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EN
The presence of the crucifix in comical literature is a special case of an encounter of the sacred and the profane. It appears in several French medieval texts, where it is associated with sexuality or with food, it is treated with familiarity and even casualness, which is not meant to outrage the public, but to make people laugh. The profanation with which we are dealing here has many aspects, depending on whether it can be assigned to a particular personage or to the author, since it is included in the story itself. In the former case, much can be justified by simplicity, but the intentions of the personage do not always seem pure. In the latter case, contrary to expectation, the sacrilege is not necessarily associated with anticlericalism. However, what is the most interesting is the question of the reception of this kind of texts in a profoundly Christian society.
PL
The article attempts to interpret Ryszard Schubert’s works of in the light of performance and archive theory as well as Julia Kristeva’s theory of abject. The author analyses the language of Schubert’s novel and indicates an important problem for the writer, that is conveying the truth about the event in literature. While examining Schubert’s writing strategies, particular attention is paid to innovative language and formal solutions, due to which the writer reinterprets the traditional model of novel and literature.
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EN
This article examines the issue of the ill body from two perspectives which are at the same time two parts of this paper. The first one which follows Michel Foucault, concerns production of the specific type of the subject, namely the patient and includes a scrutiny of the hospital as a disciplinary apparatus. The goal of the second part is to analyse illness as a counter-apparatus which undermines any given order. I argue that power, violence, the process of subjectification and a way of eluding their moulding force are reflected in the issue of the ill body. For the ill body simultaneously is extremely vulnerable (as something that needs to be fixed) and invulnerable (because of the rebellious ‘nature’ of illness) to the apparatus investments.
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Ochrona Znaku Polski Walczącej

71%
PL
Znak Polski Walczącej składający się z liter P i W tworzących kotwicę jest jednym z najbardziej rozpoznawalnych symboli Powstania Warszawskiego. Znak ,,Polska Walcząca” został przyjęty w 1942 r. przez Armię Krajową. Znak ten jest obecnie chroniony przez prawo (ustawa o ochronie Znaku Polski Walczącej). Artykuł zmierza do objaśnienia dogmatycznych aspektów wykroczenia zawartego w art. 3 ust. 1 ustawy o ochronie Znaku Polski Walczącej. Artykuł 3 ust. 1 tej ustawy reguluje wykroczenie znieważenia Znaku Polski Walczącej: kto znieważa Znak Polski Walczącej podlega karze grzywny. W artykule objaśniono także znaczenia następujących pojęć: ,,Znak Polski Walczącej”, ,,zabytek”, ,,dobro kultury”. Autor przedstawia także proces legislacyjny.
EN
The Polish Fight Symbol composed of letters P and W stylized as anchor is one of the most recognizable symbols of the Warsaw Uprising. Symbol of “Fighting Poland” was adopted in 1942 by the Home Army. The said symbol is now protected by law (the Act on protection of the Polish Fight Symbol). This article aims to examine dogmatic aspects of the misdemeanor specified in Article 3 paragraph 1 of the Act on protection of the Polish Fight Symbol. Article 3 paragraph 1 regulates misdemeanor of profaning the Polish Fight Symbol: Anyone who profanes the Polish Fight Symbol is liable to a fine. Examined herein is also the meaning of the following terms: “Polish Fight Symbol”, “historical monument”, “cultural property”. The author also describes the legislative process.
EN
Roman Jaworski’s novel Wesele hrabiego Orgaza is about the end of the European civilization after the Great War trauma, namely, about its cultural fall. The article is an attempt to compare some of the author’s proposals with Giorgio Agamben’s philosophy about homo sacer. As a result of the comparison, Jaworski sees perhaps the salvation for Europe after the war. First, in the destruction of history, tradition and canon – rejection of returning to the past state after politicians’ peacetime agreements. Second, he sees it in mixing the sphere of sacrum and profanum not only in the cultural life, but also in the religious or social one, because violated holiness cannot be restored. Thanks to that the New Europe will create new post-traumatic order. But finally, Jaworski’s observations can be cynical, Europe just needed to go through its trauma.
EN
Code of the Canon Law does not forbid selling sacred objects. The only exception is the sale of relics. In case of selling or passing the sacred object to another person one should take care to avoid the risk of profanation or misuse. The best solution in case when our influence on the new owner is limited is to turn to the competent Church authority who based on canon 1212 (Code of Canon Law of 1983) will issue a decree depriving the sold object of the dedication or consecration to be used for profane use. Also in this case commentators say it should be assured that the object will be relegated to profane but not sordid use. The change of the owner should be without risk of arising astonishment or unnecessary sensation.
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2014
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vol. 12
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issue (2)23
285-312
EN
The article is regarding the process of passing the sacred vocabulary to the colloquial Polish. Date „profanation” („secularization”) was used for indicating secularizing, the gap with the sacred (of desacralization), the exempting the language from stiff religious-ethical norms. In the article secondary meanings and semantic functions of three adjectives were described: divine (boski), angelic (anielski), saint (święty). The historical-linguistic prospect allowed to notice the progressing debasement of senses of these lexemes. Notations appearing in general dictionaries of Polish are observed material (so historical, as well as contemporary) and individuals excerpted from press, literary texts and statements placed on internet forums. Such a scope of sources enables the wide inspection of the issue just enough, because corresponds to the theory of the popular style as the stylish centre of the Polish. The applied analysis method is referring to anthropological linguistics and the sociolinguistics.
