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A poesia de Sophia é também uma questão de tempo. É dentro do tempo que se escuta a sua aspiração à unidade e à inteireza. Trata-se de uma poesia eivada de incertezas; mesmo quando revela a posse de uma luminosidade, guarda ainda sombras subtis; mesmo quando os seus contornos intocados sugerem a lisura da superfície, não omite as suas asperezas, a litania rumorosa dos seus augúrios, o lamento – em melopeia – do tempo dividido. O tempo não é encarado apenas como duração, mas sobretudo como intensidade; não é tanto um «tempo quando», mas um «tempo onde». Sendo um «livro de passagem», No tempo dividido (1954) é como uma crisálida, um grito de resgate. É entre a pátria perdida e o corpo perdido que se entretece uma mistagogia da temporalidade. Entre naufrágios, desastres e destroços, Sophia teve «o futuro por memória»; entre o pensamento sem rosto, os gestos sem peso e o olhar atento que nenhum acaso desvia, como Antígona, a sua poesia sobreleva: «Eu sou aquela que não aprendeu a ceder aos desastres».

Wydział Teologii, Instytut Nauk Teologicznych; promotor rozprawy doktorskiej: ks dr hab. Paweł Mąkosa, prof. KUL

Na tragu izjave Drugoga vatikanskog koncila o homiliji kao sastavnom dijelu liturgije (usp. Sacrosanctum concilium, br. 52) u članku se obrađuje pitanje homiletskog propovijedanja. Riječ je o tome da se utvrdi liturgijsko mjesto i narav homilije kako bi u konačnici sâmo propovijedanje bilo oblikovano slavljem. Pripremati i slaviti homiliju kao liturgijski čin nužno uključuje pitanje kako se iz liturgije može doseći život. U širem kulturnom okviru postmoderniteta homiletsko propovijedanje i liturgijsko slavljenje nisu po sebi razumljivi. Suvremeni čovjek stoji pred homiletskom riječju i liturgijskim slavljem nerijetko ne razumijevajući tu vrstu govora jer ga ne proživljava. Iskustvo se, stoga, čini polazištem nove integracije homilije u liturgiju i liturgije u život. Na tom će tragu ovaj članak tematizirati stanje i perspektive homiletskog propovijedanja s obzirom na njegovu liturgijsku narav i antropološku artikuliranost u okviru kulturnog ozračja naše suvremenosti. Uzevši u obzir da propovijedanje nije tek prenošenje sadržaja vjere, već čin vjere u krilu sakramentalnog slavlja, ovaj će članak na tragu Pavlove ideje o uzajamnosti vjere i besjede (usp. 2 Kor 4,13) pokušati pružiti naznake za mistagoško propovijedanje: govoriti u slikama, homilija kao liturgijski čin, homilija kao proces preobrazbe, homilija kao čin vjere., Following the statement of the Second Vatican Council on homily as a constituent part of liturgy (see Sacrosanctum concilium, no. 52), the article analyses the issue of homiletic preaching. The aim is to determine the liturgical place and nature of homily so that preaching might be formed by celebration. To prepare and celebrate homily as a liturgical act necessarily involves the question of how to reach life through liturgy. In the wider cultural frame of postmodernity, homiletic preaching and liturgical celebration are not by themselves understandable. When facing homiletic preaching and liturgical celebration, the contemporary human being often does not understand that kind of discourse, because he/she does not experience it. Experience should, therefore, be the starting point of the new integration of homily into liturgy and liturgy into life. In that sense, the article thematises the state and perspectives of homiletic preaching in terms of its liturgical nature and anthropological articulacy within the frame of cultural environment of our contemporaneity. By taking into consideration that preaching is not simply transmission of contents of faith, but an act of faith in the bosom of a sacramental celebration, this article will attempt to offer notes for mistagogical preaching by following Paul’s idea of mutuality of faith and word (2 Cor 4:13): to speak in images, homily as a liturgical act, homily as a process of transformation, homily as an act of faith.

