Search results

1

Extracting limestone: How to interpret the city through ammonites and belemnites

100%

Sadowska M.

Polish Journal of Landscape Studies

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2020

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vol. 3

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issue 6

83-95

EN

The paper analyzes the presence of the remains of ammonites and belemnites in the stones used to build the elevations of houses in modern Polish cities. The process of aestheticizing buildings is the reason for fossilized cephalopods being moved from the natural environment into urban space. I consider whether the use of such materials leads merely to making the buildings look more attractive or if this process provides an opportunity to interpret these buildings in an alternative way, which goes beyond aesthetic categories and is related to the fact that the fossils have been moved from the natural world into the cultural sphere. The limestone elements of architecture also allow one to look at the city as a unique museum of cultural and natural history.

2

Contribution to the research on the use of flint and stone by the Lusatian culture population during the Bronze age and Early Iron age in the Lublin region (remarks of a non-lithic expert)

86%

Kłosińska E. M.

Materiały i Sprawozdania Rzeszowskiego Ośrodka Archeologicznego

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2019

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issue 40

215-234

EN

The population of the Lusatian culture inhabiting the Lublin area during the Bronze age and Early Iron age used various items made of flint and stone. The most spectacular finds include sickles and sickles inserts with surface retouch. Items made from flint and stone were used mainly as tools, but also as weapons, as well as prestige indicators. They also had symbolic function. These artefacts were probably produced on site at settlements and they were among the accessories of everyday life of the population living then. In the Early Iron age, in the valley of the Vistula River, local flint deposits were exploited. Flint knapping workshops were set up here. Extremly numerous flint artefacts were recorded at these workshops and they represent the so-called Kosin industry.

3

Damage and repair of the Old Kingdom canopic jars – the case at Abusir

86%

Jirásková L.

Pražské egyptologické studie (Prague Egyptological Studies)

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2015

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issue 15

76-85

EN

Archaeological excavations in the Abusir South officials’ tombs have revealed several sets of canopic jars that bear traces of large surface damage and plaster patches filling the holes and chippings. Deeper research into the canopic jars of the Old Kingdom unearthed during earlier excavations in the area of Abusir yielded more examples, and therefore questions arose concerning the origins of this damage and subsequent repair. The author of the present study brings to light the so far recognized evidence and outlines several paths of interpretation. The quality of limestone used for the production of all these canopic jars was not the reason for this damage, which would have occurred during the production process. Therefore, the author comes to the conclusion that they must have been used in a kind of pre-burial activity, most probably connected with mummification. Such activity thus caused the surface chippings, and the jars must have been restored (in one case twice). Later on, the jars were put into the burial apartment – all probably empty, as a symbol of post mortal treatment of the body, which probably did not include evisceration.

4

Kámen v pomístních jménech Moravy a Slezska

86%

Štefková M.

Acta onomastica

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2012

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vol. 53

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issue 1

282-295

EN

The stone is a significant part of landscape, hence the common noun stone is used as a base for a plenty of anoikonyms in all languages. This paper deals with Moravian and Silesian minor place names containing Czech noun kámen ‚stone‘, in dialects ‚rock‘ too. In the first part, dialect forms of the respective names are described. Then the autor deals with struc-tural types of the names and frequency of these types. Finally variability and motivation are explored.

5

Skamieniały chleb w oliwskim kościele. Historia kamienia i rozwój legendy

72%

Kromer A.

Studia Gdańskie

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2017

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issue 41

53-74

PL

Przez kilkaset lat we wnętrzu cysterskiego kościoła klasztornego w Oliwie przechowywany był kamień, który uważano za skamieniały chleb oraz towarzysząca mu tablica mówiąca o klęsce głodu. Najstarsze informacje o kamieniu pochodzą z napisanej na początku XVI w. kroniki Simona Grunaua. W kronice znalazła się też legenda przedstawiająca okoliczności przemiany chleba w kamień. Na przełomie XVIII i XIX w. kamień zaginął w nieznanych okolicznościach. Tablica znajdowała się w kościele do 1956 r., kiedy została oddana do konserwacji. Jak dotąd nie powróciła na dawne miejsce. Do obecnych czasów dotrwała legenda o kamiennym chlebie, powtarzana w różnych wariantach przez kolejnych autorów.

