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Irlandzka architektura jako wyraz wartości kulturowych

100%
Gierek B.
Academic Journal of Modern Philology
|
2021
|
issue 14
153–172
EN
The architecture in Ireland has been developed in various periods: from megalithic times, through antiquity, the Middle Ages, to modern times. Irish architecture has preserved elements of three significant cultures flourishing in Ireland which Seán Ó Duinn calls “three streams”: the megalithic, the Celtic and the Christian cultures. With the Celtic culture is connected the term “Celtic spirituality” which is expressed in: affirmation of life and creature, harmony of man with nature and cosmos, and above all in the divine presence in the world and in human life. The author of this article also indicates to its manifestation in Irish architecture. The author of the article characterises selected elements of Irish architecture, pointing to their meaning, like: circularity in general, circle (as a solar symbol), stone, corbel technique, round tower, Celtic cross, human head, sheela-na-gig. The author based her study on historical, archaeological and literary sources, supplemented with her own field works conducted in Ireland in 1995–2016.
2
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Mandala w sztuce i w terapii

100%
Plucińska K.
Zeszyty Naukowe Państwowej Wyższej Szkoły Zawodowej im. Witelona w Legnicy
|
2017
|
issue 2(23)
PL
W artykule krótko ukazana jest bogata historia symboliki koła w kulturze. Przedstawiono definicję mandali w perspektywie koncepcji C. G. Junga. Zaprezentowano także wybrane dzieła kilku współczesnych artystów związanych z filmem oraz sztukami wizualnymi, którzy wykorzystywali motyw koła w swojej twórczości. Na zakończenie opisane zostały mandale wykonane przez pacjentkę w procesie terapii oraz mandala stworzona przez uczestniczkę warsztatów pokonferencyjnych
EN
This paper presents briefly the history of the symbolism of the Circle in culture. The concept of „mandala” has been described from the perspective of C. G. Jung philosophy. A selection of works by several contemporary artists associated with cinematography and the visual arts, who used this motif in their works, has also been discussed. The last part of this paper contains a description of the mandalas made by a patient during her treatment, as well as the mandalas designed by a participant of post-conference workshops.
3
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“Being a dancer is not only a passion” – dance forms in the prose works of Milan Kundera

84%
Cieliczko M.
Bohemistyka
|
2018
|
issue 2
151-174
EN
The author of this article analyses the way in which dance and the dancer function within the prose works of Milan Kundera. Preceded by an introduction which analyses the figure of homo saltans from a cultural perspective, this review of the topic of dance (understood phenomenologically) presents four literary aspects in which it reveals itself. These perspectives are not conflicting, but neither are they complementary. The first relates to ritual rites of dancing in a circle, and their (crooked) reflection can be seen in the socio-political experience of the 20th century. The second presents dance as a narrative element, which asks questions about its own nature, and therefore has an autotelic and universalising character. The third aspect presents a metaphorical understanding of dance movement, while the fourth relates to philosophies of the dance and the dancer, as proposed by one of the protagonists in Slowness, leading this persona away from aesthetics towards the experience of public life. According to the author of this article, dance is used by Kundera to discover more interesting layers of the human condition, but much here depends on the reader. 
4
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„Twardego snu pieczęcie”. Świat dziwów w „Zaklętym mieście” Edwarda Leszczyńskiego

67%
Igliński G., Uniwersytet Warmińsko-Mazurski w Olsztynie W. H., grzegorz.iglinski@uwm.edu.pl
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2016
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vol. 33
|
issue 3
EN
The article offers an analysis and interpretation of the poem Zaklęte miasto [Enchanted city] from the volume Ballady i pieśni [Ballads and songs] by the Young Poland poet Edward Leszczyński. The poem is first analysed based on the oneiric convention. For this purpose the author refers to the philosophy of Arthur Schopenhauer and explains the symbolism of the wheel, which indicates the sense of entrapment in the world, a situation with no way out. The dreaming-wandering from Leszczyński’s poem, the gaining and losing of faith, is then examined in the context of August Strindberg’s A Dream Play. The two works, ostensibly so different, address with a similar kind of poetic “dreaming.” In both cases, the life in question is inauthentic, asleep, affected by a curse, kept under a spell. The last stanza of the poem indicates the Dionysian tradition, and therefore makes it necessary to refer to the philosophy of Friedrich Nietzsche and his idea of eternal return. The examination lead to the conclusion that Leszczyński’s work refers to the dual meaning of circularity, or rather two attitudes towards life. In the first case Schopenhauerian determinism is revealed, according to which life is a monotonous, enchaining, ominous dream. In the second case we are dealing with the worship life of Nietzschean provenance – one may, therefore, conclude that a curse can be a blessing and being asleep can be being awake, if we accept the eternal return.
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PROFESOR TADEUSZ MANTEUFFEL I INSTYTUT HISTORYCZNY UNIWERSYTETU WARSZAWSKIEGO. ŚRODOWISKO KSZTAŁCĄCE I WYCHOWAWCZE W LATACH PIĘĆDZIESIĄTYCH XX WIEKU

