Dissertations / Theses on the topic 'Balthasar, Hans Urs von, Religion and drama'

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The present dissertation contemplates an investigation on the trinitarian dogma, as exposed and outlined by the Swiss theologian Hans Urs von Balthasar (1905-1988). The emphasis lies on the dramatic Balthasarian method. That is, the investigation seeks to clarify how Balthasar presents his vision of the Trinity in the second episode of his trilogy, Theo- Drama. In addition, it seeks to show how this method can be useful in presenting the Christian faith to an increasingly skeptical audience. Balthasar is one of the leading theologians of the 20th century. Its theological production is extremely long. Throughout his life, there were hundreds of works produced. The present dissertation concentrates mainly on the exposition of the trinitarian dogma in the five volumes of theodramik: (1) Prolegomena; (2) Dramatis Personae: Man in God; (3) Dramatis Personae: Persons in Christ; (4) The Action; (5) The Last Act. The hypothesis of the present dissertation is based on the way in which Balthasar presents the three Persons of the Trinity, as personages within a redemptive drama, in which the Father appears as the playwright and architect of the history of the redemption; the Son appears as the main character in the redemptive history, performing his role to the last consequences; and the Holy Spirit as the great drama director and guiding agent who guides the main character; For this, the first part of the dissertation concentrates on a brief summary of the life and work and distinctive features of the thought of Balthasar, trying to show how his geographical and historical locus was determinant in the construction of his theological convictions. Next, the doctrine of the Trinity is investigated in its classic dogmatic formulation, passing through Scripture, history of theology, main characters in the process of theological refinement of the Trinity, eventual doctrinal dissonances, culminating in an exposition of the balthasarian argumentation of the Trinity. Finally, it focuses on the way Balthasar was influenced by the theology of Karl Barth and how this robust theological dialogue can be a prototype of a respectful dialogue between Catholic and Protestant traditions within their convergences and divergences
conforme exposto e delineado pelo teológico suíço Hans Urs von Balthasar (1905-1988). A ênfase recai no método balthasariano dramático. Isto é, a investigação busca esclarecer como Balthasar apresenta sua visão da Trindade no segundo episódio de sua trilogia, o Theo- Drama. Além disso, busca-se mostrar como este método pode ser útil na apresentação da fé cristã para uma audiência cada vez mais cética. Balthasar é um dos principais teólogos do séc. XX. Sua produção teológica é extremamente longa. Ao longo de sua vida, foram centenas de obras produzidas. A presente dissertação concentra-se majoritariamente na exposição do dogma trinitário nos cinco volumes da theodramik: (1) Prolegomena; (2) Dramatis Personae: Man in God; (3) Dramatis Personae: Persons in Christ; (4) The Action; (5) The Last Act. A hipótese da presente dissertação apoia-se na maneira como Balthasar apresenta as três Pessoas da Trindade, como personagens dentro de um drama redentivo, no qual o Pai se apresenta como o dramaturgo e arquiteto da história da redenção; o Filho se apresenta como a personagem principal na história redentiva, performando seu papel até as últimas consequências; e o Espírito Santo como o grande diretor do drama e agente que guia o orienta a personagem principal; Para isto, a primeira parte da dissertação concentra-se em um breve resumo da vida e obra e traços distintivos do pensamento de Balthasar, buscando mostrar como o seu locus geográfico e histórico foi determinante na construção de suas convicções teológicas. Logo em seguida, investiga-se a doutrina da Trindade em sua formulação dogmática clássica, passando pela Escritura, história da teologia, personagens principais no processo de refinamento teológico da Trindade, eventuais dissonâncias doutrinarias, culminando em uma exposição da argumentação balthasariana da Trindade. Finalmente, concentra-se na maneira como Balthasar foi influenciado pela teologia de Karl Barth e como esse robusto diálogo teológico pode se um protótipo de um diálogo respeitoso entre as tradições católica e protestante, dentro de suas convergências e divergências

