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[Rev.:] Richard Griffith, The Pen and the Cross : Catholicism and English Literature, 1850-2000, London ; New York : Continuum, 2010. xii, 260 p.

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Słyszewska A., Zgierska R.
Religious and Sacred Poetry: An International Quarterly of Religion, Culture and Education
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2013
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issue 2(2)
171-174
EN
It is beyond any doubt that Richard Griffiths’ The Pen and the Cross is an interestingly written and a rather fascinating book, which certainly is a valuable addition to the study of Catholic writing. It provides a very basic insight into the development of Catholicism and Catholic literature in England between 1850 and 2000, which includes many notable, yet still forgotten novelists and poets. An attempt to discuss such a vast number of writers was very ambitious and certainly involved artistic as well as critical skill, and yet Mr. Griffiths manages to provide the reader with a quite clear and comprehensible description of Catholic writing. The main focus of the study seems to be the influence of Roman Catholicism on the writers (recusants, converts and even, in some cases, nonbelievers) and their works. It attempts to examine the importance of religious experience in shaping the intellectual vision conveyed in texts of most notable English writers including, among others, Hopkins, Greene, Waugh, Sparks or Lodge. Mr. Griffiths acknowledges the fact that quite frequently Catholic committed literature is on the verge of propaganda, but when it is done well, as in case of the aforementioned authors, it may provide an extremely profound outlook not only on religion but also modern culture, human behavior and original literary themes and techniques. He also raises the question whether the understanding of Catholic novels and poems is at all possible without specific knowledge connected with religion. There are, however, elements of Mr. Griffiths’ work that need some explanation. One of them is the title. More often than not authors of various critical works, including those which deal mainly or exclusively with Catholic writers, try to convey in the title as much as they can about the subject of their inquiry or the attitude taken by them. The results of this are, among many others, Some Catholic Writers by Ralph McInerny, Literary Giants, Literary Catholics by Joseph Pearce, The Catholic Revival in English Literature by Ian Ker, or Catholic Literature: An Introduction by Margaret Sum-mitt. It seems, however, that Mr. Griffiths decided to go against this tendency. He chose not to provide (at least not in a straightforward way) any specific information on the scope of literature that he is interested in nor in the attitude taken by him in his investigation. Mr. Griffiths himself must have considered his title as not very informative, as he supplemented it. Only through the second part of the title is the reader informed that the work is concerned with Catholicism and English literature in the period 1850-2000. Still, it does not say much about the content. Catholicism in English Literature would be more suggestive, not mentioning other obvious options such as English Catholic Literature, Catholic Literature in England or, what seems also applicable, English Catholic Writers. All these suggestions address the issue straightforwardly and provide a sound frame of reference. Meanwhile, Mr. Griffiths refuses to include a term crucial to his work, and one that he otherwise uses quite frequently and discusses openly in the first section as the basis for further investigation; that is, “Catholic literature”. It is understandable that he avoids the term “Catholic writers” as some of the authors renounce it and consider it inappropriate. It is also understandable that he does not want to limit his investigation to English writings alone, as a substantial part of his comments involve French literature and he successfully presents the two as closely related and, at times, even inseparable. It is confusing, however, that he avoids calling his subject what it actually is, considering that his arguments supporting the validity of the term “Catholic literature” are very convincing. One reason for this eva-sion may be, of course, the marketing. “The Pen and the Cross” surely stands out among many other titles of works devoted to similar issues and may be considered appealing to the reading public. It is also possible that Mr. Griffiths does not want to impose anything on his readers but only suggests certain tendencies, leaving much space for speculation on the subject of the relationship between Catholicism and English literature in the period given. Also, he might have considered this title the only possible way of encapsulating all the social, historical and cultural elements which influenced what can be (and by Griffiths is) called the English Catholic literature. There is one interesting implication of the combination of “the Pen” with “the Cross” which maybe did not immediately occur to some of Mr. Griffiths’ readers. “The Pen” as a symbol of poetry and prose (specifically novels of a different kind) is combined with “the Cross” which indicates a specific religious commitment. However, bearing in mind Griffiths’ comments on the turbulent history of Catholicism in England, cultural and social difficulties that Catholic believers, and