67%
Bartnicka K.
Analecta. Studia i Materiały z Dziejów Nauki
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2017
|
vol. 26
|
issue 2(51)
105-180
EN
The Historical Institute of the Warsaw University was established in the 30s of the 20th century out of 7 colleges teaching history at the University’s Liberal Arts Department, in order to facilitate education of history teachers in secondary schools within so-called free school. The creator of the Institute was an eminent historian and university teacher – Marceli Handelsman. After damages of the 2nd World War, the Institute was re-created with much effort by Tadeusz Manteuffel (1902–1970), Handelsman’s disciple and friend, outstanding archivist, mediaevalist and creator of the Warsaw and national historical circles. Manteuffel’s associates were his colleagues and friends from the resistance movement, connected with the Office of Information and Propaganda of the Headquarters of the Home Army, as well as lecturers and disciples of a history section organised by Manteuffel at an Underground Warsaw University during German occupation. Didactic-scientific staff of the Institute was very carefully assembled by Manteuffel: i.a., Aleksander Gieysztor, Stefan Kieniewicz, Stanisław Herbst, Janusz Woliński, Władysław Tomkiewicz, as well as the ones of the Library and the Deans Office of the History Department. Manteuffel expanded the formula and tasks of the Institute of History and created an institution of educational and scientific character, opened for the whole historical circle, and propagating historical knowledge in co-operation with teachers. Despite huge obstacles after the war, the Institute introduced an experimental, modern training programme and set up a system of education for historians. Manteuffel was the author of the concept. He tried to combine the necessity to train history teachers with a high scientific level of studies. The programme was later introduced in all Polish universities. Manteuffel performed many functions at universities and was an authority in the historical circles. He took great care to maintain international contacts, skillfully and with diplomatic talent defended the Institute against vulgarization of education and science in time of Stalinism. He was a reliable, brave man and a great organiser. Talented and kind, although demanding, even sometimes gruff supervisor and academic teacher. Loyal to his colleagues, associates and students. Even at the beginning of the 50s, he managed to maintain an atmosphere of order and security in the Institute of History of the Warsaw University. When The Polish Academy of Sciences was created, Tadeusz Manteuffel organized and headed its Institute of History, which became a research centre on a national scale. In 1955, while maintaining his didactic activity at the University, he handed over the management of the Institute of History to Aleksander Gieysztor.
6
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„Twardego snu pieczęcie”. Świat dziwów w „Zaklętym mieście” Edwarda Leszczyńskiego

51%
Igliński G.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
|
2016
|
vol. 33
|
issue 3
225-241
EN
The article offers an analysis and interpretation of the poem Zaklęte miasto [Enchanted city] from the volume Ballady i pieśni [Ballads and songs] by the Young Poland poet Edward Leszczyński. The poem is first analysed based on the oneiric convention. For this purpose the author refers to the philosophy of Arthur Schopenhauer and explains the symbolism of the wheel, which indicates the sense of entrapment in the world, a situation with no way out. The dreaming-wandering from Leszczyński’s poem, the gaining and losing of faith, is then examined in the context of August Strindberg’s A Dream Play. The two works, ostensibly so different, address with a similar kind of poetic “dreaming.” In both cases, the life in question is inauthentic, asleep, affected by a curse, kept under a spell. The last stanza of the poem indicates the Dionysian tradition, and therefore makes it necessary to refer to the philosophy of Friedrich Nietzsche and his idea of eternal return. The examination lead to the conclusion that Leszczyński’s work refers to the dual meaning of circularity, or rather two attitudes towards life. In the first case Schopenhauerian determinism is revealed, according to which life is a monotonous, enchaining, ominous dream. In the second case we are dealing with the worship life of Nietzschean provenance – one may, therefore, conclude that a curse can be a blessing and being asleep can be being awake, if we accept the eternal return.
7
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Wartość gnozeologiczna i dydaktyczna metody wykresograficznej w teologii

51%
Krukowski K.
Roczniki Teologii Dogmatycznej
|
2013
|
vol. 5
167-180
EN
In the contemporary postmodernist culture that more and more becomes the “culture of the picture”, the demand of visualization should also be addressed to theology that is inclined to use the traditional forms of verbal message. In the light of the principle of accommodation accepted by the Vaticanum II the imperative expressed there should be considered “urgent” for the present moment. Among the new propositions promoting graphical-pictorial approaches in theology a new method called chart-graphic or geometrical method worked out by Rev. Prof. Franciszek Drączkowski deserves a special attention. The starting point of the chart-graphic method is the figure of the circle in which an equilateral triangle has been inscribed that is a symbolic image of the triune God. The value of geometry in cognition and comprehension of truth was seen in the past by many outstanding scholars, who considered the use of geometry, logic and algebra to be necessary in the process of cognition of the universe (Descartes, Pascal, Clement of Alexandria). Geometry also for Rev. Drączkowski becomes something that is indeed necessary in the process of cognition of the eternal Truth and of transmitting this knowledge to others. He accepts the ancillary role of geometry, transferring it to the ground of theology.
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