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Pieśń i przypowieść o winnicy (Iz 5,1–7; Mk 12,1–12)

100%
Malina A.
Studia Pastoralne
|
2018
|
vol. 14
224-238
EN
The parable of the vineyard (Mk 12,1–12) is an image of God’s dealing with His people. This image is well known form the Old Testament texts, especially from Isaiah’s song (Is 5,1–7). The paper is aimed at investigating the both similarities and differences between the prophetic text and Jesus’ parable. The parallels can be seen in the use of metaphorical language, figures of speech and rhetorical devices. However, Jesus’ parable does not develop in the same way the image present in Isaiah’s song. According to the prophetic text it is the vineyard, which is failed; according to the Gospel the tenants. In Isaiah the vineyard is destroyed, but in the parable it is delivered to new tenants. Isaiah’s message is about God’s punishment of His people, which is definitive; Jesus’ teaching brings hope for God’s salvation in the resurrection of His Son.
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L’Artiste et son art qui vient de loin... Gérard de Nerval et son "Voyage en Orient" (1850-1851)

44%
Sosień B.
Acta Universitatis Lodziensis. Folia Litteraria Romanica
|
2018
|
issue 13
99-113
PL
W trzeciej i ostatniej części Voyage en Orient (Podróż na Wschód, 1850-1851), zatytułowanej L’Histoire de la Reine de Saba et de Soliman, prince des génies (Historia królowej Saby i Solimana, księcia geniuszy), Gérard de Nerval tworzy postać Adonirama, genialnego rzeźbiarza i architekta świątyni jerozolimskiej, w służbie króla Salomona. Na poły biblijny, na poły legendarny Adoniram to artysta tajemniczy, niezależny, nieskłonny do tworzenia pod dyktat żadnego autorytetu i żadnej władzy: jego sztuka odzwierciedla dążenie do absolutu i tworzenia dzieł wielkich, podważających wszelkie zasady mimetyzmu i kategorie racjonalności. Samotność, rozpacz i cierpienie są nie tyle ceną geniuszu, ile jego probierzem, jednym ze stygmatów artysty romantycznego.
EN
In the third and last part of Voyage en Orient 1850-1851, entitled L’Histoire de la Reine de Saba et de Soliman, prince des génies (The History of the Queen of Sheba and Soliman, prince of the geniuses), Gérard de Nerval creates a figure of Adoniram, the brilliant sculptor and architect of the Temple of Jerusalem, in the service of King Solomon. The half-biblical, half-legendary Adoniram is a mysterious, independent artist who is inconceivable to create under the dictates of any authority and power. His art reflects the pursuit of the absolute and the creation of great works that undermine all the principles of mimicism and categories of rationality. Loneliness, despair and suffering are not so much the price of genius as the testimony of one of the stigmata of the romantic artist.
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