above all Catholic writers must have overcome, and finally the “pitfalls” of writing Catholic literature without falling into sentimentality, it becomes apparent that producing Catholic works involved many sacrifices and may indeed be seen in terms of bearing ones’ Cross. Thus, the title can be a general statement as to the situation of English Catholic literature throughout the ages. What is also very unusual about Mr. Griffiths work is the fact that his presentation of the Catholic writers seems to be strongly influenced by his personal views and likings which are clearly visible through the tone of his descriptions. Even though he recognizes the importance and influence of all the writers he examines, it is apparent that he is fonder of some of them over others. He directs his attention especially to three outstanding figures: Graham Greene, Evelyn Waugh and David Jones. His admiration for them is convincingly argued and certainly well-deserved. However, while Greene is described as “a pivotal figure in the history of the Catholic novel in Britain” and Jones is treated as a highly original and forward-looking poet, Waugh is presented primarily as a re-constructor of the already existing patterns, “entrenched in a last ditch defense of traditional values” and his works, in spite of their great value, are seen as “a dead-end”. The last statement, although preceded by words of praise, seems unjust. Mr. Griffiths refers primarily and quite understandably to Brideshead Revisited as Waughs’ best work. He indicates a number of interesting ways in which traditional Catholic themes are arranged and constitute a substantial part of fictional reality. However, he seems not to notice a whole range of new, original and often surprising elements which, if carefully analyzed, may indicate new paths for the development of Catholic literature. First of all, the extensive use of satire, characteristic of Waugh’s early works, in Brideshead Revisited gains new meaning. It seems that for the first time the satire is aimed at the secular, modern way of life and religious elements alike. The reader smiles at political discussions of Rex Mottram and his friends, the adventures of homosexual Anthony Blanche as well as at Cordelia’s novenas for pigs and her collection of little black Cordelias somewhere in Africa. Bursting with laughter may occur especially at the account of Cordelia making fun of Rex about the rules of Catholic faith which supposedly include sleeping with one’s feet pointing east, sending people to hell for just a pound or keeping sacred monkeys in Vatican. All this is presented to stress how different and confusing Catholic faith is for the non-believers, and yet Waugh seems to be the first to exaggerate and distort religious truths for this purpose. He is also the first to create Catholic characters who are simply unlikeable. It seems a part of a convention to present Catholic way of life as full of difficulties and unattractive to the modern man, as it is with the Riversdales in Mrs. Wilfrid Ward’s One Poor Scruple. However, in Brideshead Revisited the reader feels no sympathy for Bridey or Lady Marchmain, the two most pious members of the family, not so much due to their sacrifice or ascetic life but their personality traits and their attitude towards other people. The potential saints are, quite surprisingly, short-sighted and egoistic. This is a strange novelty, and yet Waugh has a purpose in it. The two characters, especially when compared to other members of the Flyte family, make the reader understand that piety, devotion and knowledge of religious truths are nothing when compared to the sincere desire to act according to God’s will, however mysterious it may be. Also, Waugh reveals here his fascination with the act of conversion which he clearly values very highly. This, however, the readers may find in earlier works by G.K.Chesterton, Charles Péguy or François Mauriac. More thorough investigation would reveal a number of other innovative elements involving the creation of characters and spaces within which they function. This review, however, is not concerned with Waugh exclu-sively. The purpose, therefore, is just to signal that some important aspects of Waugh’s novels, Brideshead Revisited in particular, may not have been recognized by Mr. Griffiths. Otherwise, however, his remarks are very interesting and insightful. In his defense it should be admitted that the creative potential of Waugh’s works has not yet been fully explored by other writers. However engaging The Pen and the Cross is, it should be treated most of all as a good starting point for more careful research, since for some readers the overall character of the work may not present a sufficient examination of the topic. One simply cannot pass over in silence the very peculiar omission of such highly important figures as J.R.R. Tolkien, Rumer Godden, Geoffrey Hill and some others. Their absence at least demands an explanation as it does not allow for a fully comprehensive picture of the topic. Nevertheless, The Pen and the Cross, due to its briefness, may actually succeed in encouraging some of the readers to conduct their own examination of presented novels, poems and their creators.
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[Rev.:] Poetika Mìstičnogo. Kolektivna monografìâ, uporâdk. Ol’gi Červìns’koї, Černìvec’kij Nacìonal’nij unìversitet, Černìvcì 2011, 319, [2] s.

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Tytko M. M.
