What is in a name? Does the difference between onto-theology and theo-ontology direct the way from eco-theology to theo-ecology? Specific Russian theological perspectives

I approach this venture of figuring out the correct terminology to understand reality through the prism of two distinctive Russian Orthodox theologians, Pavel Florensky (1882–1937) and Sergius Bulgakov (1871–1944). The lens I apply mainly to their works is their respective understanding of cosmology, that is, ontology and epistemology. Therefore, I concur with Grenz to abandon the term ‘onto-theology’ and qualify the inverse as a Trinitarian theo-ontology. This honours the intimate connection between knowing and being, and prevents the bifurcation between fidelity and rationality. Mutatis mutandis, the same applies to ‘eco-theology’. This inversion reminds one of Hans-Urs von Balthasar, who bartered the concept of an aesthetic theology for theological aesthetics. Turning this question around would advance our dialogue with the sciences as the common denominator of the discourse is rather nature (creation) discerned from an acknowledged a priori (as all cognition do). In other words, the term theo-ecology is proposed.Intradisciplinary and/or interdisciplinary implications: The purpose study is not ecological but rather an asyndetic use of the terminology about the science and religion dialogue, with reference to the nomenclature of ecology and theology. All observation terms and sentences are theory-laden. Religion can be viewed as a linguistic framework that shapes the entirety of life and thought. Truth claims should focus on the grammar (or rules of the game) and not the lexicon when expressive symbolism is employed.

Christ as the Watermark of Divine Love: Expanding the Boundaries of Eastern Orthodox Ecumenism and Interreligious Encounter

The article is a personal theological reflection on ecumenism and inter-religious dialogue by one of the commission of drafters of the Ecumenical Patriarchate's 2020 social teaching text For the Life of the World: Toward an Orthodox Social Ethos (=FLOW). The text argues that FLOW, despite being innovative for Orthodoxy, needs its boundaries expanded theologically. The section on Christian ecumenism is still quite conservative in character. It acknowledges that the Orthodox Church is committed to ecumenism but it does not explicitly acknowledge the ecclesiality of non-Orthodox churches. The author puts forward a form of qualified ecclesiological exclusivism that affirms that non-Orthodox churches are tacitly Orthodox containing “a grain of Orthodoxy” (Sergii Bulgakov). Strangely, FLOW's section on inter-religious dialogue is much more radical than its section on ecumenism. The author builds theologically on FLOW's positive affirmation of other religions as containing “seeds of the Word”, in particular, Islam containing ‘beauty and spiritual truths' and Judaism as being Orthodoxy’s “elder brother.” The essay ends by sketching a Trinitarian theology of other religions drawing on ideas from Maximus the Confessor, Bulgakov, Hans Urs von Balthasar and Raimundo Panikkar amongst others.

La reception en Argentine des martyrs de l’Algerie à travers la poésie et le théâtre

The Reception of Algeria’s Marthyrs in Argentina through Poetry (Christophe Lebreton) and Theatre (Pierre Claverie, Adrien Candiard). The aim of this article is to present the reception of Algeria’s marthyrs in Argentina as a testimony of the freedom of the Spirit, through Christophe Lebreton’s poetry as well as Adrien Candiard’s theatre play Pierre and Mohamed. Firstly, we will outline the itinerary of this intercultural meeting. Secondly, based on Hans Urs von Balthasar, Piero Coda and Christoph Theobald’s thoughts we will develop an interdisciplinary interpretation by making literature, Esthetics and Theology get involved in a dialogue, in order to propose hospitality as a holiness style in postmodernity. Keywords: Hospitality - Hans Urs von Balthasar - Christoph Theobald - Christophe Lebreton - Pierre Claverie.

Overcoming the “Distance”: Robert Doran as a Bridge between the Trinitarian Analogies of Bernard Lonergan and Hans Urs von Balthasar

Bernard Lonergan and Hans Urs von Balthasar would appear to be worlds apart in their trinitarian theologies. The former championed while the latter eschewed the traditional Western psychological analogy. And yet, Robert Doran’s Lonergan-inflected trinitarian theology presented a revised version of the psychological analogy, drawn from the order of grace. This analogy is in fact isomorphic to Balthasar’s primary eucharistic analogy for the trinitarian processions. Recognizing formal similarity invites a rapprochement between these two theologies and a call for a renewal of boldness in speculative theology.

Christ's representation of sinners in Hans Urs von Balthasar and Thomas Aquinas

In his dramatic approach to the redemption, Balthasar takes seriously Christ's exchange of places with sinners. Christ upon the cross takes on sin itself, and not only its consequences, while remaining innocent. Balthasar critiques Aquinas for maintaining that Christ accepts only the consequences or punishments of sin. Aquinas strictly distinguishes between guilt and punishment, with Christ accepting only the latter out of charity to make satisfaction for sin. I argue that Balthasar does not get beyond Aquinas’ distinction between guilt and punishment but dramatises it for a more dynamic representation of the seriousness of sin and its redemption.

Msza h-moll BWV 232 Jana Sebastiana Bacha w świetle estetyki teologicznej Hansa Ursa von Balthasara

Hans Urs von Balthasar w pierwszej części swojego opus magnum przedstawia projekt estetyki teologicznej. W estetyce teologicznej doświadczenie sztuki staje się bramą do aktu religijnego oraz uwznioślającą drogą, prowadzącą do kontemplacji Boga, a określenie istoty człowieka jako bytu duchowego zwróconego ku Bogu posiada w tych rozważaniach głębokie znaczenie etyczne. Namysł H.U. von Balthasara nad religijnym wymiarem istoty sztuki kształtuje się w obrębie teologii, ale zarazem w opozycji do teologii estetycznej, która zostaje określona jako świeckie „estetyzowanie” Tajemnicy Objawienia. Szczególne miejsce w tej refleksji zajmuje sztuka muzyczna, dlatego analizie zostanie poddana – z perspektywy estetyki teologicznej, a nie wyłącznie filozoficznej, bądź muzykologicznej – Msza h-moll BWV 232 Jana Sebastiana Bacha, która stanowi emblematyczny przykład objawienia chwały (Herrlichkeit) Boga. Niniejszy artykuł wyznacza charakterystyczne rysy estetyki teologicznej, będącej swoistym rozwinięciem tradycyjnej estetyki filozoficznej za sprawą poszerzenia jej zakresu o wymiar relacji człowieka do Boga.