The essay analyzes the category of drama in von Balthasar, in particular the dramatic structure of his her¬meneutic; it studies the concepts of finite and infinite freedom, defining their conceptual architecture, which depends on the catholic debate about grace and nature. The paradigms are the catholic doctrine and the dy¬namic ontology of Balthasar. The origin of his dramatic categories, reconstructing the logic of Theo-Drama, is the doctrine of the relationship between nature and grace, elaborated in the monograph about Karl Barth. The doctrine of the encounter of freedoms, based on the relationship between nature and grace, awakens in the contemporary theological debate the dramatic core of Revelation. The essay does not reconstruct the dramatic conceptuality through philosophical or theological anthropology, but through a crucial theological question; it lights the relationship between Church and theatre following a formal, ontological point of view, avoiding the historiographical reconstruction.
|Titolo tradotto del contributo||[Autom. eng. transl.] The end stolen. On the "dramatic ontology" of HU von Balthasar|
|Numero di pagine||12|
|Stato di pubblicazione||Pubblicato - 2013|
- Von Balthasar