hEADER

 

Revista Analele Ştiinţifice ale

Universităţii „Al. I. Cuza” din Iaşi

Teologie Ortodoxă

Arhivă 2016

ILIE MELNICIUC-PUICĂ

“The Two Will Become One Flesh”: Argumentative Function of Genesis 2:24 in
1 Corinthians 6:16b

 

CARMEN-MARIA BOLOCAN

Théologie et catéchèse dans une perspective contemporaine

 

NICUŞOR BELDIMAN

Ecclesiological and Soteriological Aspects in the Works of 20th Century
Wallachian Homilists

 

IONUŢ-GABRIEL NASTASĂ

Significance of Chrysantine Reform in Romanian Church Music (I): Remarkable Representatives of the Reform and the Semiography of Psaltic Music

 

ROGER CORESCIUC

Knowledge, Hesychasm and Catechesis in the Theology of St. Gregory Palamas

 

VASILE TUDOR

Tradition and Innovation in Orthodox Iconography

 

Studii

Nr. I din 2016

Rev. Assoc. Prof. PhD
Faculty of Orthodox Theology,
Alexandru Ioan Cuza University of Iaşi, ROMANIA

 

Abstract:
This study deals with the quotation of Gen. 2:24 in New Testament. After a brief explanation by Jesus in Mk. 10 concerning controversy about divorce, it is presented in the argumentation of St. Paul in his Epistles to Corinth and Ephesus. The quotation underlines the bodily unity of Christians – man and women – with Christ. If someone bodily unified in fornication,  he or she would break the law of that unity. First Corinthians 6:16b underlines the negative aspect of bodily union with a prostitute in the quest for salvation. The positive aspect in Pauline thought is expressed in Eph. 5:31, an exhortation read in Orthodox marriage services. They become an entity (“one body” in Greek and Hebrew language, “one flesh”), through their sexual relationship. They shall be no longer two, but one. Therefore, they cannot be separated.

 

Keywords:Intertextuality, Paul, Corinthians, flesh, marriage

 

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Prof.PhD.
Faculty of Orthodox Theology,
Alexandru Ioan Cuza University of Iaşi, ROMANIA

 

Abstract:
The present article explores the relation between theology, Liturgy and catechesis. Both theology and catechesis are in the service of the Word of God and are organically interrelated. While catechesis announces the Word of God, theology caters the catechesis. It kindles the authentic prayer and fosters to the Liturgy. The catechesis room where we are listening, studying, understanding, and reciting the doctrine becomes a close-knit community in an act of belief which express itself into the Church.

 

Keywords: theology, catechesis, Word of God, Liturgy, salvation

 

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Rev.Lect.PhD.
Faculty of Orthodox Theology,
University of Bucharest, Bucharest, ROMANIA

 

Abstract:
This paper presents ecclesiological and soteriological issues broached by 20th century Wallachian homilists. Our research investigates the original, highly valuable sermons, addressing essential aspects of Orthodox Christian tenets. Homilists have been constantly concerned with defending Orthodoxy and developing the national language and culture, a fact denoted today by a large number of treatises on the history of Romanian language and literature. The Church also notoriously played a major role in preserving the awareness of the national unity of Romanians on both sides of the Carpathians. The contents of many of the old sermons, related to the life of Romanian society at various times serve for historians, sociologists and philologists as mirrors of the states of affairs in past times.

 

Keywords: Church, the Holy Cross, the Holy Spirit, salvation, the Holy Eucharist, grace, repentance, priesthood.

 

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Rev.Assist.PhD.
Faculty of Orthodox Theology,
Alexandru Ioan Cuza University of Iaşi, ROMANIA

 

Abstract:
This present work highlights the innovations which the so-called Chrysantine Reform has brought to Romanian church music since its adoption over 200 years ago from Constantinople (1814-1815). Initiated by Chrysanthos of Madytos (†1843), Gregorios the Protopsaltes (†1822) and Chourmouzios Chartophilax (†1840), this reform in music, also referred to as “the new method”, has been applied in the Romanian States through the  contribution of protopsaltes such as Petros Ephesios (†1840), Macarie the Hieromonk (†1836), Anton Pann (†1854,) and Dimitrie Suceveanu (†1898). The above-mentioned Greek reformers have given new names to psaltic notes (Pa, Vu Ga, Di, Ke, Zo, Ni), have established relationships in pitch between musical steps (12, 9, 7 and from 1881 - 12, 10, 8), have reduced certain vocal signs, temporal and especially consonant, they added some new signs (e.g., signs of alteration), have clearly stated diatonic, chromatic and enharmonic genres, and also the Modes (tones, in Greek: echoi) theory with the specific Martyria and Phthorai, with their suitable ticks and cadences. In the first part of my study, published in the present journal, I highlighted the Greek and Romanian representatives of Chrysantine Reform and I did an analysis on the semiography of psaltic music in Romania, followed, in part two, by other issues: the diastematikos, rhythm, meter, etc., as well as the role of the Chrysantine Reform in the enhancement and “perfecting” of the “Romanizing” process of church songs.

 

Keywords: Chrysantine Reform, church music, Romania, musical notation, semiography, modes, protopsaltes

 

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Rev.Assist. PhD.
Faculty of Orthodox Theology,
Alexandru Ioan Cuza University of Iaşi, ROMANIA

 

Abstract:
In his Triads, St. Gregory Palamas underlines the risks of a so-called theological knowledge that is detached from love. Theology taken out of context, wrapped in the rigid forms of a science, can be really dangerous, even a “soul killer.” As long as real theologizing comes from the keeping of the Commandments, and the most important Commandment is that of love, the one following the theological track cannot be exempted from this one commandment of love. Love is the entity offering substance to theological knowledge, unlocking hidden perspectives and leading the theologian to the things that really matter. The keeping of this Commandment humanizes the inquirer, opening the possibility of real communication, lacking circumstantiality.

 

Keywords: Gregory Palamas, Barlaam, hesychasm, Mt. Athos, philosophy, polytheism, Triads, knowledge

 

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Assist. PhD.
Faculty of Orthodox Theology,
Alexandru Ioan Cuza University of Iaşi, ROMANIA

 

Abstract:
The theme of this article, as part of a series of studies, addresses the possibility of the church painter introducing new compositional and chromatic visions into Orthodox religious painting. It gives a brief overview of the features and characteristics of early Byzantine style based on the theological foundations highlighted by the Fathers of the Church. Based on the Byzantine iconographical traditions, the iconographer ensures the unity of theological style and message which belong to Orthodoxy alone. The artistic freedom of the painter consists in the possibility for him to express, in new and different shades and accents, traditional Orthodox ecclesial faith. In religious painting, it is not the individual’s originality that is primary, but the renewed fidelity within the living tradition, which explains the diversity within Byzantine tradition itself.

 

Keywords: Ecclesial, byzantine, painting, traditional, innovative, fresco.

 

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