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    Wyświetlanie 1-6 z 6
    Tytuł:
    Humanizm dogmatu chalcedońskiego
    Humanism of the Chalcedonian Dogma
    Autorzy:
    Składanowski, Marcin
    Powiązania:
    https://bibliotekanauki.pl/articles/31234142.pdf
    Data publikacji:
    2013
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Chalcedon
    dogmat chalcedoński
    dogmat
    chrystologia
    humanizm
    Chalcedonian dogma
    dogma
    Christology
    humanism
    Opis:
    The article discusses the relevance of the Chalcedonian dogma of Christian anthropology. The context of the discussion is the Western theologians’ pursuit of new forms of expression of the faith. However, the Chalcedonian Christological doctrine is not outdated. The truth of faith that Jesus Christ is True God and True Man has its important anthropological implications. This dogma constitutes the foundation of the Christian teaching on the human dignity.
    Źródło:
    Roczniki Teologii Dogmatycznej; 2013, 5; 153-166
    2080-6345
    Pojawia się w:
    Roczniki Teologii Dogmatycznej
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Nieomylność Biskupa Rzymu jako problem eklezjologiczny ad intra i ad extra
    Infallibility of the Bishop of Rome as an Ecclesial Issue ad Intra and ad Extra
    Autorzy:
    Żmudziński, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/1685291.pdf
    Data publikacji:
    2020-09-29
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    nieomylność
    dogmat
    papież
    Kościół
    ekumenizm
    infallibility
    Church
    pope
    dogma
    ecumenism
    Opis:
    Artykuł przedstawia problem nieomylności papieskiej w debacie eklezjologicznej wewnątrz Kościoła katolickiego oraz w kontekście dialogu ekumenicznego, prowadzonego z innymi wyznaniami chrześcijańskimi. Punktem wyjścia jest wyjaśnienie tego pojęcia oraz główne zagadnienia zawarte w dogmacie o nieomylności Biskupa Rzymu, ogłoszonym na Soborze Watykańskim I. Istota kontrowersji, które pojawiły się już w trakcie obrad Vaticanum I oraz po jego zakończeniu, polegała na ukazaniu relacji nieomylności Kościoła i nieomylności samego papieża: czy następca Piotra jest niezależny w definiowaniu prawd wiary. Brak konsensusu doprowadził do schizmy i powstania Kościoła starokatolickiego i ekskomuniki wielu teologów. Współcześnie nieomylność papieska jako problem eklezjologiczny obecna jest w dialogu ekumenicznym, w którym poszukiwana jest nowa jej formuła.
    The infallibility of the Bishop of Rome has never been universally accepted in the Church. Controversies were present during the council debate after the solemn 1870 declaration but, even today, not all doubts have been clarified. They arose from the ecclesiological reflection within the Church, but were also a consequence of the ecumenical dialogue with other Christian communities. The aim of this paper is to present the ecclesial issues that arose soon after Vatican Council I, which led to the schism and to the emergence of the Old Catholic Church, and a similar situation after Vatican Council II, exemplified by the case of H. Küng. There is a significant theological issue of the relation between Church infallibility in the transmission of the saving truth and the papal infallibility in this regard. A key question arises from it: is the Bishop of Rome independent of the Church while announcing the truth with the official stamp of infallibility, or is he just expressing the truth developed within the community of faith? The present reflection and the answer to these questions places the papal subjectivity within the broad spectrum of the Church, anchoring his office in the dimension of the collegium of bishops and of the whole community of believers, who have a supernatural sense of faith. By this train of thought, it is possible to abandon understanding infallibility as a tragedy and to see it as a gift and charisma of the Holy Spirit.
