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<p>This dissertation compares the soteriologies of René Girard and Hans Urs von Balthasar as they engage and respond to the thought of Friedrich Nietzsche, and specifically, to Nietzsche’s critique of atonement theology. It examines a problematic shared by all three figures, one defined by the relationship between the violence and redemption. Chapter 1 traces the development of this problematic from Anselm through Luther and Calvin, and attends to the way changes in the metaphysical framework underlying the language of satisfaction led the Reformers to construe divine wrath in more strictly punitive terms. The subsequent chapters examine the responses offered by Nietzsche, Girard, and von Balthasar. Nietzsche argues that Christian priests used the event of Jesus’ violent crucifixion as a symbol to hold the weak in thrall; the Cross came to symbolize the threat of divine wrath and the hope of a quasi-magical salvation. Girard and von Balthasar each argue that Christian soteriology does not enslave Christians to a lie but orients all human beings to the truth. They also agree that the violence of the crucifixion is significant. But whereas Girard argues that the Christian doctrine of divine wrath is a residue of violent pagan religion and thus has no place in interpreting the meaning of the crucifixion, von Balthasar argues that this doctrine serves to highlight the unique quality of God’s re-ordering love. By analyzing and interpreting their responses to Nietzsche, this dissertation seeks to evaluate the contributions Girard and von Balthasar offer for a post-Nietzschean soteriology.</p> / Doctor of Philosophy (PhD)

La tesi è dedicata allo studio sistematico del ruolo del drammatico nell’ermeneutica teologica di H.U. von Balthasar. Essa non ricostruisce i riferimenti alla storia del teatro, al suo rapporto con le istituzioni ecclesiastiche o a tematiche di singoli autori, bensì intende verificare la potenzialità del drammatico da un punto di vista di ermeneutica teologica. Si è così studiata la funzione del drammatico non nei prolegomena alla teologia o dal punto di vista della comprensione dell’esistenza storica del soggetto umano, bensì là dove Balthasar tratta specificamente il cuore dei misteri cristiani (cristologia, soteriologia, escatologia), verificando se il riferimento al drammatico è esteriore o invece intrinseco. Si è inteso quindi determinare il concetto di dramma che unifica la riflessione balthasariana (dramma come incontro di libertà) e infine indagare quale modello teatrale sia concretamente impiegato nella teologia dogmatica dell’autore. La tesi sostiene che, nella misura in cui Balthasar si volge a descrivere i concetti cardine della dogmatica cattolica, il paradigma di riferimento non è più il teatro della rappresentazione, bensì la drammaturgia della performance. Conclude la tesi un’appendice in cui si confronta la proposta balthasariana con le opere di Artaud (nella lettura di Derrida e Nancy), Stanislavskij e Grotowski. / The thesis is a systematic study of the role of theatre and drama in the theological hermeneutics of H.U. von Balthasar. The aim is not to explain the history of theatre, the relationship between theatre and ecclesiastical institutions, or themes of particular playwrights, but to expose the relevance of dramatics for theological investigation. The work studies the scope of dramatics neither in the theological prolegomena, nor in the historical existence of human beings; it studies its function in the exposition of Christian dogmatic (Christology, soteriology, eschatology), verifying if its role is external or intrinsic. The work investigates which concept of drama is adopted in the theology of von Balthasar (drama as encounter of freedoms), and which model of theatre is used in his dogmatic. When Balthasar exposes the key concepts of catholic theology, he leaves the traditional “theatre of representation” and refers to dramatic performance. The appendix compares the theatrical model of von Balthasar to the works of Artaud (following Derrida and Nancy), Stanislavskij and Grotowski.