EN

Over several hundred of years there was a stone inside the Cistercian Abbey in Oliwa which was believed to be petrified bread, together with a stone tablet telling of famine. The earliest information about the stone come from Simon Grunau’s chronicles (Preussische Chronik) written at the beginning of the 16th century. The legend of the transformation of the bread into stone was also detailed in his chronicles. Between the 18th and 19th centuries the stone was lost in unknown circumstances. The tablet was kept in the abbey until 1956, when it underwent restoration. Since then it has not been returned to its proper place. The legend of the petrified bread has been retold in many different versions by different authors, right up to the present day.

6

Above Pekel med vodami toward Mohokos, Železna gora and Per(n)jak

62%

Bajuk L.

Poznańskie Studia Slawistyczne

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2012

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issue 3

PL

I conducted my own ethnographic field research in 1998, 2004 and 2007. Further field research, from 2010 to 2012, under the title ‘Folk Piety and the Transmission of Ethnoheritage in Upper Meñimurje’, was part of Tomo Vinšćak’s academic project Sacral Interpretation of Landscape, organized by the Matapur Association and the Ethnological and Anthropological Department of the Faculty of Philosophy in Zagreb. The analysis and comparison of the collected materials has contributed to research into the fascinating and still vibrant – though under-researched – survival strategies of pre-Christian and Christian worldviews in the western and north-western parts of the northernmost districts of Croatia.

7

NATURALNE MATERIAŁY JAKO JEDEN Z ASPEKTÓW EKOLOGICZNEGO PROJEKTOWANIA WNĘTRZ

58%

Król-Dobrowodzka U.

Przestrzeń, Ekonomia, Społeczeństwo

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2018

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issue 14/II

59-79

EN

The article discusses the problem of natural, traditional materials, as an important component of sustainable, ecological interior design. The threats, but also opportunities resulting from globalization and related processes are presented in the context of contemporary design. Local raw materials, that have been used in furnishing rooms for centuries, have built their identity. However, globalization and a number of processes connected with it caused, on the one hand, a move away from this tradition, and on the other hand, identification of the problem and opposing trends, emphasizing the return to the use of native solutions. Since not every natural or local material is ecological, criteria for assessing the materials from an ecological point of view have also been defined. Examined were the following groups of materials: wood, stone, wood-based materials, (such as Cork, paper, cardboard) and other materials of vegetable origin (like bamboo and other grass, wicker, rattan, palm leaves, coconut, etc.), ceramics (such as brick, ceramic tiles, traditional cotto, etc.), natural plasters based on lime or gypsum, fabrics of natural origin (such as wool, cotton, flax, silk, etc.), glass, and metals. These materials, while respecting ecological standard in the process of their production and treatment, used in a modern form, give a new quality in modern interiors, are friendly to the environment and the user. Therefore, the examples of their innovative application in interior design were presented. The article shows that the return to traditional, local materials, while maintaining modern standards and using the most advanced technologies are one of the important ways of ecological design

