将上帝的超时空脆弱性形象化:巴尔塔萨对约翰在圣经中描绘的 "被杀羔羊 "形象的神学运用

IF 0.2 4区 哲学 0 RELIGION
Boram Cha
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引用次数: 0

摘要

汉斯-乌尔斯-冯-巴尔塔萨(Hans Urs von Balthasar)的神性三位一体论(kenotic trinitarianism)和戏剧化基督论(theodramatic Christology)旨在戏剧化三位一体上帝与世界的神性互动,而不改变上帝。巴尔塔萨最终是将苦难神化并将上帝塑造成悲剧性的神,还是成功地重新定义并复杂化了上帝的永恒性,这仍然存在争议。为了探讨这个问题,本文批判性地研究了巴尔塔萨在神学上对 "创世之前被杀的羔羊 "这一形象的运用,这一形象在他的启示论和戏剧性的救赎论中扮演了关键的角色。我将论证他对约翰福音的启蒙主义理解是站不住脚的,他对《启示录》中被杀羔羊形象的丰富神学运用,以及他对《第四福音书》的可疑注释,使超时空的苦难和死亡在上帝的生命中成为现实。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Visualising the super-temporal vulnerability of God: Balthasar's theological use of John's biblical image of ‘the Lamb slain’

Hans Urs von Balthasar's kenotic trinitarianism and theodramatic Christology is designed to dramatise the triune God's kenotic engagement with the world without introducing a change in God. It continues to be disputed whether Balthasar ends up divinising suffering and making God into a tragic deity or succeeds in redefining and complexifying divine immutability. To engage with this question, this article critically examines Balthasar's theological use of the image of ‘the Lamb slain before the foundation of the world’, which plays a pivotal role in his kenotic and theodramatic soteriology. I will argue that his kenosis-driven understanding of John's Gospel is untenable, and his rich theological use of Revelation's image of the Lamb slain, intensified by his questionable exegesis of the Fourth Gospel, renders super-temporal suffering and death real in the life of God.

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CiteScore
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