scholarly journals Homossexualidade e ministério ordenado. Critérios de análise e correlações incômodas

2019 ◽  
Vol 69 (276) ◽  
pp. 806
Author(s):  
Peter Mettler

O autor, apoiando-se em documentos da Congregação para a Educação Católica e em carta do Secretário de Estado do Vaticano, analisa as motivações pelas quais “não se pode admitir ao seminário e às ordens sacras aqueles que praticam a homossexualidade, apresentam tendências homossexuais profundamente radicadas ou apoiam a chamada cultura gay”. Que a homossexualidade, tal como descrita nos documentos assinalados, representa um impedimento objetivo à ordenação, provém da própria natureza do sacerdócio: além de dificultar a ação pastoral, coloca em questão o modo mais adequado com que o presbítero estabelece relações tanto com homens quanto com mulheres.Abstract: With the support of documents from the Congregation for a Catholic Education and of a letter from the Secretariat of the Vatican State, the Author analyses the reasons why “it is not possible to admit into the seminary and in the sacred orders those who practice homosexuality, present deeply rooted homosexual tendencies or support the so-called gay culture”. It shows that homosexuality – as described in the above mentioned documents – represents an objective obstacle for the ordination that originates in the very nature of priesthood: besides hindering the pastoral action it raises the question of the most appropriate way for the presbyter to establish relations both with men and with women.

1992 ◽  
Vol 28 ◽  
pp. 43-77
Author(s):  
Henry Mayr-Harting

The lesson that people hold radically differing views about church art is the harder to learn when one comes to it from the iconodul-istic side. Looking back on my own Roman Catholic schooling, and the place of statues and holy pictures in the religious devotions of that milieu, I realize that once sacramental awareness develops, it is not always easily confined to the matter of the theological sacraments themselves. The beheading of the statues in the Lady Chapel at Ely, which I visited at the age of eleven, seemed a shocking circumstance whose motivation was totally incomprehensible, even allowing for the fact that it was the work of Protestants, and the Old Testament, which might have brought the dawn of understanding, was, of course, no part of an ordinary Catholic education at that time. In short, the author of Charlemagne’s Libri Carolini would have found much upon which to make adverse comment in me, my fellows, and the monks who taught us. With the first artistic love of my student days, which was Romanesque sculpture, came an awareness of the voices and practice of those great medieval Protestants, the Cistercians. But only in the later encounter with Charlemagne was I forced to listen seriously to the moral and theological arguments against the unbridled use of figurai art in the service of the Church.


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