Wydział Teologii, Instytut Liturgiki i Homiletyki; promotor rozprawy doktorskiej: ks. prof. dr hab. Stanisław Dyk Praca doktorska zawiera naukowe opracowanie mistagogii chrystofanii paschalnych (J 20, 1-9.19 - 21, 19) oraz analizę homilii wielkanocnych, które zostały wygłoszone na mszach transmitowanych przez polskie radio i telewizję. Egzegeza perykop wielkanocnych odkrywa głębię chrystofanii paschalnych oraz wskazuje tematy teologiczne obecne w tych tekstach. Badanie chrystofanii w kontekście czytań mszalnych i tekstów euchologijnych poszczególnych niedziel wielkanocnych pokazuje ich silny związek z odkrytym kerygmatem. Wykorzystanie klucza potrójnej mistagogii: odsłonięcia, uczestnictwa oraz upodobnienia do Zmartwychwstałego, ukazało mistagogię chrystofanii paschalnych jako treść homilii wielkanocnych. Analiza przepowiadania misterium chrystofanii paschalnych w polskim radiu i telewizji wskazała na zbieżności z celebrowanym misterium, ale również pozwoliła dostrzec również pominięcia, błędy i rozbieżności, które temu przepowiadaniu towarzyszyły. The doctoral dissertation contains the scientific study of the mystagogy of the paschal christophany (Jn 20, 1-9.19 - 21, 19) and an analysis of Easter homilies that were delivered at Holy Masses broadcast by Polish radio and television. The exegesis of the Easter pericopes reveals the depth of Paschal Christophany and points to theological themes present in these texts. The study of Christophany in the context of mass readings and euchological texts of Easter Sundays shows their strong relationship with the discovered kerygma. The use of the key of triple mistagogy: revelation, participation and conformation to the Risen One showed the mystagogy of paschal christophany as the content of Easter homilies. The analysis of the preaching of the mystery of paschal christophany showed convergence with the celebrated mystery, but also allowed to notice the omissions, mistakes and discrepancies that this preaching contained.

The process of Christian initiation, understood as having an experience with mystery, has been present in the Catholic Church since its beginning and it remains a catechetical orientation in the context of post-Vatican II. This research has, therefore, the objective of establishing the relations and influences of Cyril from Jerusalem’s mistagogical catechesis in the formation of young children, young adults and adults, today. In order to do so, it seeks to delimit an approach between mistagogy and mystery, in the context of primitive Christianity, aiming to understand the intrinsic relation between language and the condition of unconditional Mystery of God. For theoretical support the proposal of authors such as the theologist Paull Tillich, who calls attention to a non-superficial vision of mystery was used, as well as Leonardo Boff, who at proposing a concept of mystery, do it in direct relation to the process of initiation to mysterious religions. Also, as a result of the connection between mystery and language, the value of symbolic dimension was worked out. In the second chapter, it was approached more specifically, the relations between mystagogy and catechesis in the vision of Cyril of Jerusalem. Finally, in the third chapter, it was researched in which ways Cyril of Jerusalem’s mystagogical thought gives basis to the development of mistagogical catechesis after the Second Vatican Council, in the light of some documents of the magisterium that guide the overcoming of the existing catechetical practice for a catechesis of. catechumenal inspiration. O processo de iniciação cristã, entendido como portador de uma experiência com o mistério é um tema presente na Igreja Católica desde os seus primórdios e permanece como orientação catequética no contexto do pós Vaticano II. Essa pesquisa tem como objetivo, portanto, estabelecer as relações e influências das catequeses mistagógicas de Cirilo de Jerusalém na formação de crianças, jovens e adultos, hoje. Para tanto, busca-se delimitar a relação entre mistagogia e mistério, no âmbito do cristianismo primitivo, visando entender a relação intrínseca entre a linguagem e a condição de incondicional mistério de Deus. Como apoio teórico se utilizou da proposta de autores como o teólogo Paul Tillich, que adverte para uma não visão superficial do mistério, bem como, Leonardo Boff que, ao esboçar uma concepção de mistério, o faz na relação direta com o processo de iniciação das religiões mistéricas. Também, como consequência da relação entre mistério e linguagem, trabalhou-se o valor da dimensão simbólica. No segundo capítulo, adentrou-se, de modo mais específico, nas relações entre mistagogia e catequese no pensamento de Cirilo de Jerusalém. Por fim, no terceiro capítulo, foi observado como o pensamento mistagógico de Cirilo de Jerusalém fundamenta o desenvolvimento da catequese mistagógica, pós o Concílio Vaticano II, à luz de alguns documentos do magistério que orienta a superar a prática catequética existente para uma catequese de inspiração catecumenal. São Cristóvão, SE

