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1
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SACRUM AND PROFANUM OR SACROFANUM? CHANGES IN THE UNDERSTANDING OF SACRUM IN THE MODERN WORLD

100%
Sieradzan J.
Lud
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2006
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vol. 90
13-36
EN
The article analyses the problems of sacrum as discussed by a few modern scholars - Walter Burkert, René Girard and Hyam Macoby, who link the reflection on religions (mainly Old Greek, Judaism and Christianity) to the data from anthropological and ethological studies. The text also relates on the discussion of the interrelation between sacrum and profanum as analysed by classical scholars, and promotes the concept of sacrofanum, which is the modern reference to the questions discussed in the article. When looking for the sources of the concept of sacrum the author makes references to the study on primacy. The text also touches upon the relations between the experience of sacrum and madness. In the modern world the border between sacrum and profanum is liminal, while man lives in sacrofanum where everything is (or can be) a sacral element.
2

Three Theses about the Passion

100%
Mikolejko Z.
Przegląd Filozoficzny. Nowa Seria
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2004
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vol. 13
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issue 2(50)
91-100
EN
It is not generally clear if this controversial movie has a specifically new philosophical message for the viewers. Is it about Christianity, or about religion in general, or about sacrifice and redemption? The author has three things to say in this query. First, the movie represents the characteristically fundamentalist version of Christianity, in which the suffering of crucified God is placed side by side with the suffering of true believers who witness its re-enactment. Second Mel Gibson has crated an 'idolatric' image of Jesus Christ rather than an 'iconic' vision. By such rendering of his topic he has deprived the story of one important aspect. The sacrifice of Christ is not presented as an act of love but rather as an act of endurance and dedication. Thirdly, Jesus is shown as a figure that can transgress all rules of nature and all historical conditions. By making his choices Gibson produced a picture that revives the old tenets of heretical doketism.
3

EM-BODIMENTS OF SANCTITY. CONSIDERATIONS ON BODY AESTHETICS IN GYPSY CULTURES (U-cielesnienia swietosci. Uwagi o estetyce ciala w kulturach cyganskich)

100%
Ries J.
Studia Romologica
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2011
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vol. 4
15-36
EN
(Title in Roma language: In-karnacia e svuntiaqeri. Pal-e truposqeri estetika ande ververa forme e rromane kulturaqere). Every human being needs senses, located within their bodies, to see their surroundings, themselves and their very bodies. They use body aesthetics to design the image of their bodies and orient their actions around that formula. The article presents the way Roma people/Gypsies perceive their bodies. The author takes the readers to a Transylvanian village called Trabea, inhabited by various Roma/Gypsy groups Tigani ('Gypsies'), Tigani de matase ('Silk Gypsies), Corturari ('Tent Gypsies') and the converted Pentecostal Gypsies, who use different body aesthetics which also helps them diversify from the Romanian majority. Using the categories called sociologie sacree (an alternative theory of religion which seeks sacrum not in heaven or the Church but in socially-created areas) the author shows how various Roma/Gypsy groups use their bodies to em-body the sacrum, and by doing it, mark their social status, react to discrimination and reflect the inner structure of their group.
4

Okoliczności i motywy sakralnych fundacji sapieżyńskich w XVII wieku

100%
Gryko‑Andrejuk B.
Studia Podlaskie
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2012
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vol. 20
75-90
EN
Te reasons for the establishment of Sapieha Foundations were widely understood religious motifs, which were to prove the benefactor’s piety and fervor of faith. Te Sapiehas were guided by the desire to multiply and spread God’s glory. Te Sapieha Foundations were established mainly within the territory of the Grand Duchy of Lithuania. It was a religiously and culturally diversified area and, due to this, the character of the foundations was also a kind of manifestation of the fight against the Orthodox and Protestant Churches, being, at the same time, competitive to these rites. Moreover, foundation acts were votive offerings made by the benefactor for achieved victories. Religious zeal, a will to help the needy and widely understood religious motifs are not the only reasons for establishing sacral foundations. They were also accompanied by the will to show one’s grandeur and prestige. Apart from church foundations, the Sapiehas also initiated secular ones: hospitals, dowries for poor maidens and schools. Establishing a foundation, laymen were apparently guided by the will to do something good or useful and to support the poor. What is more, such activity manifested the need to care about social issues. In many cases, just through foundations, the Sapiehas thus designated themselves burial places even though the deceased’s will was not always fulfilled. Trough a number of sacral foundations, their size and location in the state and city, the Sapiehas tried to strengthen the family’s prestige. For the Sapiehas, the founded object became an important source of prestige, a proof of wealth and a visible symbol of power, which was an indispensable determinant of a social position and status. Founding sacral objects was becoming a certain kind of social obligation among the magnates. It was one of the most important ways of maintaining one’s own social status.
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Witraż – mit światła i koloru

