Thesis (S.T.L.)--Catholic University of America, 2005. / Includes bibliographical references (leaves 96-98).

Thesis (Ph.D.) - University of St Andrews, May 2007.

Thesis (S.T.L.)--Catholic University of America, 2005. / Includes bibliographical references (leaves 96-98).

Thesis (S.T.L.)--Catholic University of America, 2007. / Includes bibliographical references (leaves 187-196).

Thesis (S.T.L.)--Catholic University of America, 2007. / Includes bibliographical references (leaves 187-196).

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-03-26T12:27:01Z No. of bitstreams: 1 Isaque Sicsú de Oliveira.pdf: 813967 bytes, checksum: a912ab46e0ecf902895e26d7c7f85328 (MD5) / Made available in DSpace on 2018-03-26T12:27:01Z (GMT). No. of bitstreams: 1 Isaque Sicsú de Oliveira.pdf: 813967 bytes, checksum: a912ab46e0ecf902895e26d7c7f85328 (MD5) Previous issue date: 2018-02-22 / Aliança de Misericordia - ADVENIAT / 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

This study seeks to explore the relationship between religious ritual and theatre through an examination of the manner in which the Hindu religion functions. In the Introduction to this thesis, the nature of both religious rituals and theatre, and the similarities that exist between ' these forms of performance, are explored. At the heart of any performance is the desire to communicate. Religious rituals are primarily a means of communicating the philosophy of a particular religion. In this thesis, the basic beliefs and philosophy of the Hindu religion are described; the imagery, symbols and mythology, that have evolved with the religion, are analysed as extensions of the basic philosophy of the religion; and the manner in which these symbols and images function in Hindu religious practices is examined. This is followed by a detailed documentation of two Hindu rituals. The first, the Havan is a home based ritual, while the second, the Fire-Walking Festival, is temple based. The historical evolution of these rituals, based on essentially scriptural evidence, is also examined. An overview of the impact of the Hindu religion on Indian theatre concludes this dissertation. / Thesis (M.A.)-University of Natal, Durban, 1991.

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.