If from God’s perspective ‘all the world’s a stage’, theology invites one to think and act according to the view afforded from this height. To speak theologically of a ‘world stage’ as many contemporary theologians have done has required rethinking the Church’s long-established antagonism towards the stage. Of late, theology has opened up academic exchange with the drama’s understanding of ‘the great theatre of the world’. Hans Urs von Balthasar’s theo-drama in particular has given Christians a means for entering into discussion with dramatic forms. Contemporary theological engagements with ‘drama’, however, have been limited to its most literary/metaphorical aspects; less attention has been paid to the potentialities in theology’s exchange with the performance aesthetics of live theatre. Pressed to its logical ends, however, von Balthasar’s idea of a ‘theological dramatics’ and its advances made in contemporary theology, suggest the need for sustained engagement with other modes of dramaturgy, including performance theory and the stage. This thesis attempts to instantiate this theological engagement through the aesthetics of theatrical performance.

The aim of this project is to investigate the proper response of theology to the Christian God who, as revealed through revelation, is Being-in-act. This project takes seriously the idea posited by Shakespeare, that totus mundus agit histrionem, and upon this stage ‘all the men and women merely players: They have their exits and their entrances; and one man in his time plays many parts.’ If, then, God’s Being is in act, and as so many have deduced, life and death are enveloped within the drama of everyday, then, might it be possible that our theological endeavours would prosper through a dramatic rendering? In light of this, the project seeks to illumine that it is beneficial for both the Church and society, to realise how drama can be, and is, fruitful for our theological endeavours. God is Being-in-act, and through His revelation, He invites humanity to enter into and participate in His action. In light of the aforementioned, then, theology must contend with the implications for its practices, which, as is being argued, are benefited most through a full embrace of the dramatising of theology. The thesis is situated in the recent movement of our theological endeavours that recognise the profundity of the dramatic and its ability to illuminate God’s action and call to action from theology, the Church and society. Moving forward from the seminal work of Hans Urs von Balthasar, and set forth in the context of the theologies of Balthasar and Karl Barth, this project argues that it is through the dramatising of theology that theology is best equipped to illumine God’s desire for humanity’s participation in His Theo-drama. The dramatising of theology is a natural response to God’s Being-in-act; it is the natural movement of theology’s response to God’s action which calls for an active response on our part. Current examples of today’s theological movement towards the dramatic can be seen in such authors as Max Harris, Trevor Hart, Stanley Hauerwas, Michael Horton, Todd Johnson and Dale Savidge, Ben Quash, Kevin Vanhoozer, Samuel Wells and N.T. Wright. This project hopes to contribute to the movement towards the dramatising of theology.

This thesis examines the relationship between two major twentieth century theologians, Karl Barth and Hans Urs von Balthasar. It seeks to show how their meeting, resulting in von Balthasar’s seminal study The Theology of Karl Barth, goes on to influence von Balthasar’s theological development throughout his trilogy beginning with The Glory of the Lord, continuing in the Theo-Drama and concluding with the Theo-Logic. In particular it explores the significance of the debate over the ‘analogy of being’ and seeks to show that von Balthasar’s decision to structure his trilogy around the transcendentals of ‘being’, the beautiful, the good and the true, results from his re-affirmation of the role of analogy in light of his debate with Barth. It will also suggest that von Balthasar’s adoption of a ‘theo-dramatic’ approach to God’s saving action and assertion of the role of Church as a ‘theo-dramatic character’ in her own right is prompted by concern over what he alleges to be ‘christological constriction’ and an inadequate doctrine of the Church in Barth. This argument will be conducted in dialogue with other theologians and interpreters of von Balthasar and conclude with a personal reflection on how the issues raised remain relevant today.