89%
Włodarczyk A.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2019
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vol. 27(27)
254-265
PL
Stained-Glass – a Myth of Light and Color The art of stained-glass works has been related to the concept of sacrum for centuries. The genesis of this myth reaches the medieval era, when stained-glass had been one of the primary artistic techniques. The symbol- ism of light and color which has been known since the primeval times, an expression of God’s glo-ry, has perfectly inscribed itself in the program of ideological gothic cathedrals. For hundreds of years stained-glass has dominated church architecture, at the same time solidified the common conviction of its religious purpose. Only after cultural and social changes at the end of 19th century has traditional approach towards stained-glass been broken. It then entered widespread public and everyday space. In the next era, in 20th century, it became an expression of many independent artists. Due to their creative work, mythology of sacral stained-glass has expanded onto new areas. In modern times, stained-glass is a full-fledged art genre, free and in-depend- ent, but still dealing with deeply rooted conviction of the religious charac- ter of the glass masterpiec-es.
6
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Between Sacrum and Profanum. The Case of Irmingarde and Otto of Hammerstein

88%
Strzelczyk J.
Kwartalnik Historyczny
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2005
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vol. 112
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issue 3
21-32
EN
Sources from the early eleventh century paid considerable attention to a lengthy debate concerning the validity of the marriage of Irmingarde (probably from Lower Lorraine) and Otto of Hammerstein from the Frankonian-Rheinland line of the Conradines (from 1018 to 1027). Due to the spouses' relationship the marriage was questioned by the archbishops of Mainz: Erkanbald (1011-1021) and Aribon (1021-1031) as well as Emperor Henry II. The case deserves our special attention considering that it casts light on family problems and personal ordeals which sources of the epoch revealed extremely rarely, especially as regards the non-dynastic groups. The other reasons lie in spiritual force and the will power to maintain the marriage, evidenced particularly by Irmingarde, who did not resign from effective appeals to the papal See, the involvement of supreme factors (the above mentioned archbishops and Henry II together with Conrad II and Pope Benedict VIII (d. 1024), as well as an example of the pro-reform strivings of the Church, unrealised in this particular case, towards controlling and rendering more rigorous the matrimonial practices of feudal society by means of an extremely expansive delineation of canon-law obstacles for marriages. This tendency, vividly opposing the vital interests and practice of the higher rungs of society, could, contrary to the intentions of the Church, lead to abuses, i .e. the possibility of biased annulments of a given marriage by proving even distant proximity of blood, frequently unknown at the time of contracting the union. The determined stand taken by Henry II calls for a closer explanation, since apart from practical-political reasons (the intention to eliminate the Conradine opposition and seize the vast states of Otto of Hammerstein), it involved also consistent support for the pro-reform currents within the Church, support for the archbishops of Mainz, and the conviction, which permeated his whole reign, about the special responsibility of the monarch for the religious-moral aspects of social life. Finally, the attitude represented by Pope Benedict VIII illustrates the otherwise scarce and limited opportunities for the Apostolic See to exert direct impact upon the German Church and society by ignoring the powerful metropolitan bishops of the Rheinland.
7

LITERARY CRITICISM ON THE SACRUM IN LITERATURE (Miejsce badan nad sacrum w literaturze w refleksji literaturoznawczej. Rozpoznania i postulaty)

88%
Zarebianka Z.
Ruch Literacki
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2009
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vol. 50
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issue 2(293)
81-91
EN
This article brings a review of the main approaches to the problem of sacrum in the Polish critical tradition. The fact that the sacrum is an interdisciplinary area of study has important methodological consequences. It has been regarded as a peculiar, fringe subject and treated accordingly, in a reductionist manner. Against this background, the article outlines a new approach which calls for a reappraisal of the sacrum within literary studies, and, more specifically, for acknowledging its status as one of the basic theoretical categories invoked in critical interpretations of individual works and whole literary epochs. The application of such an approach would no doubt alter in some respects our appreciation of the literature of individual epochs and the inner dynamics of literary history.
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„Najswietsza Glowa Pana Jezusa”. Od skryptu metonimicznego do biografii metaforycznej

75%
Kapusta A., Pozniak A.
Lud
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2011
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vol. 95
225-241
EN
This article aims to reconstruct individual female biography as a way of manifesting late-modern spirituality. The case of contemporary myth creation is an example showing how individual religious experience in a specific social context helps build biographic cohesion and how it transforms into metaphorical narration. The authors used the data collected in Rybno in Mazovia as material for analysis. They analyse the biography of one of the inhabitants of Rybno, a person who is extremely strongly emotionally associated with the local monastic congregation which aims to spread the cult of Divine Mercy. The authors based their analysis on two sources, i.e. a free interview conducted with the woman and the texts of the prayers to the “Most Holy Head of Jesus”.
9

