. The author focuses on two specific masterpieces: Michelangelo Buonarotti’s fresco The Last Judgement (completed in 1541) and Wolfgang Amadeus Mozart’s funeral mass Requiem KV 626 (unfinished in 1791). Despite the fact that their works are divided by the period of over two centuries, common fragments can be found in both biographies. For example, the protectorate of lords and the price paid for being an artist. Connoisseurs of art often highlight that both the Judgement and the Requiem are an expression of the fear of death and the sense of guilt for the evils committed. In addition to theme, both works are connected to each other by one more thing: in the spring of 1770, Mozart after hearing Gregorio Allegris’s Miserere twice, wrote it down from memory. This piece of work was covered by several restrictions. It was allowed to perform it only during the great week and only in the Sistine Chapel, where Michelangelo had placed his fresco. It is possible that even 250 years after the creation of Last Judgement, Mozart had this fresco in mind when composing Requiem in Vienna. The author of the article tries to find these elements of the painting and music, in which both artist have included their own idea of the last hours of the world’s existence.
Sakralna twórczość na chór a cappella Mariana Borkowskiego
Łukaszewski, Marcin Tadeusz (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
After 1989, sacred music in Poland was enriched with numerous compositions of diverse character. An upsurge of interest in sacred art in general was enhanced by the political transformations which resulted in the freedom of expression and ample opportunities for the presentation of this type of art. As regards music, composers turned to the sacrum even earlier, after the election, in 1978, of a Polish Cardinal, Karol Wojtyła, to the highest office in the Roman Catholic Church. In the last three decades of the twentieth century, a growing number of composers explored religious themes. In Poland, Marian Borkowski is among those composers for whom sacred music occupies a prominent role. Born in 1934 in Pabianice, he is also a pianist, musicologist, teacher and organiser of musical life. He is the recipient of numerous prestigious awards. His oeuvre includes five sacred works for a cappella choir: Adoramus (1991), Regina caeli (1995), Ave. Alleluia. Amen (2000), Ubera me (2005) and Sanctus (2009). He has also written vocal-instrumental compositions: three versions of Pax in terra: I – for female voice, four guitar groups and bells (1987), II – for female voice, percussion and organ ( 1988), III – for mixed choir, strings and percussion (2007) and Hosanna I for mixed choir and four instruments ( 1994) as well as works for mixed choir and symphony orchestra: De profundis (1998), Dies irae (2004), Hymnus (2005), Hosanna II (2009). Careful selection of the text is one of the most important features of Borkowski’s choral compositions. In Regina caeli he employs the full text of the antiphon, whereas in the remaining works he uses selected words (Ave – Alleluia – Amen) or sayings taken from specific texts (Libera me, Sanctus) or just vocalise (Adoramus, fragments of Sanctus). These are all short pieces, in single movement, consisting of segments, often of a symmetrical construction. Three of them (Regina caeli, Libera me, Sanctus) are in the key or have the tonal centre of G major. All of these compositions have homophonie textures and a chordal-based development of musical material. The choral parts are treated on a par with the instrumental parts. As regards compositional techniques, all the pieces contain similar patterns in their construction, which are responsible for their structural cohesion. These devices include unison or all’unison progressions, octave doublings, sequences of tritones, the isolation of the melodic line in the sopranos with the harmonic accompaniment given to the remaining vocal parts, unison singing on a single note by the whole choir, and the diagonal development of sound structures by adding successive parts to the lowest part. One of the most important features of these compositions (and of Borkowski’s non-choral works as well) is the technique of contrast. It manifests itself in the extreme changes of dynamics and register, coupled with an augmentation or diminution of rhythmic values. These pieces are characterized by a sense of discipline, at both micro- and macroformal level. All the above features are subordinated to a single, overriding concept – that of expression.
Szaty liturgiczne to też dzieła sztuki. Wybrane przykłady z XVIII wieku w polskich zbiorach
Bender, Agnieszka (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
Despite Poland’s tumultuous history, rich and sometimes outstanding collections of liturgical vestments remain in churches and museums. Of world renown is the, now scattered, largest collection of medieval paraments found in a walled-up chapel in Saint Mary’s Church in Gdansk. The number and diversity of 17th century Italian patterned silk fabrics used to make chasubles in Poland is greater than such collections in Italy itself. The most diverse and best preserved are the liturgical vestments from the 18th century. These works demonstrate the phenomenon of meeting and even blending together of influences and inspirations from the West and the East, seen both in the techniques used and in the means of decoration. Damask from Lyon was commonly used to make liturgical vestments along with Turkish and Persian fabrics. Paraments made of re-used kontush (Polish noblemen’s outer garment) sashes constitute a separate group of objects. A large group of embroidered vestments as well as unique chasubles made from tapestries are also noteworthy.