Religious and Sacred Poetry: An International Quarterly of Religion, Culture and Education
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2013
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issue 1(1)
137-140
EN
A book in Ukrainian language entitled Poetics of Mysticality. A Collective Monography edited by Ol’ga Červìns’ka concerns the problems of so called sacrology. Fourteen authors focus on issue of sacred and literature. There are thirteen scientists from Ukraine and one from Japan. The book is divided into two parts. In the first part there are articles about ‘sacred’ (mysticality) as a category in poetics. Here authors describe paradoxes and borders of mysticality (Ol’ga V’âčeslavìvna Červìns’ka), mysticality in literature (Roman Volodimirovič Mnih), the Biblical glocalism and artistic literature (Igor Josipovič Nabitovič), symbol in poetics of ‘sacred’ (mysticality) (Zorâna Bogdanìvna Lanovik and Mar’âna Bogdanìvna Lanovik) In the second part of the book there are articles about ‘sacred’ in the projects of literary experience. Here eight authors describe the next problems: German romanticism and ‘sacred’ (Boris Borisovič Šalagìnov), understanding of ‘sacred’ in contemporary Japan literature (Koiti Itokava [Itokawa] from Japan), sacred motives of Jewish cabalism in a book by Paul Celan A Rose for Nobody (Petro Vasil’ovič Rihlo), Mona Lisa and expressionistic project of sacred experience in a novel A Thief by Georg Heym (Svìtlana Pavlìvna Macenka), ‘sacred’ in postmodern reception in the cemetery Highgate in London (Natalìâ Oleksandrìvna Vysoc’ka), mysticality and mystification as a counterpoint of an artistic text by Jean Iris Murdoch (Al’ona Anatolìїvna Matìjčak), transgression of Dostoevskij’s mystical reality in literary practice of Georges Bernanos (Roman Anatolìjovič Dzik), the ways of expression of mysticism (mystery, sacred) in recent promotional materials (Alla Volodimirìvna Sažina). There is one article in the summary of the book, where Oleksandr Oleksandrovič Korabl’ov describes the problem what philology should say about mistique?
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Kształtowanie się tożsamości chrześcijańskiej uczniów szkół parafialnych na Białorusi w końcu XX i na początku XXI wieku (na przykładzie miejscowości Małoryta)

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Zhigalova M.
Zeszyty Cyrylo-Metodiańskie
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2015
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issue 4
EN
The article reviews the revival of Christian education in the Malaryta region in Southwestern Belarus. It stresses out the mission of creating Christian consciousness among students at Sunday schools. Special attention is drawn to literary works helping this process.
PL
W artykule przedstawiona jest działalność odrodzonych chrześcijańskich szkół parafialnych w regionie miasta Małoryta położonego w południowo-zachodniej Białorusi. Omówione zostały również strategie tworzenia chrześcijańskiej świadomości w obrębie wspólnot uczniowskich. W niniejszym opracowaniu ukazano również szczególną rolę rosyjskojęzycznej literatury pięknej, jako czynnika mającego znaczący wpływ na omawiany proces.
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Reinhold Schneider – ein Dichter der inneren Emigration?

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Zimmermann H. D.
Colloquia Germanica Stetinensia
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2010
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issue 18
215-229
PL
Wskazując na pisarzy określanych jako przedstawicieli tzw. ‚wewnętrznej emigracji’, takich jak m. in. Elisabeth Langgässer, Reinhold Schneider czy Werner Bergengruen, w artykule postawiono pytanie, czy brak zainteresowania ich twórczością wśród współczesnych literaturoznawców nie wynika aby z uprzedzeń światopoglądowych – z faktu, iż reprezentowali oni wartości chrześcijańskie – nie zaś z estetycznej oceny ich utworów. Autor dyskutuje okryte niesławą pojęcie ‚emigracji wewnętrznej’, podkreślając jak różnych pisarzy określa się w ten sposób i jak niesprawiedliwe są tego typu uogólniające przyporządkowania. Na tle tego typu ocen – mających niewątpliwie przede wszystkim charakter ideologiczny – szkicuje sylwetkę i twórczość Reinholda Schneidera, który, akcentując znaczenie sumienia i indywidualnej odpowiedzialności każdego człowieka, w swych utworach ubolewał nad utratą wartości chrześcijańskich we współczesnej Europie. Mimo że jego pisma stały się impulsem do powstania ruchu oporu wobec narodowego socjalizmu, twórczość Schneidera jest niestety dzisiejszym czytelnikom niemal zupełnie nieznana.