PROFANATION OF RELIGIOUS VALUES IN CONTEMPORARY MEDIA (Profanacja wartosci religijnych we wspolczesnych mediach)

75%
Jeczen A.
Biuletyn Edukacji Medialnej
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2011
|
issue 1
118-126
EN
Purpose of an article is diagnosis of status of religious values in media. Mass media, internet, press, television, radio often are based on primary truths of religious belief in transfer of matter, persuasively use matter of religious motives, symbols and meanings. Devaluation of sphere of deep sacred senses brings about changes in hierarchy of universal values too. Religion is entangled in mechanisms of trade, market and economy. Religious attitude easily becomes attitude of consumption. It creates danger of destruction not only religious aspect of human being, but idea of Person as physical, psychical and spiritual entirety which is fundamental for personalistic conception of human. In article author shows on that spheres of profanation as fashion, advert and film. In that context important is seeking universal hierarchy of values which may to preserve religious sphere against expansion of process of consumption.
10

ON THE BORDER OF LITERATURE AND PREACHING (Z pogranicza literatury i przepowiadania homilijnego)

75%
Pintal L.
Roczniki Liturgiczno-Homiletyczne (Liturgical and Homiletic Annals)
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2009
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vol. 56
365-381
EN
Various milieus have shown concern about the need and necessity to renew homiletic preaching. Benedict XVI has marked this important problem for the contemporary Church when he reminded us: 'In view of the significance of the word of God it is necessary to improve the quality of homilies.' One way to renew preaching may consist in introducing some elements of literature. The sphere of sacrum is the area where literature and theology meet. Literature may therefore find its place in homiletic preaching and may essentially contribute to the renewal of the quality of preaching today.
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THEOLOGY, BIBLE AND LITURGY AS THE SOURCES OF CHRISTIAN ART (Teologia, Biblia i liturgia jako zrodla sztuki chrzescijanskiej)

51%
Nadrowski H.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
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2008
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vol. 1
21-45
EN
It is important, and even essential, to realize that both in the creative and in the perceptive process associated with Christianity one must have the minimum knowledge of theology, the Bible, liturgy, tradition, custom and a general idea of culture and art. Religious art as well as art made for a gallery or museum has a very open character and can even assume the form of an experiment. However, sacred art, which is associated with the space of the church, is an entirely different phenomenon. The latter must have an ancillary and adaptive character: it must serve the community and the individual discovering of the closeness of God, especially during the liturgy. Time, space and man form a kind of triad, which clarifies sacred art. It is a mistake to build churches without a clear indication of that hic et nunc. Space-time, i.e. realization and concretization, allows not only for considering the time of a given epoch but also for creation and evaluation according to its criteria. The subject matter itself does not prejudge the sacred nature and purpose of a given work of art. What is necessary is deliberate and purposeful creative activity, and an object of worship should be carefully designed. However, it must not carry a message that is accidental, incoherent, chaotic. It is necessary to restore the idea of the iconographic programme of a sacred object, which will be anchored to the three foundations listed in the title. These, in turn, will guard the dogmatic correctness of a work of art and clearly explain its sense that results from a consistent iconological message. It is an important task to properly prepare developers, investors, and the faithful-recipients both for the understanding of historical church monuments and for new solutions concerning content and form. However, it is not enough that this space should be correct and functional in its technical or artistic aspect. There is no place for the reification of art. What is important is that the works of sacred art should be imbued with a certain metaphysical depth, a meditative climate or a mystical nature. They should even stimulate a person to meet God. This interpersonal character is crucial: the man-artist establishes a relationship with God in the creative process while and the man-recipient ought to feel this personal relationship with God, which indirectly is also a meeting with the artist. The latter has the role of a priest and prophet, or evangelizer, who is an intermediary leading to the supernatural reality. Moreover, a work of art becomes a meeting place for other people, sometimes even for generations. This is because the spirit of faith and devotion accumulates in it, and the work thus receives a 'new life' that transcends not only its time but also the creative idea of the artist. An artist always expresses himself in some way. At the same time, the author of a work of sacred art does not speak in isolation from his specific environment and circumstances. He does not create art for himself but for the faithful. The very concept of a work and its artistic effect is to invite, even encourage the faithful to visit a given church space, which is to be a foretaste of the heavenly Jerusalem, new earth and new heaven. This eschatological aspect is somehow inscribed in the space of the church. Art and works of art need their right place, not only in the space of the church, in the catechesis, in homiletics, in pastoral work, but also in theological thought, in the interpretation of the Christian Creed and the Decalogue. Sacred art is even defined as a 'theological space.' It is necessary to deepen the theology of aesthetics and art. An important task is the co-operation of all those jointly responsible both for the appearance and the dignity of the heritage of the past as well as for new solutions in church architecture.
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