    Źródło:
    Roczniki Teologiczne; 2020, 67, 9; 53-67
    2353-7272
    Pojawia się w:
    Roczniki Teologiczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Sakralna sztuka liturgiczna w nauczaniu Kościoła
    Sacred Liturgical Art in the Teaching of the Church
    Autorzy:
    Klejnowski-Różycki, Dariusz
    Powiązania:
    https://bibliotekanauki.pl/articles/2036154.pdf
    Data publikacji:
    2018
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    komunikacja
    ikona
    dogmat
    sakralna sztuka liturgiczna
    communication
    icon
    dogma
    sacred liturgical art
    Opis:
    Wyrażanie wiary poprzez sztukę (malarstwo, rzeźbę i inne) dla chrześcijan nie jest rzeczą dowolną, lecz obowiązkową, bo wyraża wiarę we wcielenie Boga w Jezusie Chrystusie. Do takiego stwierdzenia Kościół dochodził przez kilka stuleci. Ostatecznie sformułował swe stanowisko na soborach, w nauczaniu papieży i teologów także pod wpływem politycznych dysput. Jednak nauczanie Kościoła o znaczeniu i funkcji sakralnej sztuki liturgicznej do dzisiaj nie doczekało się swojej recepcji. Aby to nastąpiło, artyści muszą zgłębiać wiarę Kościoła, a wierni muszą poznawać „język” sztuki, za pomocą którego wyznają swoją wiarę, poznają ją, przypominają sobie o obecności świętych w ich życiu, poruszają swe uczucia ku wierze, a także dekorują przestrzeń sakralną.
    Expression of faith through art (painting, sculpture and others) for Christians is not an optional but obligatory thing, because it expresses their faith in the incarnation of God in Jesus Christ. For such a statement, the Church came through several centuries. In the end, he formulated his position at the Councils, in the teaching of popes and theologians, also under the influence of political disputes. However, the teaching of the Church about the importance and the function of sacred liturgical art has not received its reception until today. For this to happen, artists must explore the faith of the Church, and the faithful must learn the “language” of art with which they profess their faith, learn about it, remember the presence of saints in their lives, move their feelings towards faith and decorate sacred space.
    Źródło:
    Roczniki Teologiczne; 2018, 65, 12; 75-88
    2353-7272
    Pojawia się w:
    Roczniki Teologiczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Jeszcze o Niepokalanym Poczęciu Najświętszej Marii Panny w twórczości Norwida
    Further comments regarding the presence of Immaculate Conception in works by Norwid
    Autorzy:
    Sawicki, Stefan
    Powiązania:
    https://bibliotekanauki.pl/articles/18029972.pdf
    Data publikacji:
    2022-09-13
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Norwid
    dogmat
    Niepokalane Poczęcie
    Maria Panna
    Tomasz Garbol
    Cyprian Norwid
    dogma
    immaculate conception
    Saint Mary
    Opis:
    Głos w dyskusji: czy Norwid właściwie rozumiał dogmat o Niepokalanym Poczęciu Najświętszej Marii Panny.
    The article joins the discussion on the question whether Cyprian Norwid properly understood the dogma of immaculate conception.
    Źródło:
    Studia Norwidiana; 2022, 40; 205-208
    0860-0562
    Pojawia się w:
    Studia Norwidiana
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Temporalny wymiar strukturalnej wiarygodności Kościoła w eklezjologii kardynała Avery’ego Dullesa SJ
    The Time Dimension of the Structural Credibility of the Church in the Ecclesiology of Avery Cardinal Dulles SJ
    Autorzy:
    Królikowski, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/2144025.pdf
    Data publikacji:
    2021-02-04
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    wiarygodność Kościoła
    katolickość Kościoła
    strukturalna wiarygodność
    Tradycja
    dogmat
    nauczanie dogmatyczne
    reforma
    autorytet
    credibility of the Church
    catholicity of the Church
    structural credibility
    Tradition
    dogma
    dogmatic teaching
    reform
    authority
    Opis:
    This article based on Avery Cardinal Dulles S.J. ecclesiological thought shows temporal dimension of catholicity of the Church. It is one of the lines of argumentation for the structural credibility of the Church, which demonstrates that the Church as a structure and in its structure preserves Divine Revelation and communicates it in time and space to everyone. Article shows catholicity of the Church in time, that means identity and continuity of the Church from creation to the end of time (fullness of Kingdom of God). According to Dulles the Church has different stages. In a visible form it finally emerged in Jesus’ live, death and resurrection and sending of Holly Spirit. Thanks to its sacramental structure Church is dynamical and in time it changes forms of its life to be a sign of salvation for all. Therefore the Church is one and simultaneously diverse, it has to fit to all times to realize mission to preach Jesus Christ. To the structure of the Church in this time dimension pertain elements pointing to the unity in diversity of the Church: Tradition (as a not only static but also dynamic communication of Divine Revelation), reform (as a verification of the Church’s mission and the elimination of distortions of its function), doctrine of the Church (constantly interpreted preserves contents of Divine Revelation in a changing historical and cultural contexts), authority in the Church (hierarchical, theological and charismatic; they preserve purity of the Church’s teaching and fidelity of Divine Revelation). These elements participate in the Church’s transmission of Divine Revelation and salvation in time, and are premises of an structural argument of credibility of the Church.