'Do not be conformed to this world, but be transformed by the renewing of your minds.' [Rom 12:2] Hans Urs von Balthasar and Eberhard Jungel are profound and imaginative thinkers who unreservedly ground their theologies in revelation as God�s self-disclosure. This thesis asks what resources such revelation-centred authors, from different traditions, may contribute to a theological understanding of the human imagination. Although theology has often been more interested in the constructive capacities of the imagination, it is the responsive quality of the imagination that is of particular interest to this thesis. Can the imagination contribute to a theological understanding which comprehends the action and speech of God as antecedent to human response? This thesis examines the epistemological issues that are related both to the imagination and to revelation as the self-communication and self-interpretation of God. The imagination is conceived of as essential to perception and understanding; it allows for both recognition and re-cognition. Through the imagination we can rethink the patterns or paradigms that shape our lives. The renewing of the mind can be said to involve the imagination. However, spiritual transformation requires more than a notion of the imagination as a spontaneous mental act which determines its own content. Balthasar and Jungel, while thinking in lively and narrative ways, are constrained by divine self-disclosure. God�s self-revelation provides the content of the paradigm or pattern by which the Christian believer is to live. The imagination can be said to act as the context or locus of revelation. This thesis demonstrates that the three days of Easter are central to Balthasar�s and Jungel�s respective understandings of God. For Balthasar and Jungel, the triduum mortis is where the self-revelation of God is most apparent; it is here that God is understood to be self-giving love as Father, Son, and Holy Spirit. While quite distinct in their approaches, both authors work within trinitarian, and therefore relational, frameworks. This thesis traces the motifs that not only express their understandings of the paschal mystery in relational terms but also ground their respective understandings of renewed existence; for Balthasar, the motifs of mission and kenosis, and for Jungel, those of identification and justification. For both Balthasar and Jungel, the events of the triduum mortis can be said to provide the content of, and act as a boundary to, our conception of God. Nonetheless, it is proposed that, within their respective understandings of divine prevenience, Balthasar and Jungel leave room for the exercise of the imagination. God is mystery; God is not a fixed or completed concept.

L’objet de notre thèse est l’unité de l’œuvre de Péguy selon Hans Urs von Balthasar. Balthasar est le premier commentateur qui a tenté de relire tout l’itinéraire du poète à la lumière du petit autoportrait que le poète a laissé dans Un nouveau théologien. M. Fernand Laudet : « c’est par un approfondissement constant de notre cœur… que nous avons retrouvé la voie de chrétienté. » En prenant ce mot de « cœur » dans les différentes acceptions que l’écrivain lui a données, Balthasar a été capable de rassembler l’œuvre de Péguy de façon organique en une voûte qui a les Mystères pour clé. À la lumière des plus profondes intentions du cœur du jeune Péguy, Balthasar peut éclairer non seulement le rejet d’un certain christianisme augustinien et la décision de se placer résolument au cœur du socialisme, mais encore le retour progressif au catholicisme. En retrouvant la foi, Péguy entame cependant un approfondissement ultérieur : il médite le mystère même du cœur chrétien et pénètre enfin le cœur du Père. Notre travail a voulu présenter une lecture très originale de l’itinéraire de Péguy. La pertinence de cette lecture est prouvée, entre autres choses, par sa capacité à intégrer les plus grandes interprétations de Péguy qui l’ont précédée et même suivie
The theme of the present dissertation is the unity of the work of Charles Péguy in the interpretation of Hans Urs von Balthasar. Balthasar is the first commentator who has attempted to re-read the whole trajectory of Péguy’s life and work in light of the brief self-portrait that the poet offers us in Un nouveau théologien. M. Fernand Laudet. “It was,” Péguy writes there, “a constant deepening of our heart . . . that lead us to discover the path of Christendom.” Meditating on the various meanings of the word “heart” in the poet’s thought, Balthasar is able to show his work rising into an organic edifice with the Mysteries as its keystone. He shows how not only Péguy’s repudiation of an Augustinian Christianity and his resolute embrace of the heart of socialism, but his eventual return to Catholicism make sense only in light of what were from the very beginning his heart’s deepest intentions. But Péguy’s rediscovery of faith meant also the entry into a new deepening of the heart: the contemplation of the mystery of the Christian heart and at last of the Father’s heart. This dissertation seeks to present Balthasar’s original reading of Péguy’s trajectory and, at the same time, to show its fecundity, which is demonstrated by, among other things, its capacity to integrate the major readings of Péguy produced both before and after Balthasar’s own work on the poet

