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EN
Cain selfishly negated differentiation in the world, which was established by God. He lacked an appropriate relationship with himself. He didn’t overcome evil tendencies, didn’t gain control over sin and allowed himself to commit murder. Breaking our relationship with God leads to injustice in relations with others. Even after his sin, God attempts to re-establish dialogue with Cain, who however again turns out to be hardened toward God’s voice. For his sin he is cursed and outcast. God still promises him protection and places a mark upon him. Because He wants the conversion of the sinner more then his death. God gives him a chance for transformation.
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Běloruské pověsti a legendy o skvrnách na Měsíci

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EN
This article is focused on research of interaction and interpenetration of Christian and archaic mythologies and revealing of beliefs’ traits of another folks in the etiological legends concerning Moon spots. To solve this problem the following issues are considered to systematization and classification of the complex of etiological legends concerning Moon spots; detection of archaic origins and Christian elements presented in the Moon spots legends; comparative analysis of Belarusian Moon spots legends with such legends of other folks to show genesis and relations of some legends. We used for analysis this sources: ethnographic material from the 19th and 20th century, digital Polesie archive, “field”-materials collected by the author and another researchers in 2005–2008. As a result we show that some Moon spots legends could migrate to Belorussia region from Poland, Russia and Lithuania. Also archaic origins in the legends were revealed.
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EN
Fathers of the Church have left comments on Genesis as well as other works, which explain not only the biblical descriptions of the origins of the world and man, but also Gen 4: 1-16, where it speaks of the sin of Cain. In this paper we pre­sent an assessment of the sin of Cain made by some of the Fathers of the Church. It should be noted that they do not stop only on the sin of fratricide, although condemn it the most, but focus their attention also on other sins of Cain, which preceded and led to the killing of Abel by his jealousy, anger, evil thoughts, insin­cerity. Fathers of the Church recognize the individual and social character of the sins of Cain, which manifests itself in leaving his from God and separation from relatives. This resulted in a permanent division of the family. Fathers also point to the mercy of God and a willingness to forgive. Commentators of Gen 4:1-16 biblical text, however, do not see in Cain repent for any sin committed by him.
EN
In current research on the work of Franz Kafka, war issues occur rather incidentally. In the presented article, the Author points out the omission of kafkology and tries to indicate possible directions of belumic interpretation. The sketch for Kafka’s war portrait is inspired by the short story Fratricide. The text, which shows the inspiration of the biblical story of Cain and Abel, is a beginning of Kafka’s thinking about a world determined by violence, controlled by a bloody conflict. The first assassination is a prototype of mass destruction, war and genocide. Kafka seems to have subordinated his future feature projects on the subject of war. The author of the article postulates the reading of Kafka’s books as texts about war, not only about the metaphorical one but also the real one.
PL
W dotychczasowych badaniach nad twórczością Franza Kafki problematyka wojenna występuje raczej zdawkowo i incydentalnie. W prezentowanym artykule, Autor wytyka zaniechanie kafkologów i próbuje wskazać możliwe kierunki belumicznej interpretacji. Szkic do portretu wojennego inspirowany jest opowiadaniem prażanina zatytułowanym Bratobójstwo. Tekst, w którym widać inspiracje biblijną historią Kaina i Abla, to zaczyn kafkowskiego myślenia o świecie zdeterminowanym przemocą, opanowanym przez krwawy konflikt. Gest podniesienia ręki przez barat na brata to prototyp masowej zagłady, wojny jako takiej, a także ludobójstwa. Wydaje się, że na tym tekstowym poligonie doświadczalnym, przećwiczył Kafka swe przyszłe projekty fabularne. Utwory autora Bratobójstwa, czytane jako wykwit wyobraźni opanowanej pożogą wojenną, uzupełniają, zaniechane wcześniej przez znawców, pole badawcze.
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