PL

W artykule przedstawiono zagadnienie stosowania naturalnych, tradycyjnych materiałów, jako ważnego składnika ekologicznego projektowania wnętrz. Ukazano zagrożenia, ale także szanse wynikające z globalizacji i procesów z nią związanych (w kontekście współczesnego projektowania). Lokalne surowce od wieków stosowane były w wyposażaniu pomieszczeń i budowały ich tożsamość. Jednakże globalizacja spowodowała – z jednej strony odejście od tej tradycji, a z drugiej – identyfikację problemu i nurty przeciwstawne, kładące nacisk na powrót do stosowania rodzimych rozwiązań. Ponieważ nie każdy naturalny czy lokalny materiał jest ekologiczny, określono także kryteria oceny materiałów z punktu widzenia ekologii. Przeanalizowane zostały następujące grupy materiałów: drewno, kamień, materiały drewnopochodne, (jak korek, papier, tektura) i inne materiały pochodzenia roślinnego (m.in. bambus oraz inne trawy, wiklina, rattan, liście palmowe, trawa morska, sizal, kokos, sznurek, itp.), ceramikę (jak cegła, płytki ceramiczne, tradycyjne cotto), naturalne tynki na bazie wapna gliny czy gipsu, tkaniny pochodzenia naturalnego (wełna, bawełna, len, jedwab, itp.), szkło, a także metale. Wymienione materiały, przy przestrzeganiu ekologicznych standardów w procesie ich pozyskiwania i przetwarzania, zastosowane we współczesnej formie, dają nową jakość w nowoczesnych wnętrzach, są przyjazne dla otoczenia i użytkownika. Dlatego przedstawione zostały też przykłady ich innowacyjnego zastosowania. W artykule wykazano, że powrót do tradycyjnych, lokalnych materiałów, przy zachowaniu współczesnych standardów i wykorzystaniu najnowszych technologii są jednym z istotnych sposobów projektowania ekologicznego.

8

Візуальний код каменя у драмі Камінний господар Лесі Українки

58%

Kuźmanenko A.

Slavica Wratislaviensia

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2015

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vol. 161

149 - 156

EN

In the article the functions of the visualization of a stone in Lesya Ukrainka’s drama The Stone Lord are considered. The genetics of stone space in the drama and specificity of its interpretation by the Ukrainian poet are defined.

9

Kamień – świadek przymierza w Sychem (Joz 24,1-28)

58%

Florczyk Ł.

Verbum Vitae

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2015

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vol. 28

27-58

PL

Kamienie były często wykorzystywane w codziennym życiu mieszkańców Kanaanu. Pełniły one także funkcję świadków ważnych wydarzeń w historii narodu wybranego oraz niosły ze sobą konkretne przesłanie dla ówczesnych ludzi i przyszłych pokoleń. Takim świadkiem był chociażby wielki kamień, który Jozue umieścił pod terebintem w Sychem, w związku z odnowieniem przymierza między Bogiem a Izraelitami. Kamień ten miał przypominać Izraelitom o cudownych interwencjach Jahwe w dziejach narodu wybranego, o pięknych deklaracjach, do których zobowiązali się Izraelici wobec Boga (przede wszystkim chodziło o odrzucenie kultu obcych bóstw i przestrzeganie przepisów Prawa, co miało zagwarantować Boże błogosławieństwo) oraz o zawartym przymierzu.

EN

Stones have always been used in the everyday life of people living in Canaan. They have also served as witnesses of important events in the history of the Chosen People, carrying within themselves a certain message for people, both for those times and to future generations. An example of one such witness is the great stone which Joshua had set up under an oak in Shechem on the occasion of the renewal of the covenant between God and the Israelites. The stone was to remind them about the miraculous interventions of Yahweh in the story of the Chosen People, about solemn declarations which they had vowed to God (mostly the resignation of the worship of foreign gods and abiding by the Law, which was to guarantee God’s blessing), and about the covenant made, or renewed, on that spot.

10

Мифологема «белый камень» в поэтике Иннокентия Анненского

51%

Шелогурова Г.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2016

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issue 9

61-72

EN

The mythologem ‘white stone’ seems to be one of the most significant motifs in Innokenty Annensky’s poetics. In the article an attempt has been made to demonstrate a close connection between Annensky’s ‘white stone’ and the island of Leucas (Lefkada), – a famous mythological topos of Greek culture. The author proceeds from the ‘artistic semantics’ of this island (the cult od Apollo, Sapho’s legend) on the one hand, and from the concept of oblivion, strongly associated with this place (Homer, Odyssey, 24, 11), on the other.

RU

Мифологема «белый камень» представляется весьма значимой в творчестве Иннокентия Анненского. В статье прослеживается эллинская генеалогия данного образа и рассматривается его символика в лирике, критической прозе и драматургии поэта.

