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Ile Lucyfera w Lucyferze? Serialowa postać a jej biblijny pierwowzór. Różnice i podobieństwa

100%
Bartosiewicz A.
Acta Universitatis Lodziensis. Folia Historica
|
2021
|
issue 108
237-253
EN
Satan and the origins of Evil have fascinated mankind since the dawn of time. Therefore, this article attempts to answer the question who is Satan and why is he often identified with Lucifer? We will then follow his fate written on the pages of the Holy Bible and apocryphal literature, and finally compare Satan with the title character of the popular TV series Lucifer. Thus it will be possible to answer the next question – to what extent the protagonist of the series, the personification of the common ideas about Satan rooted in popular culture, resembles his biblical prototype.
PL
Szatan i początki Zła fascynują ludzkość od zarania dziejów. W artykule podjęta zostanie próba odpowiedzi na pytanie, kim jest Szatan i dlaczego bywa często utożsamiany z Lucyferem? Prześledzimy następnie jego losy spisane na kartach Pisma Świętego oraz literatury apokryficznej, by na koniec porównać Szatana z tytułowym bohaterem popularnego w ostatnich latach serialu Lucyfer. Dzięki temu możliwa będzie odpowiedź na kolejne pytanie – w jakim stopniu serialowy bohater, uosobienie zakorzenionych w popkulturze powszechnych wyobrażeń na temat postaci Szatana, przypomina swój biblijny pierwowzór.
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Karlheinz Stockhausen’s stage cycle Licht. Musical theatre of the world

80%
Draus A.
Interdisciplinary Studies in Musicology
|
2009
|
issue 8
217-226
PL
 The main idea of the paper is a presentation of the stage cycle Licht, absorbing the composer for over one-third of his active creative life. The question arises as to the generic affiliation of Stockhausen’s opus magnum: close to operatic works by Luciano Berio and Mauricio Kagel or to pop productions of works by Philip Glass? Analysing the subject matter and content of Licht, as well as its message and the means of expression employed, it is difficult not to discern the unification, within a single work, of what might appear to be contrasting musical genres and kinds of theatre (mystery play, expressionist drama, happening). It is worth remembering that the composer himself does not employ any specific generic term except for Opernzyklus. He often, however, refers to the forms and genres of theatre, cultivated in many different parts of the world, which have inspired him (e.g. in Malaysia, Japan, Bali, the USA), and he admits to the evolution of his views on faith. Can the substance of Licht be reduced to a common denominator? Can the heptalogy be called ‘sacred’ theatre? Or - on the contrary - an extremely profane, ‘pagan’ avant-garde spectacle?
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