    Źródło:
    Roczniki Teologii Fundamentalnej i Religiologii; 2013, 5; 33-68
    2080-8534
    Pojawia się w:
    Roczniki Teologii Fundamentalnej i Religiologii
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Obraz Matki Bożej z kościoła pod wezwaniem Wniebowzięcia Najświętszej Maryi Panny w Łodzi
    The painting of Our Lady from the church dedicated to the Assumption of the Holy Virgin Mary in Łódź
    Autorzy:
    Leszner, Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/1954053.pdf
    Data publikacji:
    2004
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Łódź
    kościół pod wezwaniem Najświętszej Maryi Panny w Łodzi
    obraz Matki Bożej z Łodzi
    Niepokalane Poczęcie
    Zwiastowanie
    Wniebowzięcie
    dogmat
    ikonografia przedstawień maryjnych
    church devoted to the Assumption of the Holy Virgin Mary in Łódź
    painting of Our Lady in Łódź
    Immaculate Conception
    Annunciation
    Assumption
    dogma
    iconography of presentations of Mary
    Opis:
    Not everybody realizes that besides architectural monuments built in the previous century Łódź also owns a wonderful example of modern painting. Hidden in the neo-Gothic church dedicated to the Assumption of the Holy Virgin Mary the picture of Our Lady is one of the oldest artistic works in the town. In its long history the painting was given various titles: starting from the Dolorous or Glorious, through the Immaculate, Assumed, Merciful, to even being taken by some people for a copy of the picture of Our Lady of Ostra Brama. However, it is most often referred to as Our Lady of Bałuty, or just Our Lady of Łódź. In the work the history of the church and of the painting were followed, with paying special attention to separating legends from facts. Attempts were made to prove that the opinion about the painting in the Łódź church being a copy of the picture from Ostra Brama is unjustified; it is only the same iconographic type. It represents painting that is relatively rarely encountered in art. The bust of Mary without the Infant, with her hands crossed on the breast, expresses several truths about the Virgin. It is a sort of synthesis of three iconographic motifs: the Immaculate Conception, the Annunciation and the Assumption. The way to announcing the dogmas of the Immaculate Conception and the Assumption was especially turbulent and the process lasted from the beginnings of Christianity. Undoubtedly these truths are linked with each other. By the Assumption we also worship Mary's Immaculate Conception. Artists created paintings and sculptures presenting mariological truths. However, the iconography of these dogmas was similar, or even identical. This resulted from the very fact that they co-existed, as well as from their relatively late announcement by the Pope. The picture of the Immaculate Virgin was often changed and the moment of the Assumption was emphasized. The element that connected these two dogmas was the scene of the Annunciation, in which Mary's fiat united the Immaculate Conception, the virginal maternity and the divine Assumption of God's Mother. This is why the way of presenting Mary in the scene of the Annunciation is analogical to the pictures of the Immaculate Conception or the Assumption, in which Mary's gesture is significant: it is touching the heart or joining her hands in prayer. It is also important that Mary is presented without the Infant, owing to which the painting joins the group of scenes in which the artists had to show a composition of God's Mother without Jesus, but in spiritual communion with God the Father. The painting of God's Mother in the church dedicated to the Assumption of the Holy Virgin Mary in Łódź closely connects the Immaculate Conception to the Assumption, and also, owing to the specific position of the hands – to the Annunciation. The very fact that in Łódź since 1364 there has been a parish with such a dedication as well as the connection between these dogmas had effect on formation of such an image of God's Mother. Probably this iconographic type is derived from the Netherlandish graphic arts of the 16th century, that gradually passed to Eastern Europe. This is the way that the model could have reached Poland. The picture of God's Mother in Łódź is not a copy of the painting from Ostra Brama. They both represent a similar iconographic type, and what follows from it, they are presented in a similar arrangement. However, there are too many elements that are different to say it is a copy. It is not known who was the painter and from what school he came. He undoubtedly knew the works of Netherlandish and Italian masters, which is proven by the way Madonna was painted. There are no documents speaking about conservation of the painting, which makes it impossible to date the work precisely. It is possible that it was founded by Paweł Łódź Kubowicz in 1639, as in 1718 it was already considered miraculous.
    Źródło:
    Roczniki Humanistyczne; 2004, 52, 4; 345-366
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-6 z 6

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