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Reivindicamos desde estas páginas la necesidad de reubicar el Mirouer des simples ames en su contexto medieval para restaurar sus imágenes en lo que a percepción, retórica y recepción se refiere. En este trabajo tomaremos lo textualmente visible como categoría de análisis histórico y lo justificaremos por su carácter didáctico, situándolo en contextos de difusión que no presuponían un auditorio necesariamente clerical ni letrado. Intentaremos reconstruir los aspectos visibles del Mirouer y exponer la poética de los mismos. En primer lugar, decodificaremos las imágenes a través del análisis filológico del texto para, en segundo lugar, establecer la comparación de la obra poreteana con otros documentos de la época (escritos y plásticos), lo que nos permitirá entender el posicionamiento de la obra ante su tradición expresivo-doctrinal. Propondremos una hermenéutica de lo meramente escrito a través de los mecanismos verbales que crean la visibilidad de la imagen en la obra poreteana., In this thesis we claim the recontextualization of the Mirouer des simples ames in its medieval context so that its images can be restored as far as perception, rhetoric and reception are concerned. By this work we place the text in contexts where the audience was no necessarily clerical or educated: we justify the textual visibility because of the didactic character of the device, and we take it as a category of historical analysis. We therefore reconstruct the visible aspects of the Mirouer and explain its poetics. In the first place, we decode the images through the philological analysis of the text and, in the second place, we compare the poretean work with other documents from that period (written and, mostly, visual ones). In short, we propose a hermeneutic of the mere written word through the verbal mechanisms that create the visualization of the image in the poretean work.

Naočigled sve većih pojava nasilja među mladima, autor zastupa tezu da nije dovoljno liječiti simptome. Potrebno je štoviše imati u vidu bitak čovjeka, što je po kršćanskom uvjerenju moguće samo putem vjere. Budući da je vjera bitno povezana s krštenjem, u članku se reflektira milosni učinak tog sakramenta kao stvaranje novog bića koje živi u svijesti egzistencijalne prihvaćenosti. Samo onaj tko se dubinski osjeća voljenim uspijeva odreći se sile kao rješenja problema. Svijest kršćanskog dostojanstva i liturgijski izražena vjera nose u sebi potencijal kompenzacije nedostataka moderne obitelji koji generiraju naklonost nasilju. Da bi se taj potencijal aktivirao, potrebno je u mladom čovjeku mistagogijski produbljivati krsnu svijest., With the rise of violence amongst youth, the author suggests that it does not suffice to deal with consequences. It is necessary to take into account man's existence, which, according to the Christian outlook, is only possible through faith. Since faith is necessarilly connected with baptism, the article reflects upon the effects of grace of this sacrament which is a new creation which is conscious of it's existential belonging. Only the person that deeply feels loved can renounce power as a solution to all problems. Realization of one's Christian dignity and faith which is liturgically manifested can compensate for the shortcomings of the modern family which breeds violent tendencies. In order for this to take place, it is necessary to deepen in the youth their baptismal identity through mystagogical study., Ausgehend von der Diagnose einer immer größer werdenden Gewaltbereitschaft unter den Jugendlichen vertritt der Autor die These, dass es nicht genügt Symptome zu kurieren. Vielmehr ist es notwendig die innere Substanz des Menschen in den Blick zu nehmen, was aus christlicher Sicht nur vom Glauben her möglich ist. Da Glaube originär auf die Taufe zurückzuführen ist, wird diese gedeutet als Schaffung eines neuen Seins bzw. einer neuen Person, die sich als Kind Gottes geliebt weiß. Nur angenommen sich Wissende können auf Gewalt verzichten. Dadurch können familiäre und gesellschaftliche Defizite ausgeglichen werden, die zur Gewaltbereitschaft führen. Zu diesem Zweck ist es erforderlich, in der Kirche und im (jungen) Menschen das Taufbewusstsein mystagogisch zu vertiefen.