La "Parole de Vie" est pour le chrétien à la fois parole humaine et parole divine : le Christ est vrai Dieu et vrai homme. La théologie s'expose à une constante tension : en effet, elle ne doit sacrifier un des deux aspects au profit de l'autre. Aussi doit-elle accorder une place aux sciences humaines et naturelles sans perdre sa spécificité. Le lieu originel de la théologie serait alors l'Alliance nouvelle et éternelle que Dieu a conclue avec son peuple dans le Christ : toute la réalité humaine y trouve sa place, se dirigeant vers son accomplissement eschatologique. La théologie s'enracine donc dans la spiritualité comme expérience de l'Alliance en même temps qu'elle approfondit la connaissance de celle-ci à travers le mouvement continu d'une pensée qui rend compte du rapport des deux pôles en relation, Dieu et son peuple. Consacrées respectivement au rapport de la spiritualité à la Bible, au dogme, à l'eschatologie, aux lettres et aux sciences, les cinq parties de ce dossier explorent ce mouvement elliptique et prêtent une attention particulière à la problématique interdisciplinaire
For Christians, the "Word of Life " is both human and divine : Christ is true God and true man. Theology experiences a constant tension as it mustn't sacrifice either one of the two aspects : in fact, it has to take into account the contribution of the human and natural sciences without losing its own specificity. The original place of theology would be the new and everlasting covenant, into which God entered with his people in Christ: all human reality finds its due place in it, moving towards its eschatological perfection. Thus theology is rooted in spirituality as the experience of the covenant, of which it deepens the knowledge as a continuous reasoning moving around the two poles that are in constant relation : God and his people. Dedicated to the relationship spirituality has respectively with the Bible, dogma, eschatology, literature and sciences, the five parts of this thesis explore this elliptical movement of theological reasoning and pay special attention to interdisciplinary questions

L'Homme fait l'expérience de l'art littéraire et il fait l'expérience de Dieu. Comment distinguer et rapprocher ces deux expériences ? Partant d'une relecture des rapports entre la théologie et la littérature au vingtième siècle, analysant l'esthétique théologique de Hans Urs von Balthasar, la thèse présente une synthèse originale des deux expériences dans le cadre des données esthétiques modernes telles que Marc-Mathieu Münch les a étudiées : le relativisme esthétique et le singulier de l'art littéraire
Human beings make an experience of the art of literature and they experience God. How shall we distinguish these two experiences and establish a connection between them ? Rereading the relationship between theology and literature in the twentieth century, analyzing H. U. Von Balthasar's theological aesthetics, this dissertation develops an original synthesis of both experiences within the context of the caracteristics of modern aesthetics as they have been studied by Marc-Mathieu Münch : the aesthetic relativism and the singular of literary art

La présente étude est consacrée à Pierre Favre (1506-1546), membre de la Compagnie de Jésus. Elle est une lecture d’un extrait de son Mémorial daté du 25 décembre 1542 et dans lequel il dit souhaiter « avec ardeur pouvoir vraiment "naître de Dieu" ». L’étude comporte deux parties. La première est analytique et s’emploie, avec l’aide de méthode dites structurale et intertextuelle, à dégager les grands thèmes dans le but de donner un sens au texte. Nous voyons que le désir de Favre de naître de Dieu se réalise par la contemplation qu’il fait de la naissance du Seigneur dans l’étable et par son action apostolique, qui alors, est celle de célébrer les messes de la Nativité et de prier à l’intention de son prochain. La seconde partie développe plus l’aspect interprétatif esquissé en donnant un éclairage nouveau sur quelques éléments de la naissance spirituelle de Favre en cette nuit de Noël. Hans Urs von Balthasar (1905-1988) nous accompagne dans cette démarche par sa pensée théologique.

