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ДАВНЬОГРЕЦЬКА АГОНІСТИКА В МИСТЕЦТВІ

100%

Сергій Л., Микола Ч., Вікторія Р.

Педагогічні науки: теорія, історія, інноваційні технології

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2017

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issue 2(66)

242-251

EN

The article gives information about the competition between ancient culture and art. One of the main principles of the existence of ancient Greek culture was agony. The whole system of sports competitions, and not only, of ancient Greece was called agonistics (from greek agonisticos) the ability to fight. The ancient Greeks identified three types of competitions: in sports, in racing quadrigas (chariots) and horse races and in art contests. Agonistics for the Greeks was the main element of life and culture, which provided the opportunity to realize the life potential of every free citizen of the world, and in this way to assert themselves all over the country, come closer to the parents deities, in whose honor the Greeks demonstrated their skills in various types of athletics and competitions. Agonistics is a desire for self-claiming victories that would have required the Greeks, constantly and purposefully to train not only physical qualities, but also the skill of the art brush, sculptors the stack and the ability to write outstanding hymns, odes, poems and tragedies. In other words, competitive activity has been an integral part of the existence of the ancient Greeks; it affected all aspects of Greek life: education, culture, art, architecture, etc.In later history, we celebrate the influence of art Agonistics on the culture of Macedonia, Rome and the Greek colonies of the Northern black sea. For the first time to the competitive phenomenon in art drew attention Swiss Professor Jakob Burckhardt who applied the term “agon” in relation to antique battle between artists, sculptors, poets and others, in his work “Greek cultural history”, written in 1898−1902. Artistic agony continued for a long time to live in the works of the famous painters and sculptors of the middle ages. The ancient cult of physicality as the main motive of creativity of Greek craftsmen, continued his life in the sculptures of Michelangelo, Giovanni Lorenzo Bernini, Auguste Rodin, Antonio Canova; paintings of Michelangelo da Caravaggio, Raphael, Pietro da Cortona, Peter Paul Rubens and others. The prospect of further research should be the introduction of the information obtained about the artistic agony of ancient Greece to the lecture course of the disciplines “Olympic sport” and “Philosophy of sport”.

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Taniec to (nie) walka. Agonistyka i antagonistyka a choreografia na przykładzie turniejów rycerskich i mieszczańskich w Niemczech

84%

Talaga M.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

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2020

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vol. 111

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issue 4

157-173

EN

What is dance? This is one of the key questions in dance research to which the relevant literature provides no definite answer. The classic approaches highlight the central role of movement, rhythm, and a slight excess of expressivity as the criteria for recognising a given practice as a dance. Seeking to deepen our understanding of the nature of dance, one should take a closer look at phenomena that escape or even contest the definitions accepted thus far. This article is an attempt at such an analysis of two historical European forms of martial arts, knightly tournaments and urban fencing competitions, in the late medieval and early modern Germany. Alongside their socio-cultural context their specific ‘kinetic sensitivity’ is also taken into account. The unfolding discussion leads to the central question: What made the viewers of contemporary knightly tournaments associate the opponents’ movements with a dance routine? In fact, the relevant literature began to describe them with terms derived from ballet de cour; however, they were never used to discuss the urban fencing competitions. In light of this, it is proposed to supplement the existing definitions of dance with the category of antagonistics defined here as a movement in which the essential criteria for the participants’ assessment and success, and therefore also the main driver of innovation, are not as much determined by aesthetic conventions as by factors not subject to social negotiations. Consequently, while easily encompassing the classically understood agonistics, the dance seems to end where antagonistics begins.

3

Agonistyka jako topos w pismach Tertuliana

67%

Gacia T.

Vox Patrum

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2000

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vol. 38

415-426

IT

Il motivo degli agoni e presente da Tertulliano particolarmente nel contesto del tema di persecuzione e di martirio. Spesso si tratta della parafrasi dei testi biblici, nei quali tali motivi sono gia presenti.

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Przesłanie obrazów sportowych zawartych w Listach św. Pawła

67%

Wańczyk P.

Ruch Biblijny i Liturgiczny

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2019

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vol. 72

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issue 2

EN

In his epistles, St. Paul frequently makes use of athletic imagery, both in relation to sport in general and to specific athletic disciplines (running, boxing, wrestling, gymnastics). However, the use of athletic themes is not an aim in and of itself for St. Paul, but rather it is intended to give specific guidelines to his audience. An exegetic analysis shows that the Apostle to the Nations compares his life and that of other Christians to athletic competitions. The field of these competitions is the way of faith in Jesus in which there are numerous difficulties and obstacles. Hence, the Christian as an athlete who wants to experience eternal life should be persistent, ascetic, practice virtues and prayer, and, most important, his or her task is to have a close relationship with God and the community of believers.

PL

Św. Paweł w swoich Listach wielokrotnie używa obrazów sportowych, i to zarówno odnoszących się do sportu w ogólności, jak i do jego poszczególnych dyscyplin (biegi, boks, zapasy, ćwiczenia gimnastyczne). Jednak wykorzystanie tematyki sportowej nie jest dla niego celem samym w sobie, lecz ma za zadanie przekazanie adresatom konkretnych wskazówek. Przeprowadzone analizy egzegetyczne pokazują, że Apostoł Narodów porównuje życie swoje i innych chrześcijan do zmagań sportowych. Terenem tych zawodów jest droga wiary w Jezusa, na której pojawiają się liczne trudności i przeciwności. Dlatego sportowiec-chrześcijanin, chcący zdobyć nagrodę życia wiecznego, powinien się cechować m.in. wytrwałością, ascezą, praktykowaniem cnót i modlitwy, a co najważniejsze, jego zadaniem jest staranie się o jak najlepszą relację z Bogiem i wspólnotą wierzących.

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„Metaforyczny trójgłos”. Rzecz o żołnierzu, zapaśniku i rolniku w 2 Tm 2,4-6

67%

Rambiert A.

Scriptura Sacra

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2013

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issue 17

33-46

EN

Presented article attempts to read the Pauline metaphors in a semantically new way. Author by using so called „interaction view” of Max Black tries to understand three metaphors from 2 Tim 2:4-6 in their cultural and literal context and interprets them in the nearest to Paul’s view and intention. That is way author presents ancient texts referring to soldiers in the Roman Army, wrestlers in the Greek Games and farmers. All three metaphors mentioned in a title are used to transfer a few important truths about leaders of the Church, which are called to sacrifice their daily pleasures and relations. They are called to fight with their own weaknesses, fears and Gospel’s opponents, they are finally called to preach the Gospel not only by words but by their own lives. If they do so they will receive heavenly price, which is eternity in the presence of Church.

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1 Kultura Współczesna. Teoria. Interpretacje. Praktyka

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1 Scriptura Sacra

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1 Педагогічні науки: теорія, історія, інноваційні технології

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1 Rambiert A.

1 Talaga M.

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ДАВНЬОГРЕЦЬКА АГОНІСТИКА В МИСТЕЦТВІ

Taniec to (nie) walka. Agonistyka i antagonistyka a choreografia na przykładzie turniejów rycerskich i mieszczańskich w Niemczech

Agonistyka jako topos w pismach Tertuliana

Przesłanie obrazów sportowych zawartych w Listach św. Pawła

„Metaforyczny trójgłos”. Rzecz o żołnierzu, zapaśniku i rolniku w 2 Tm 2,4-6