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Ikonotheka
|
2015
|
vol. 25
87-110
EN
The paper presents some comments on Homer’s ekphrasis of Odysseus’s thalamos, as presented in Book 23 of the Odyssey, and Le Corbusier’s Pavillon de L’Esprit Nouveau which was built for the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes and held in Paris. Both works imply a specifi c architectural situation of designing a domestic space around a growing tree. The architectural nature of Odysseus’s thalamos (his and Penelope’s nuptial bed and the bedchamber built around an olive tree in the palace of Ithaca) is revealed, for example, in the interpretation of the daidalon, i.e. the epithet that Homer uses in his ekphrasis which is associated with the name of Daedalus, the fi rst mythical architect. Le Corbusier’s pavilion, which included a tree in its garden terrace, is seen not only as a standardised unit of immeubles-villas, but also as a “paradigmatic” situation of designing a dwelling or a breathing space around a tree.
EN
This essay examines the iconography of the best-known relief from the renaissance Royal Summer Palace at the Prague Castle, depicting Ferdinand I of Habsburg and his wife Anne Jagiello. It highlights its marriage symbolism and the question of the dowry. In the relief Anne, heiress to the Czech Lands, gives her husband an olive branch symbolising peace. In the context of the political significance of the palace’s decoration the relief expresses Ferdinand’s view of his claim to the Bohemian throne, based on his marriage to the heiress. Due to opposition from the Bohemian Estates, this finally became his lawful right in 1545, 24 years after the royal wedding. The Italian sculptor Paolo della Stella expressed a search for a peaceful solution to Ferdinand’s succession. The relief was carved between 1540 and 1550. The interpretations do not rule out the possibility that it was made after Anne had died (1547).
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Juden, Christen und der Gesalbte

44%
Teologia w Polsce
|
2021
|
vol. 15
|
issue 2
95-107
EN
The relationship between Jews and Christians is understood in the theology of St. Paul especially through the image of the olive tree. It speaks of the common root and the original (Jewish) and grafted (pagan) branches, but it does not speak of the trunk of the olive tree. Where is the place for Christ in this picture about Jewish roots and believers from Jews and Gentiles? In order not to deviate completely from the sense of Paul’s conception, we ask about the trunk of the olive tree. This emphasizes the permanent belonging of Christians to their Jewish origin and gives an impulse to understand the Christ-Messiah who is one in the Head and in the members.
PL
Relacja między Żydami i chrześcijanami w teologii św. Pawła pojmowana jest szczególnie poprzez obraz drzewa oliwnego. Jest tam mowa o wspólnym korzeniu i pierwotnych (żydowskich) i zaszczepionych (pochodzących z pogaństwa) odgałęzieniach, podczas gdy nie ma mowy o pniu drzewa oliwnego. Gdzie w tym obrazie o żydowskich korzeniach i wierzących z Żydów i pogan jest miejsce dla Chrystusa? Aby nie odchodzić całkowicie od niepawłowej koncepcji Chrystusa, pytamy o pień drzewa oliwnego. Tym samym zostaje podkreślona trwała przynależność chrześcijan do żydowskiego pochodzenia i do rozumienia pojmowania Mesjasza-Chrystusa, który jest jednym w Głowie i członkach.
DE
Das Verhältnis von Juden und Christen wird von der Theologie des Paulus, vor allem aus deinem Bild vom Ölbaum, verstanden. Dort ist von einer gemeinsamen Wurzel und ursprünglichen (jüdischen) und von aufgepfropften (aus dem Heidentum kommenden) Zweigen die Rede, während vom Stamm des Ölbaumes nicht gesprochen wird. Wo ist in diesem Bild für die jüdische Wurzel und die Gläubigen aus Juden und Heiden der Platz für Christus? Um nicht von einer gänzlich unpaulinischen christusfreien Konzeption auszugehen, wird nach dem Stamm des Ölbaumes gefragt. Damit wird die bleibende Zugehörigkeit der Christen zum jüdischen Ursprung betont und eine Anregung zum Verständnis des Messias-Christus gegeben, der einer in Haupt und Gliedern ist.
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