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„Proti kněžskému neřádu, krve křesťanské vylévání, lakomství, svatokupectví, obžerství, smilství, pýše a neposluhování svátostmi.“ Sedmero hříchů a utrakvisté v 16. století

100%

Červenka R.

Folia historica Bohemica

2015

vol. 30

issue 2

257-277

This essay analyses issues connected with the sin on selected sources of the middle current of Utraquism in the 16th century. As the latest research has shown, it is a distinctive tradition following the onset of Bohemian reformation and, in many respects, preservation elements of local mediaeval Christianity. From this point of view, the essay analyses texts created by “official” defenders of the traditional Utraquist catechism in the first half of the 16th century, i.e. Bohuslav Bílejovský and Pavel Bydžovský. However, the Utraquist movement is not represented only by persons of the official ecclesiastical policy, but also by priests engaged on the local level. Masopust, a book by Vavřinec Leander Rvačovský, is remarkable for reflection on this environment. The reader can encounter original elaboration of the seven sins to which we can apply theses by Richard Newhauser on transformation of functionality of the seven sins at the turn of Middle Ages and Early Modern Period. Through the issues of the sin and the subsequent penance, which are inseparable for the Utraquists, we can observe how Utraquists worked with this theme against the background of confessional polemics, which represent a key topic in the religious life of the 16th century.

Kolor w przestrzeni miejskiej „Siedem” Davida Finchera

51%

Choczaj M.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

2013

vol. 12

issue 21

307-316

The city in Seven is full of dark and claustrophobic spaces, dominated by three colors: black, green and red. The significance of these colors is associated with sin: laziness (green), impurity (red) and pride (red, white). Desaturation of color and deep blacks throughout the film are the result of artistic treatments such as flyflashing and bleach-bypass. Color is complemented by light – sometimes minimal, other times quite blinding. The sound of thunder and rain complete the picture of the city as a place of moral decay, where two forces are fighting: light and darkness, purity and sin.

The Colour of Urban Areas in David Fincher’s Seven The city in Seven is full of dark and claustrophobic spaces, dominated by three colors: black, green and red. The significance of these colors is associated with sin: laziness (green), impurity (red) and pride (red, white). Desaturation of color and deep blacks throughout the film are the result of artistic treatments such as flyflashing and bleach-bypass. Color is complemented by light – sometimes minimal, other times quite blinding. The sound of thunder and rain complete the picture of the city as a place of moral decay, where two forces are fighting: light and darkness, purity and sin.

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1 Folia historica Bohemica

1 Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

1 Choczaj M.

1 Červenka R.

1 2015

1 2013

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„Proti kněžskému neřádu, krve křesťanské vylévání, lakomství, svatokupectví, obžerství, smilství, pýše a neposluhování svátostmi.“ Sedmero hříchů a utrakvisté v 16. století

Kolor w przestrzeni miejskiej „Siedem” Davida Finchera