The Aesthetic Collision: Hans Urs von Balthasar on the Trinity and the Cross

2010 ◽  
Vol 13 (2) ◽  
pp. 154-169 ◽  
Author(s):  
DAVID LUY
2019 ◽  
pp. 222-256
Author(s):  
Дионисий Шлёнов

В публикации приводится юбилейное стихотворение и гимн, написанные в честь 100-летия пребывания Академии в Троице-Сергиевой Лавре (1814-1914). Автор поэтических строк протоиерей Феодор Делекторский на момент их составления заканчивал Московскую духовную академию в священном сане, принятом задолго до поступления в неё. Приходское служение не охладило, а, наоборот, усилило стремление его души к духовному образованию. Дальнейший жизненный путь отца Феодора, принявшего монашеский постриг, епископский сан и вступившего на путь юродства, является яркой страницей в академической агиологии. Строки гимна о крестоношении стали пророческими по отношению к судьбе самого автора. Статья основывается на архивных данных и публикациях, часть из которых хранится в библиотеке Московской духовной академии. The publication contains an anniversary poem and anthem written in honor of the 100th anniversary of the Academy in the Trinity-Sergius Lavra (1814-1914). The author of poetic lines Archpriest Theodore Delektorsky at the time of their composition graduated from the Moscow Theological Academy in the rank of clergy, adopted long before entering it. Parish Ministry was not discouraged, but rather strengthened the desire of his soul to spiritual education. The further life path of the author Theodore lead him to monastic vows, and then to the Episcopal rank. His life ended in martyrdome - a bright page in academic hagiology. The lines of the hymn about the cross became prophetic in relation to the fate of the author. The article is based on archival data and publications, some of which are stored in the library of the Moscow Theological Academy.


2018 ◽  
pp. 143-200
Author(s):  
Richard Viladesau

In the visual arts of the Romantic period the crucifixion of Christ often became a representation of the sufferings of humanity. Caspar David Friedrich’s paintings placed the cross in the context of the immensity of nature. Toward the end of the nineteenth century there was an increasing tendency to portray Jesus’ suffering in the genre of naturalistic realism. Some painters consciously attempted to incorporate the findings of modern biblical scholarship, rather than follow traditional models. Early film representations, on the other hand, tended to rely on classical types and popular piety.


Author(s):  
Johannes Zachhuber

Luther’s theology is strongly Christocentric, but Christology is rarely the central focus of his writings. In some of his most considered summaries of his own faith, he presents Chalcedonian Christology alongside the church’s teaching on the Trinity as the uncontroversial foundation of the Catholic faith, which he shared with his opponents. At the same time, it is evident that Luther’s most celebrated theological innovations, including his teaching on justification by faith, his theology of the cross, his soteriology, and in particular his doctrine of the Eucharist, had considerable Christological implications that sometimes seem at variance with received orthodoxy. Luther’s Christology must therefore be largely reconstructed from these various strands in his thought. The result is a distinctive albeit not systematic Christology that is focused on the paradoxical unity of divine and human in Christ. In this, Luther often appears close to the teaching of the Alexandrian fathers, but with a much fuller emphasis on the concrete humanity of the savior. His historical debt to late scholasticism is most evident in his few, albeit consequential, attempts to enter into the field of technical Christological doctrine, especially his affirmation in his controversy with Zwingli of the ubiquity of Christ’s human nature after the ascension.


2002 ◽  
Vol 55 (2) ◽  
pp. 161-200
Author(s):  
George Hunsinger

The essay explores the inner logic that connects Jenson's view of the work of Christ, the person of Christ, and the doctrine of God. More specifically, it examines his understanding of the cross, the incarnation, and the trinity. Despite clear intentions to the contrary, Jenson lands outside the bounds of established ecumenical consensus. His view of the cross tends toward Socinus, of the incarnation toward Arius, and of the trinity toward Hegel in ways that seem subordinationist and tritheistic. One possible reason for this outcome is a rationalistic mindset that displays a low tolerance for paradox in dogmatic theology.


Author(s):  
Paul D. Molnar

Taking Barth’s doctrines of revelation and the Trinity as a starting point, this chapter places Barth’s thought primarily in conversation with Walter Kasper. It considers Kasper’s work as an attempt to integrate insights drawn from Barth and Karl Rahner, while placing their views within the wider context of post-Vatican II Roman Catholic theology, as well as the thinking of Hans Urs von Balthasar. By focusing on the different attitudes of Barth and Kasper to the analogia entis (analogy of being), the chapter proposes that the primary issue related to ecumenical unity that emerges concerns whether, and to what extent, contemporary theologians are willing to allow Jesus Christ himself to stand as the first and the final Word in all theological reflection.


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