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Ce mémoire présente les structures de l'acte de foi développées par Hans Urs von Balthasar et Karl Rahner en les replaçant sur la trame de leurs logiques théologiques respectives. Après une introduction justifiant la pertinence de la question et des théologiens traités, le premier chapitre situe historiquement l'acte de foi selon des perspectives sémantique, biblique, théologique et magistérielle. Le deuxième chapitre, consacré à Balthasar, présente l'acte de foi comme l'eros christique et humain qui répond à l'eros de la Révélation. Chez Rahner, qui fait l'objet du troisième chapitre, la foi est plutôt une reductio in mysterium, un abandon de l'homme au mouvement illimité de sa transcendance. La conclusion présente de manière comparative le positionnement respectif de Balthasar et Rahner par rapport à la théologie de l'acte de foi, et propose une voie pour penser l'irréductibilité du différend entre ces deux auteurs.

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.

Parmi les théologiens catholiques contemporains, il en est deux qui se distinguent pour avoir contribué singulièrement à l'approfondissement de l'ecclésiologie moderne : Yves Congar et Hans Urs von Balthasar. L'un comme l'autre, chacun dans sa propre perspective, a médité, réfléchi et systématisé pour sa part la place de la Vierge Marie dans la structure de l'Église. Les deux exposent les aspects théoriques aussi bien que pastoraux. Déterminer ces aspects a constitué le premier objectif de notre travail. Nous avons voulu non seulement présenter l'originalité de chaque approche, mais également identifier quelques présupposés philosophiques sur lesquels reposent deux concepts ecclésiologiques en considérant les principes méthodologiques propres aux deux auteurs. La problématique de l'Église comme «personne» et le thème de la sainteté de l'Église ont été deux sujets majeurs du dialogue que nous avons étudié. Le second objectif consistait à situer notre recherche et ses conclusions dans le contexte du pluralisme théologique.

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.

[pt] A pesquisa é realizada sobre a Igreja em saída com aproximação de implicações da teologia kenótica de von Balthasar e a proposta de pensar o avanço e a contribuição teológica para a Igreja nos dias atuais, marcados pela mudança de época e pelas situações críticas principalmente consideradas nas periferias existenciais. Esta tese tem como questão: a proposta do papa Francisco de Igreja em saída a realizar-se mediante a kenosis eclesial, com inspiração na teologia de von Balthasar. Assim, compreende aplicar a dinâmica irreversível do Concílio Vaticano II. A tese mostra o primeirear como movimento kenótico, impulsionado pelo Espírito Santo, pois o Deus Trino na sua comunicação e atuação kenótica propõe a abertura ao outro. A pesquisa tem metodologia bibliográfica, tendo como ponto de partida o magistério do papa Francisco, singularmente a Evangelii Gaudium n. 24, e outros vários pronunciamentos do pontificado e estudos da teologia balthasariana, especialmente sobre a kenosis e modelos kenóticos da Igreja. A proposta de Igreja em saída através da kenosis proporciona um caminho para a renovação da Igreja, que envolve a formação de pequenas comunidades, dimensão sinodal, missão kenótica, práxis de misericórdia, em direção às fronteiras humanas, primeireando com o diálogo humanizador e frutificando novas formas de vivência comunitária. / [en] The research carried out on the Church which goes forth, impacted by Von Balthasar s kenotic theology, proposes a reflection on the theological contribution and advancement of the Church in our present day, marked by the change of time and the critical situations mainly contemplated in the existential peripheries. This thesis questions: Pope Francis proposal of the Church which goes forth to be made through ecclesial kenosis, inspired by the theology of von Balthasar. Thus comprising of the irreversible dynamics of the Vatican II Council. The thesis aims to show the first step (primeirear) as a kenotic movement, driven by the Holy Spirit, given that, the Triune God whom through his communication and kenotic action proposes openness to the other. The research has bibliographic methodology, of Pope Francis magisterium, particularly Evangelii Gaudium 24, and other various pronouncements of the pontificate, as well as expanded the studies of Balthasarian theology with its rich theological foundation from kenosis and kenotic form of the Church. The proposal of the Church which goes forth through kenosis offers a path to the renovation of the Church, which involves the formation of small communities, synodal dimension, kenotic mission, praxis of mercy, towards the human fronteers, with humanizing dialogue as the the first step (primeirear) and blossoming of new forms of comunal experience.