Na početku su razmišljanja o mogućemu odnosu umjetnosti i liturgije u širemu kontekstu odnosa teologije i umjetnosti. Umjetnost (osobito likovna) koja je zadobila atribut sakralnoga i liturgijskoga proživljavala je tijekom povijesti različita iskušenja. Budući da je ona najočitiji pokazatelj ne samo činjenice da se odnos između Crkve (kako vodstva tako i zajednice vjernika u cjelini), umjetnosti i umjetnika ne nalazi na zavidnoj razini, nego i načina na koji vjernici žive vlastitu crkvenost, pitanje likovnosti vezane uz liturgijsko ruho i posuđe postaje izazovno. Ono postaje odrazom kršćanskoga nauka u kristologiji i ekleziologiji. Ako umjetnici raznih umjetnosti polaze od liturgijskoga slavlja, veoma će se brzo uočiti posljedice i za 'velike' liturgijske teme, osobito kada je u pitanju liturgijski prostor. Polazeći od oltara i liturgijskoga čina, na samome početku planiranja izgradnje liturgijskoga prostora nametnut će se pitanje cjelokupne liturgijske likovnosti. Tada je itekako važno kakvo je liturgijsko posuđe (ovdje s posebnim naglaskom na kaležu) ili ruho (s posebnim naglaskom na misnici), jer ono je mikroarhitektura slavlja, u drugome se dijelu - na konkretnim primjerima - kroz prizmu podjele na: a) informativne; b) demonstrativne; c) dekorativne; d) mistagogijske predmete, pokušava potkrijepiti tvrdnje te istaknuti smjernice za primjeren pristup današnjim novim traženjima, kako svojim teološkim i estetskim neukusom ne bismo zanijekali objavljenu Istinu., This presentation contains theoretical expressions, the historical development and an encounter with real examples, derived particularly from Croatian heritage and present circumstances. The article begins with reflections on the possible relation of the arts and liturgy, and in a wider context the relation of theology and the arts. Art (especially visual) having acquired sacred and liturgical attributes has experienced during history various difficulties. Due to the fact that the arts are the most evident indicator not only of the fact that the relationship between the Church (the hierarchy and the community of believers as a whole), the arts and the artist is not in an enviable position, and the way in which the faithful live out their association with the Church, the question of visuality relating to liturgical vestments and vessels becomes a challenge. Vessels, in many ways possibly interpreted as secondary for Christian liturgy, represents an internal attitude towards Christian truths concerning the incarnation and redemption through Jesus Christ and ecclesiology. If artists of the various arts begin with the liturgical celebration, the results for 'great' liturgical themes shall be soon evident, especially when the question of the liturgical place arises. Starting from the altar and the liturgical act, the very first stage in planning the construction of the liturgical place, the question of integral liturgical visuality is posed. Indeed, the type of liturgical vessels (here special emphasis on the chalice) or the vestments (with an emphasis on the chasuble), become very important because they are the micro-architecture of celebration. The liturgical vernacular is always a special language, and therefore a meta-language, taken from an area of every day life, subjective intentions and forms of cooperation. Whatever subjectivity would possibly carry the liturgical celebration into mimeses (imitation), it would deny its anamnesis (memorial) and objectivity. Distanced far from high fashion, liturgical vestments and vessels reveal a distancing of the values promoted in the fashion world. It is not advisable to start from the presumption that the arts and liturgy can easily become agreeable, because their harmony is in itself not understandable. The relationship between artistic freedom and liturgical demands for rituality are particularly interesting. For the artist the 'sign' is the most common ownership that communicates itself. In liturgy, the sign is chiefly God's ownership that serves in communicating Christ. It is in this contrast, it seems, that lies today's crisis in the relation of the arts and liturgy. There where art seeks absoluteness, faith has something to offer, while liturgy