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Transgresywne aspekty dzieła sztuki

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EN
The article aims to discuss transgressive aspects of the work of art understood as a festival against the background of classical hermeneutics. The sacred and the profane domains evident in the festival emerge even as man enters that spiritual dimension of the world which is free from everyday limitations, and to which Gadamer aptly refers as the timeless now. The article proposes that it is precisely thanks to the work of art that man can gain an insight into the unremitting Heraclitean vicissitude of all things. The work of art, which crystallizes and perpetuates time, allows man to transcend change and to experience in creation an analogue of divine independence. Without festivity introduced by art, human existence would either be reduced to technical barbarity or would become routine, which, for Ricoeur, stands as the figure of damnation. The work of art is, therefore, not merely a work of art: it is the struggle for a truly human existence.
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EN
The article seeks to reflect upon the manner of perceiving reality (the so-called reversed perspective) associated with the Byzantine tradition of icon painting which was in evidence in the Ruthenian and Russian cultural circle from the 12th to the first half of the 17th century.
EN
The article presents baptism and dedication in the context of the duality of the sacred profane. The author shows the struggle between the Communist authorities with the Church, pushing religion to the margins and secularizing Poles and Slovaks through administrative actions. Both in Poland and Slovakia they had to divert the faithful from religious ceremonies and reception of the sacraments, by taking over the administrative organization of secular ceremonies. The article presents the script and setting of the dedication Uvitanie detí to života in the communist era. Then the author presents the current state in both countries. She notes that after the fall of communism, today in Polish offices this event is not organized, contrary to Slovakia, where it survived and operates in Slovak society. The text includes a description of the contemporary Uvitanie detí to života ceremony, which is not that different to those of communist times. It emphasizes that, in turn, in Poland there are alternative baptism ceremonies, modeled on Western habits – naming party, which draws the interest of certain groups.
PL
Przedmiotem artykułu jest chrzest i nadanie imienia w kontekście dualizmu sacrum – profanum. Autorka ukazuje walkę władz komunistycznych z Kościołem, spychanie religii na margines i laicyzowanie Polaków i Słowaków poprzez działania o charakterze administracyjnym. Zarówno w Polsce, jak i na Słowacji miały one na celu odciągnięcie wiernych od uroczystości religijnych i przyjmowania sakramentów świętych poprzez przejęcie przez administrację państwową organizacji świeckich obrzędów. W artykule został przedstawiony scenariusz i oprawa dedykacji (uvítanie detí do života) w czasach komunistycznych. Następnie autorka prezentuje stan obecny w obu krajach. Zwraca uwagę, że po upadku komunizmu współcześnie w polskich urzędach nie organizuje się tej uroczystości w przeciwieństwie do Słowacji, gdzie przetrwała i funkcjonuje w społeczeństwie słowackim. W tekście został zawarty opis współczesnej ceremonii uvítanie detí do života, która niewiele różni się od tej z czasów komunistycznych. Podkreśla się, że z kolei w Polsce pojawiają się uroczystości alternatywne dla chrztu, wzorowane na zachodnich zwyczajach – naming party, które budzą zainteresowanie pewnych grup.
EN
This study focuses on two prison poems: “The Prisoner of Chillon” by G.G. Byron and “The Ballad of Reading Gaol” by O. Wilde. It highlights the ordeal of the inmates with the emphasis on the change in their perception of the prison space. Based on M.-L. Ryan’s definition of story space, it is argued that the changing perception of space in the poems reflects the spiritual transformation the protagonists undergo. The experience of confinement leads, in the case of Byron’s protagonist, to the acceptance of prison life to the point of the dungeon becoming “a second home,” sacred to him as a site of his brothers’ burial. In Wilde’s poem incarceration has a transformative function, culminating in spiritual awakening and in the development of faith in Christ’s redemption. As a result of the change in both poems, prison becomes a space of prayer, turning thereby from the profane into the sacred.
PL
Artykuł poświęcony jest dwóm utworom o tematyce doświadczenia więziennego: „Więźniowi Czylonu” George’a Gordona Byrona i „Balladzie o więzieniu w Reading” Oskara Wilde’a. Wykorzystując pojęcie „przestrzeni fabuły” (story space) Marie-Laure Ryan, artykuł omawia utwory pod kątem ewolucji postrzegania więzienia, do jakiej dochodzi pod wpływem doświadczeń skazańców. Bohater Byrona, po wielu latach cierpień, zaczyna traktować loch jak swój drugi dom, uświęcony obecnością w nim grobów pochowanych tam braci. U Wilde’a także ma miejsce zmiana percepcji więzienia, będąca wynikiem duchowej przemiany, jaką przechodzą skazańcy. Cela—świat koszmaru, opresji więziennego życia—staje się miejscem modlitwy, umocnienia wiary. W obydwu utworach, można wnioskować, dochodzi do przemiany sfery profanum w sferę sacrum.
EN
The article is an argument with the main theses presented by L. Kołakowski in his vision of religion. The discussion, which considers the strengths of the Polish philosopher’s analyses, concerns the distinction between empiricism and transcendentalism, the epistemological status of empirical sciences and broadly understood naturalisms, as well as the question of metaphysical horror as understood by L. Kołakowski. The text analyses the anthropological argument and the specificity of religion with its personal trust, the specificity of human existence, the experience of the sacred-profane and the importance of religion for human existence. The conclusion presents a further perspective for the analysis of the phenomenon of religion.
XX
The article employs Nietzsche’s concept of creativity as the main axis of human existence in order to provide a philosophically substantiated overview of the understanding of the position of the artist and the arts in a society construed upon the state of crisis of the Christian-moral idea of transcendence, as it was developed in the 1940’s discourse on the arts. The topic is gradually approached from three perspectives. The starting point is the notion of transcendence as an anthropological constant and the notion of the artistic form as its realization. Part 2 develops the idea of an aesthetic, ‘translatingʼ relationship to the world, and finds the source of transcendence precisely in the organic character of human existence. Part 3 then pursues the possibilities of a recovery of the complementarity between the profane and the sacred, which, eventually, brings about a rehabilitation of the profane and launches the dynamics of the ambivalent position of the artist in society.
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