Symbolika barw, czas i przestrzeń na akatystowych ikonach Bogurodzicy. Schemat ikonograficzny bizantyński i ruski
Cyrek, Olga (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
Among the paintings deserve attention Marian icons, which emphasized the Theothokos titles contained in the so-called liturgical hymns (acatist). It is this type of imagery includes such icons as Mother of God life v giving source, Veil of Our Lady (Protection) and the Mother of God enthroned. On these icons of the Theotokos is surrounded by cosmic attributes that indicate that sehe is the Queen of Heaven and is associated with all creatures. The central place is occupied by Mary and Child, and is surrounded around her smaller paintings. Just like any icon theological content transitted through a specific work of art, or color, form and line. Prospective lines do not concide in one point here, but guided by the viewer. Colors have a symbolic meaning. Space and time do not have the icon nothing to do with the laws of physics, but reversed the laws of nature. The icon is after all done from the standpoint of eternity, thus uniting in one plane scene taking place at different times. The main characters are placed on the axis of the icons and have larger size, so you create a proper hierarchy of forms. While less important elements are treatet conventionally.
Apel przeciw kiczowi
Malesa, Wojciech (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
For over a hundred years the issue of kitsch has been discussed by historians of art and its followers. The concept of kitsch has evolved over the years and lost the rigid boundaries. Attempts to determine what could be called a work of art, and may be included in the field of kitsch, has caused various difficulties. There are several concepts indicating the characteristics of kitsch in relation to particular realities. Also in the field of sacred art there are creations which are far from the canons of art, approaching both its form and content to kitsch. The liturgy is the very demanding “space”. Approved for it may be only those works of art that are characterized by compliance, real beauty, theological correctness, and are far from inappropriate splendour. The major place in liturgy is the temple built around the altar, which is a domus ecclesiae. Therefore, the requirements of the rules and traditions of canonical sets of requirements for the creation of the architectural design of future temples. Also the altar – the place the most import ant in the liturgy, along with the sorroundings is worthy of special attention from artists, as it is the symbol of the cross on which Christ has made its most perfect sacrifice. The presence of religious paintings both in churches and private homes should be characterized by their beauty and theological correctness, so as faithful praying in front of them direct their thoughts toward God and let people worship Him. Among the vestments and vessels used in the liturgy we cannot miss their beauty and theological correctness. In the article’s conclusion, based on the result of an earlier analysis of legislation and in relation to the various examples cited for the use of human products in the liturgy, the author points out the qualities that should characterize the work of sacred art. All these raise the thesis that the boundary between art and kitsch appears where it breaks away from the work of theology and liturgy, it is the artificial product, it loses its uniqueness, it does not cause deep feelings which make the recipient closer to the true beauty and does not meet the requirements of the law to preserve the beauty and avoid the of splendour.
Przestrzeń kościelna między kanonem a bezładem
Nadrowski, Henryk (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
Believing and practicing Catholics will understand the need of place, context and of special atmosphere for prayer, liturgy celebration and adoration. Still, an important and current problem are: the criteria, circumstances, content, form, iconographie programme of the facility ie. everything that contributes to this only and unique space, the space of the church. The problem concerns both the context, the surroundings, and above all the interior of the church. We ask both the recipients (the users) and the investors (usually the clergy) as well as those who design and build, the question: “How”? We ask them, how to create an adequate, suitable and appropriate sacred building which answers both the needs of a specific Christian community and is the work of the present time and of this era. Neither chaos, arbitrariness, lawlessness, mediocrity nor religious kitsch should have any access here. Many good and pious people refer to their experiences, feelings and memories from their childhood or youth. They long for churches in the styles of bygone eras. Historicism and even antiquization of architecture and sacred art, appear to be – according to those persons – the only and the best help for the failure of modern sacred architecture. Other people tend to the stereotype, template, standard and canon. There seems to be forgotten the main message of Vatican II in this sphere ie. the need for creative development of the present day church buildings. The spirit and personality of the architect are the most important factors that affect the modern art architecture of sacred buildings. The sense of dialogue and responsibility of all milieus enables to create serving and beautiful buildings imbued with knowledge and faith. They shall also be a specific manifestation of sanctification of our times – of consecratio mundi.
Śp. ks. Zbigniew Piasecki
Filaber, Andrzej (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
Śp. ks. profesor Tadeusz Przybylski SDB
Tyrała, Robert (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
Dom Boży. III Ogólnopolska Konferencja Naukowa w cyklu: Rzeczpospolita domów (Słupsk, 26-27 kwietnia 2010 r.)
Nadrowski, Henryk (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
II Ogólnopolska Pielgrzymka Muzyków Kościelnych na Jasną Górę (Jasna Góra, 7 maja 2011 r.)
Kilnar, Nikodem (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
Jedność w wielości: podstawy interpretacji śpiewu gregoriańskiego. IX Międzynarodowy Kongres Śpiewu Gregoriańskiego AISCGre (Poznań, 30 maja – 4 czerwca 2011 r.)
Białkowski, Mariusz (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
Pogrzeb chrześcijański: obrzędy, teologia, praktyka. XLVII Sympozjum Wykładowców Liturgiki w Wydziałach Teologicznych i Wyższych Seminariach Duchownych (Góra św. Anny, 6-8 września 2011 r.)
Mateja, Erwin (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)

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