EN
In a lecture dedicated to “the urban question”,Giorgio Agamben characterized modern spatial transfor-mations in terms of moving from the city, as a traditionalform of spatial organization, to the metropolis. =is processcoincides, according to the Italian philosopher, with thebirth of modern biopolitics, specialized in producing andmanaging the bare life. Agamben’s metropolis is a space ofindistinction, another materialization (beside camp) of stateof exception, an area of delocalizing localization, associatedby representatives of the urban studies with a neoliberalcity of zero tolerance. Negative analysis of (urban) biopo-litics by Agamben has its reverse side in form of metropo-lis theory formulated by Antonio Negri and Michael Hardt.A similar starting point – a description of the metropolisexposed to the mechanisms of biopower, an assumption ofits boundlessness and heterotopic character, an abolishmentof dixerence between private and public space - leads themto the contrary, armative, due to the dixerent approachof biopolitics, conclusions. According to Negri, the metro-polis is to the multitude what the factory was to the industrialworking class. Multitude usually takes place in urban areas,aiming at their democratic transformation. It $lls the emptyspace after the working class - urban actor privileged byHenri Lefebvre - and takes over the right to the city, carriedout in acts of its constant reproduction. =e article aims athighlighting points of intersection and fundamental dixe-rences presented in both visions of biopolis. It argues thatbiopolitical resistance, linked to the cultural productivityof urban subject, involves the creation of place in Agam-benian non-place of sovereign power.
PL
W wykładzie poświęconym „kwestii miejskiej” Giorgio Agamben charakteryzował nowoczesne przeobrażenia przestrzenne w terminach przechodzenia od miasta, jako tradycyjnej formy organizacji przestrzennej, do metropolii. Proces ten zbiegał się, zdaniem włoskiego filozofa, z narodzinami biopolityki, specjalizującej się w produkowaniu i zarządzaniu nagim życiem. Metropolia w Agambenowskiej optyce to przestrzeń nierozróżnialności, materializacja, na wzór obozu, stanu wyjątkowego, obszar delokalizującej lokalizacji, kojarzony przez reprezentantów studiów miejskich z neoliberalnym miastem zerowej tolerancji. Dokonana przez Agambena negatywna analiza (miejskiej) biopolityki natra$a na swego rodzaju rewers w postaci refleksji nad metropolis autorstwa Antonia Negriego i Michaela Hardta. Podobny punkt wyjścia - opis wystawionej na mechanizmy biowładzy metropolii, przekonanie o jej bezgraniczności i heterotopiczności, zniesieniu różnicy między przestrzenią prywatną i publiczną - prowadzi autorów Multitude do przeciwstawnych, afirmatywnych, z uwagi na odmienne ujęcie biopolityki, wniosków. Zdaniem Negriego stosunek wielości do metropolii przypomina dawną relację klasy robotniczej do fabryki. Multitude zawiązuje się dziś głównie w miastach, celując w ich demokratyczne przeobrażenie. Przejmuje prawo do miasta, realizowane w akcie jego nieustannej reprodukcji. W niniejszym szkicu wskazuję na punkty przecięcia i podstawowe różnice obecne w charakteryzowanych wyżej wizjach biopolis. Argumentuję, iż przedsiębrany w jej ramach opór, związany z kulturową produktywnością miejskich podmiotów, polega naustanowieniu miejsca w analizowanym przez Agambena nie-miejscu władzy suwerennej.
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57%
Studia Gilsoniana
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2022
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vol. 11
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issue 4
567-593
EN
Prepared by other iconoclasms, French revolutionary vandalism spared nothing and inspired the destruction of successive revolutions throughout the world. The contradiction lies in the fact that, at the same time, the actors of this drama were developing the idea of heritage that is still prevalent in our country today. There was no shortage of decrees and laws, most of which had no effect. Two prominent examples are briefly discussed here: the desecration of the royal basilica of Saint-Denis and the fate of Notre-Dame cathedral in Paris. The powerlessness of a few men who were aware of the tragedy unfolding before them shows how the machine that mercilessly crushed human beings was also particularly effective in erasing the traces and roots of a two-thousand-year-old culture founded on God and the King.
PL
W opracowaniu podjęto próbę systematyzacji wiodących przekształceń zachodzących we współczesności w przestrzeni cmentarzy wyznaniowych znajdujących się na terenie Polski. Cezurę czasową analiz ograniczono do okresu trwającego od zakończenia drugiej wojny światowej do chwili obecnej. Wyróżniono cztery zasadnicze rodzaje przekształceń podzielone na dwa główne kierunki przemian zachodzących w czasie: harmonijną ekspresję temporalną (zastój/zanik; kontynuację) oraz dysharmonijną ekspresję temporalną (desakralizacja; resakralizacja i komemoracja). Każdy rodzaj przekształceń został omówiony osobno na wybranych przykładach. Należy jednak podkreślić, że zaproponowany podział nie ma charakteru rozłącznego, gdyż biorąc pod uwagę mnogość czynników determinujących zmiany struktur materialnych cmentarzy, niekiedy procesy zachodzą równolegle lub zazębiają się w czasie.
EN
The study attempts to systematize the leading transformations observed nowadays in denominational cemeteries located in Poland. The time frame of the analyses was limited to the period from the end of the Second World War to the present. Four basic types of transformations have been distinguished and divided into two main directions of changes reported over time, namely: harmonious temporal expression (stagnation/decline, continuation) and disharmonious temporal expression (desacralisation, resacralisation and commemoration). Each type of transformation is discussed separately based on selected examples. However, it needs to be emphasised that the proposed division is not disjunctive as considering the multitude of factors that determine changes in the material structures of cemeteries, processes sometimes run parallel to each other or overlap in time.
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