Perceiving Revelation Here and Now: Insights from Walter Ong and Hans Urs von Balthasar

2019 ◽  
Vol 36 (2) ◽  
pp. 281-297
Author(s):  
Alec Arnold
Keyword(s):  
Hans Urs Von Balthasar ◽  
Walter Ong

Hans Urs von Balthasar et Adrienne von Speyr, Interprètes de Thomas More

Moreana ◽  
1991 ◽  
Vol 28 (Number 105) (1) ◽  
pp. 5-20
Author(s):  
Georges Chantraine
Keyword(s):  
Thomas More ◽  
Hans Urs Von Balthasar

La vida como arte y el arte como vida

2019 ◽  
Author(s):  
Gaspar Brahm Mir
Keyword(s):  
Hans Urs Von Balthasar

El hombre es un ser que busca el sentido de su existencia en todo lo que hace. A la vez que es consciente de su contingencia, es capaz de elevarse por sobre lo meramente temporal. El arte pareciera ser una actividad humana que, por combinar lo contingente con lo necesario, puede llevar al hombre hacia una obra llena de sentido. Siguiendo al teólogo suizo Hans Urs von Balthasar, cabría entender la vida del hombre como una obra artístico-dramática, en la que entran en diálogo su libertad con la donación divina. La obra maestra existencial será, por consiguiente, la aceptación plena del don de Dios por parte del hombre.

Hans Urs von Balthasar

2016 ◽  
pp. 717-738
Author(s):  
Kevin Mongrain
Keyword(s):  
Christian Tradition ◽  
Theological Aesthetics ◽  
Natural Form ◽  
Hans Urs Von Balthasar ◽  
Divine Grace ◽  
Natural Forms

This chapter considers the extensive corpus of Hans Urs von Balthasar by treating two architectonic themes in his thought: remembrance and beauty. In the first instance, Balthasar sees theology in modernity—especially in the form of neo-scholasticism—as marked by a failure to remember appropriately some essential principles of Christian tradition, most importantly the inseparability of theology and spirituality in an anti-Gnostic key. In the second instance, the theme of theological aesthetics is treated, initially by placing Balthasar’s conception of a true seeing of natural forms against the background of Goethe’s philosophy. The epiphanic nature of all created being, able to reveal to us the glory of God, and yet obscured from us by sin, lies at the heart of Balthasar’s theology. Ultimately, this theology is Christocentric: the crucified and risen Christ-form becomes a permanent sacramental vehicle of divine grace, restoring our sight of natural form and divine glory.

scholarly journals Orality and Rhetoric in Scelsi's Music

2009 ◽  
Vol 6 (1) ◽  
pp. 23-41
Author(s):  
IAN DICKSON
Keyword(s):  
Structural Approach ◽  
Walter Ong ◽  
Traditional Sense ◽  
Per Se

AbstractIn his later music Giacinto Scelsi rejected the mediation of notation, improvising his works and viewing the scores, produced mostly by assistants, as a mere record. But to what extent did he really transcend the ‘tyranny of writing’ and how might one demonstrate this? Critics have tended to echo the composer in reducing the problem to an opposition between writing and sound per se. In this article I discuss the limitations of this view and propose a more structural approach, using in particular the analysis of Walter Ong. I argue that Scelsi's idiom, while novel in its extreme economy of means, uses these means in such a way as to restore a traditional sense of musical ‘grammar’. I illustrate the rhetorical versatility of this grammar by contrasting the two apparently similar movements of the Duo of 1965.

Sign in / Sign up

Export Citation Format

Share Document