A cruz é a máxima epifania do amor de Deus Trindade pelo mundo. Pela sua centralidade na fé cristã, ao longo dos séculos, poetas e teólogos cantaram os louvores da cruz e reflectiram cada vez mais profundamente sobre o seu mistério. A uns e outros uniu a mesma fé, que é a fé que a Igreja expressa na sua oração pública e oficial. Desde o séc. IX, o hino Pange, lingua, gloriosi, do poeta Venâncio Fortunato (c.530 – c.600), faz parte da Liturgia católica, sendo usado particularmente no rito da Adoração da Cruz em Sexta-feira Santa. No presente trabalho, pretende-se fazer uma leitura teológica desse hino, partindo da obra Teodramática, de Hans Urs von Balthasar, teólogo católico do séc. XX.
The cross is the highest epiphany of the love of God Trinity for the world. Due to its centrality in the Christian faith, over the centuries, poets and theologians have sung the praises of the cross and reflected deeper and deeper on its mistery. To each and everyone united the same faith, which is the one that the Church expresses in its public and official prayer. From the 9th century, the hymn Pange, lingua, gloriosi, by the poet Venantius Fortunatus (c.530 – c. 600), is part of the Catholic Liturgy, being particularly used during the Veneration of the Cross, on Good Friday. In this present work, we intend to make a theological reading of this hymn, starting from the work Theo-Drama, by Hans Urs von Balthasar, catholic theologian of the 20th century.

Harmonizar o dogma da imutabilidade e impassibilidade divinas com a kénosis do Filho de Deus na sua incarnação e, acima de tudo, na sua paixão nunca foi uma tarefa fácil para o discurso teológico. É verdade que a reflexão teológica ao longo da história, principalmente no período da patrística, soube harmonizar estes atributos divinos com o realismo das experiên-cias humanas do Verbo de Deus incarnado, mas o mesmo não se verifica nalgumas aborda-gens da teologia contemporânea, que chegam mesmo a postular a existência de dor e morte na essência de Deus decorrentes das experiências do Calvário. Na presente dissertação é abordado o contributo de von Balthasar para o tratamento des-te tema no seu diálogo com algumas correntes do pensamento teológico contemporâneo (no-meadamente a Teologia do Processo) e com alguns autores atuais (particularmente, Jürgen Moltmann e Kazoh Kitamori). Neste sentido procura-se encontrar uma nova luz sobre este tema que, sem descuidar do caráter essencialmente dramático da revelação de Deus e dos di-namismos inerentes à incarnação do Verbo, permita continuar a afirmar a imutabilidade e impassibilidade como atributos do Deus vivo e verdadeiro.
Conciliating the dogma of divine immutability and impassibility with kénosis of the Son of God in the incarnation and, above all, in his passion never was an easy task for theological thought. It is true that throughout the history of theological reflection there was a harmoniza-tion of these divine attributes with the realism of human experiences of the Word of God in-carnate, especially in the patristic period, but the same cannot be said of some approaches of the contemporary theology, that even postulated, arising from the experience of Calvary, the existence of pain and death within the divine essence. This dissertation approaches the contribution of Von Balthasar for the analysis of this subject, present in his dialogue with some currents of contemporary theology (especially Jür-gen Moltmann and Kazoh Kitamori). Considering this aim, we will look for a new light for this matter that allows us to continue declaring immutability and impassibility as attributes of God true and eternal, without disregarding the essentially dramatic character of divine revela-tion and the inherent dynamisms to the incarnation of the Word.