realizes a 'Christological' criteria of the absolute, preventing art in reducing absoluteness to a personal conception of the world. It is possible to speak of four criteria (silence, faithfulness to God's word, community of the faithful and internal harmony of liturgical entirety) that bring an understanding to liturgical particularity, a level in liturgy where art is itself transformed. This is not an art allowed to concede to isolation and auto-emancipation. Liturgy delivers art from the absoluteness of art, that is, it obliges art to redefine itself. Alongside these difficulties, it is investigative that today art reveals itself as a "substitutive place for that which is not completely mentionable and comprehensible ". The arts are a place of disquiet and awakening of desires leading to integrity in answering the threat to the lose of reality; a place of sentencing protest, resistance, and desires for something altogether different so as to realize life. Today, art occupies a metaphysical and theological place, and for theology, it becomes significant, even as a loci alieni. Having before ourselves this entire complex problem, the second part — using real examples — is divided into: a) informative b) demonstrative c) decorative d) and mista-gogical subjects. It attempts to sustain the assertions and point out the guidelines for an applicable approach to today's new quest, so that with its theological and esthetical distastefulness we would not deny the revealed Truth which has been entrusted to us in fragile vessels (nonetheless vessels) and we should not forget that we have clothed ourselves with Christ.

Na tragu ponovnoga zanimanja teologije i crkvene prakse za drevni mistagoški pristup bogoslužju, autor nastoji pokazati kako slavlje euharistije kao liturgijski čin (ergon) ima mistagošku moć i sposobnost dovesti zajednicu do iskustva spasenjskoga otajstva. Mistagoška sposobnost bogoslužja počiva na liturgijskoj obrednosti. Stoga je razumijevanje i pravo vrednovanje neverbalnoga simboličkoga govora bogoslužja nužan preduvjet za iskustvo otajstva koje se po liturgijskom činu udanašnjuje i aktualizira. Uključujući u kategoriju znaka ili simbola sve obredno i ljudskim osjetilima doživljajno u bogoslužju – liturgijski čini, kretnje, stavovi tijela, liturgijski prostor i njegovi elementi, glazba, služitelji u bogoslužju, okupljena zajednica – autor slijedi red mise i govori o otajstvu koje se razotkriva razumijevanjem i iskustvom pojedinih liturgijskih čina. Na kraju se ističe potreba novog vrednovanja i oživljavanja znakovne i simboličke dimenzije u bogoslužju, tim više što suvremeni čovjek ima sve manje sluha i sposobnosti za razumijevanje simboličkog. Budući da je bogoslužje Crkve uvijek ujedno i Božje djelo spasenja, i samo se bogoslužje mora pokazati kao djelo ili događanje u punom smislu riječi, a to je moguće jedino putem znaka., Following the repeated interest of theology and pastoral practice for the ancient mystagogical approach to liturgy, the author tries to show that celebration of liturgy as liturgical action (ergon) has mystagogical power, and it can bring community to the mystery of salvation. The mystagogy of liturgy is based on liturgical rituality. Therefore, understanding, the real evaluation of non-verbal language of liturgy is the prerequisite for the fulfilment of the experience of the mystery, which becomes real and contemporary in liturgical action. Including all the elements of the ritual and everything experienced by senses; such as liturgical actions, gestures, body positions, liturgical space and music, ministers and community gathered in liturgy into the category of sign and symbol, the author follows the order of mass and presents the mystery, which reveals itself through understanding and through experience of different liturgical actions. In the end, the author points to the need for the re-evaluation and recovery of the dimension of sign and symbol in liturgy, for modern society is less and less capable of feeling and understanding the symbolic. As liturgy of the Church is also God’s act of salvation, it has to be performed as an action or an event in every sense of the word, and this is only possible by using signs.