11

Św. Męczennicy Marii – wieczny spoczynek, pamięć i modlitwa

51%

Uścinowicz J.

Latopisy Akademii Supraskiej

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2020

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vol. Dzieci w kulturze duchowej Prawosławia

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issue 11

301-319

EN

In 2018, members of the social community „Our memory” and the Belarusian Historical Society in Białystok, after many years of searching, found in the village cemetery of the Orthodox parish of St. St. Peter and Paul in Malesze, the remains of the destroyed and forgotten grave of Maria Pietruczuk. In 2020, the Holy Synod of Bishops of the Polish Autocephalous Orthodox Church included her among the Martyred Saints of Chełm and Podlasie. She is the Saint of the Orthodox Church. The article presents the ideological, theological, architectural and iconographic premises and conditionings for creating the design of a new monument to St. Martyrs of Mary. The aim is to provide a worthy form of Her eternal rest, memory and prayer of the faithful. The idea of building the monument and its design were blessed by His Eminence Sawa, the Orthodox Metropolitan of Warsaw and the whole of Poland. The form of the monument refers to the temple open to the heavens. It is a system of 4 symbolic forms: a cross, an altar apse, a sarcophagus and a ambona-analogion, symbolically representing: Golgotha, the Tomb of Resurrection of the Jesus Christ and the Mary Mother of God (hierathejon), a reliquary and the stone moved away from the Tomb and Cenacle. The sequential juxtaposition of these forms and their theological and cosmological meaning tries to strengthen the spirit of this place. It builds a synthetic symbolic image of the cemetery temple in search of its path of the faithful’s eternal pilgrimage to salvation.

12

Klucz Dawidowy usta mi otworzył... (nad jednym z wersetów Mojej ojczyzny Cypriana Norwida)

51%

Fert J. F.

Roczniki Humanistyczne

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2015

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vol. 63

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issue 1: Literatura Polska

9-21

PL

Artykuł w kompozycji i przesłaniu wykorzystuje formę dyptyku. Część pierwsza to egzegeza filologiczna i kulturowa jednego wersu wiersza Cypriana Norwida Moja ojczyzna, skupiona na interpretacji wyrażenia poetyckiego „klucz Dawidowy usta mi otworzył”. Część druga zawiera wspomnienie z osobistych spotkań autora na gruncie studiów polonistycznych z profesorem Marianem Maciejewskim. Całość zwieńcza fascynacja zjawiskiem Norwid, wspólna dla całego środowiska Katolickiego Uniwersytetu Lubelskiego.

EN

In its composition and message the paper uses the form of the diptych. Part One is a philological and cultural exegesis of one verse of My Homeland by Cyprian Norwid that is focused on the interpretation of the poetic expression “David's key has opened my mouth”. Part Two contains a memory of the author's personal meetings with Professor Marian Maciejewski held on the ground of Polish studies. The whole is crowned by fascination with the phenomenon of Norwid that is common for the whole circle of the Catholic University of Lublin.

Refine search results

Extracting limestone: How to interpret the city through ammonites and belemnites

Contribution to the research on the use of flint and stone by the Lusatian culture population during the Bronze age and Early Iron age in the Lublin region (remarks of a non-lithic expert)

Damage and repair of the Old Kingdom canopic jars – the case at Abusir

Kámen v pomístních jménech Moravy a Slezska

Skamieniały chleb w oliwskim kościele. Historia kamienia i rozwój legendy

Above Pekel med vodami toward Mohokos, Železna gora and Per(n)jak

NATURALNE MATERIAŁY JAKO JEDEN Z ASPEKTÓW EKOLOGICZNEGO PROJEKTOWANIA WNĘTRZ

Візуальний код каменя у драмі Камінний господар Лесі Українки

Kamień – świadek przymierza w Sychem (Joz 24,1-28)

Мифологема «белый камень» в поэтике Иннокентия Анненского

Św. Męczennicy Marii – wieczny spoczynek, pamięć i modlitwa

Klucz Dawidowy usta mi otworzył... (nad jednym z wersetów Mojej ojczyzny Cypriana Norwida)