Search

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.

U radu se analiziraju pojmovi kerygme i mistagogije, posebice tipologija evangelizatora u apostolskoj pobudnici Evangelii gaudium. U prvom dijelu rad posebnu pozornost posvećuje katehezi. Kerygma prema Pobudnici nije sažetak iz povijesnih udžbenika, niti nešto što je samo i jedino crkvena doktrina, kerygma je događaj koji se odvija između dviju osoba - onoga koji naviješta Krista i onoga od kojeg se očekuje obraćenje. Ona uključuje i prvi navještaj – kerygmu, ali se ne zaustavlja na prvom navještaju. Otvorena je svim područjima kršćan- skog života, integrira kršćansku inicijaciju i cjelokupan kršćanski život. Imperativ ljubavi u kerygmi posebno se očituje u konkretizaci- ji i potvrdi Božje ljubavi, ne nametanju Istine, u pozivu na slobod- nu odluku “prionuti” uz Isusa, te radosti, poticajnosti i cjelovitosti u nasljedovanju i hodu na putu Istine i Ljubavi. Kerygma, kao i cjelo- kupni evangelizacijsko-katehetski proces, ako želi biti vjerna sebi, mora biti: povijesno- spasenjska, osobna ili inkarnirana, eshatološka, antropološka, svjedočko-dijaloško- misijska te liturgijsko-biblijski obi- lježena. Druga značajka kateheze jest da je ona u sebi mistagoškog karaktera, odnosno da u sebi sadrži dimenziju mistagoške inicijacije. Mistagoška kateheza danas je u velikoj krizi jer u sebi podrazumije- va kerygmu, ona se oslanja na kerygmu, no ako kerygme nema, ona je u sebi nejasna, u praksi odsutna, nepostojeća, “mrtva”. Proučava- jući Pobudnicu možemo uočiti ne samo četiri razine evangelizacijsko- pastoralno-katehetskog pristupa nego i četiri tipologije suvremenog evangelizatora: tradicionalističko-konzervativni, progresivističko puko-aktivizirani, rezignirano-dezerterski te Duhom Dobrog Pastira prožeti evangelizator.

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.

Stoljećima potiskivana i stiskana u samostanske zidine, iz kojih Je ipak nalazila izlaza, mistika Je riječ koja se danas susreće u svim porama ljudskoga življenja i djelovanja, tako da već ponegdje možemo govoriti o inflaciji mistike i mističnoga iskustva. Zato treba najprije razlučiti što mistika jest, a što nije. Prije svega, ona nije 'fuga mundi" - bijeg od svijeta. Kao što kršćanstvo živi u svijetu, tako i mistika u njemu živi. Ona je u svijetu u punom smislu riječi - kad je govor o kršćanskoj mistici - "euharistija poslije euharistije, na stoje naglasak već odavno stavljao Ivan Zlatousti. Mistično je iskustvo, dakle, življenje punine života, življenje iz punine ljudskosti. Zato se mistika ne može nigdje drugdje živjeti nego u svijetu. Mistika je Rahnerov "očovječeni čovjek", nepomiješano ljudsko i božansko u čovjeku. Mistično iskustvo nije jedino kršćansko autentično iskustvo. Kršćanski život i život mistike ne razlikuju se po sadržaju, nego po načinu i intenzitetu iskustva. Mistika prožima ljudsku svakodnevicu. Za Chardina ona je ekstaza u svijetu znanosti i stvorenja. Njegovaje mistika mistika "kozmičkoga Krista", mistika radosti radi toga što čovjek smije biti sustvaratelj ovoga svijeta čije stvaranje još uvijek traje. U sustvaranju svijeta čovjek doživljava svoje preobraženje; ono se sastoji u "silaženju s brda". Ona nije samo služenje, ona je više slavljenje kroz služenje. Ch. Bernard govori o apostolskoj mistici, naglašavajući pritom da nije svaki apostolski rad i svaka kateheza ujedno i mistika. Mistika je sjedinjenje s voljom Božjom, a ona se najbolje manifestira u osobnom suosjećanju bratove radosti i nade, žalosti i tjeskobe. Zato je ona življenje umiranja i rađanja, Božje nazočnosti i odsutnosti. Kroz mistiku ne dolazi se do nirvane, nego do osjećaja daje takvom čovjeku svejedno, tj. sve ulazi u jedno mistično iskustvo koje je u biti iskustvo zajedništva. Rahnerova "teologija ili mistika oslobođenja" u mistici ide od življenja osobnoga unutarnjega oslobođenja od svih egoizama. To je unutarnja revolucija koju čovjek sam proživljava da bi je predao na mistagoški i katehetski način drugima. Zato mistika živi u svakom svijetu i vremenu., For centuries pushed and pressed into the monasterv walls, yet finding its way out of them, mysticism is a word encountered in ali the pores of human existence and activity, so that we can somewhere speak about the inflation of mysticism and mystical experience. Therefore it is necessary to teli the difference from what mysticism is and what it is not. First of ali, it is not "fuga mundi" - escape from the world. As Christianity lives in the world, so does the mysticism in it. When talking about Christian mysticism, it is "Eucharist after Eucharist" in the full sense of the world, as John the Eloquent stressed long time ago. Mystical experience is, then, living the fuilness of life, living from the fullness of humaneness. That's why mysticism can be lived nowhere else but in the world. Mysticism is Rahner's "humanised man", the unblended human and divine in man. Mystical experience is not the only Christian authentic experience. Christian life and life of mysticism do not differ by the content, but by the way and intensity of experience. Mysticism permeates human everyday life. For R T. de Chardin, it is an ecstasy in the world of science and creation. His mysticism is the mysticism of "cosmic Christ"; the mysticism of joy, for man is free to be the cocreator of this world, the creation of which has been still going on. In the co-creation of the world man experiences his transfiguration, which is the "descent from the mount". Mysticism is not just serving; it is more celebrating through serving. Ch. Bernard speaks about the apostolic mysticism, emphasising that not every apostolic activity and every catechesis is mysticism at the same time. Mysticism is uniting with God's will, which is best manifested in personal sympathy for the brother's joy and hope, sadness and anxiety. Thus, it is the living of dying and birthing, of God's presence and absence. It is not the nirvana that one can reach through mysticism, but a feeling that to such a person ali is one, i.e. ali merges into one mystical experience, which is essentialh/ an experience of communitv. Rahner's "theology or mysticism of liberation" proceeds from living the personal inner liberation from ali egoisms. It is an inner revolution that a man goes through in order to deliver it to others in a mystagogical and catechetic way.

Mlada Crkva je imala praksu uvođenja katekumena u kršćanska otajstva. Prilog donosi primjere iz novozavjetnog spisa Djela apostolskih

Autor donosi prijevod rasprave o sakramentu potvrde. Predavanje postavlja pitanja teolozima i pastoralcima. U čemu je vlastitost dara Duha Svetoga i koje mjesto dati ovome sakramentu u sastavu sakramenata kršćanske inicijacije? U kojoj životnoj dobi podjeljivati sakrament potvrde.

Kršćanska inicijacija označuje kristijanizaciju kroz eklezijaciju. Crkva je naime redoviti put koji vodi Kristu.