EN
The author of the paper points at the writers classed as representatives of the so-called ‘inner emigration’, such as, among others, Elisabeth Langgässer, Reinhold Schneider or Werner Bergengruen, to pose a question as to whether the lack of interest in their literary output among contemporary literary scholars is not a result of ideological prejudice – of the fact that they represented Christian values – and not of the aesthetic judgement of their literary works. In the paper the term ‘inner emigration’, burdened with pejorative connotations, is discussed with an emphasis on the fact that the term is used with respect to various writers and on the injustice of the use of such sweeping generalizations. Against the background of such judgements – doubtlessly of mainly ideological nature – a portrait and characterization of Reinhold Schneider’s output is sketched, who, accentuating the significance of conscience and individual responsibility of every man, in his works regretted the loss of Christian values in contemporary Europe. Despite the fact that his writings triggered the formation of the resistance movement against the National Socialism, his literary output remains largely unknown to the readers of today.
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Wojciech Kudyba, twórca poezji religijnej

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Kwiek-Osiowska J.
Religious and Sacred Poetry: An International Quarterly of Religion, Culture and Education
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2014
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issue 3(7)
185-204
PL
Autorka opisuje osobę Wojciecha Kudyby, naukowca i poetę religijnego, w sposób ogólny próbując scharakteryzować jego poetycki dorobek twórczy na podstawie kilku książek. Podjęte analizy prowadzą do konkluzji na temat literackich środków stylistycznych, stosowanych przez W. Kudybę. Przykłady używanych przezeń tropów artystycznych autorka wylicza, podając w zestawieniach tytuły wierszy (utworów) z poszczególnych tomów, które zawierają dany typ chwytów literackich. Analiza ma charakter przeglądowy.
EN
The author describes Wojciech Kudyba, a scholar and a religious poet, trying to characterize his poetic output on the basis of a few books. The analyses carried out in the book lead to the conclusions referring to the stylistic devices used by Wojciech Kudyba. The examples of the poet’s artistic tropes are enumerated by the author who in her specifications provides the titles of the poems published in particular volumes along with the information about a particular type of literary devices found in these poems.
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[Rev.:] Zorâna Lanovik, Hermeneutica Sacra, Redakcìjno-Vydavničij Vìddìl TNPU, Ternopìl′ 2006, 586, [2], p.

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Tytko M. M.
Religious and Sacred Poetry: An International Quarterly of Religion, Culture and Education
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2013
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issue 3(3)
145-148
EN
A literary and biblistic monograph entitled Hermeneutica Sacra written by Zorâna Lanovik, an Ukrainian professsor of literature at the University of Ternopil, is a very good example of a sacrological scholarly study. Professor Lanovik deals with Russian and Ukrainian literature, theory of literature, comparative studies and the Bible. She has created her own concept of sacrology and sacrological hermeneutics, especially in the sphere of biblical motifs in literature. This extensive monograph (586 pages), written in Ukrainian, is a very important work concerned with the theme of the sacrology of literature and hermeneutics of biblical literature. The monograph consists of an introduction (pages 6-13) and three main chapters, divided into many small parts (subsections). In the first chapter entitled The Bible and literature: specificity of artistic nature of the biblical texts as the basis of biblical hermeneutics (p. 14-57) the author deals with the following questions: 1) the Bible and artistic literature in the context of textual interpretation (p.14-19), 2) the history of the world (Weltgeschichte) and the holy history (Heilsgeschichte) in relation to the problems of historicism and mythologicism (mythology in scholarly cognition) in the Bible (p.19-37), 3) lingual concepts in the Bible (p. 38-43), 4) poetics and rhetoric (artistic nature of the biblical texts, (p. 43-50)), polysemantics and dialogic multiplicity of the Bible (p.50-57) The second chapter entitled Genesis of the biblical hermeneutics: an aspect of literary studies (p.58-280) presents the following issues concerning the history of biblical hermeneutics (‘historiography’ of the theory of the interpretation of the Bible): 1) intertextuality and allegorism as dominants of the ancient Jewish hermeneutics of sacred texts (p.58-74), 2) principles of literary interpretation of The Old Testament in the early apologetics (p.75-79), 3) development of allegorical and historical and literary method of interpretation of the Bible in patristic exegetics (p.79-93), the conception of textual interpretation in scholasticism in the Middle Ages (p.93-107), 5) philological change in the period of humanism and renaissance hermeneutics (p.108-111), 6) transformation of biblical hermeneutics in the Reformation era (p.112-128), 7) inductive basis of ancient texts in scholarly paradigm of modernism (p.128-153), including such problems as: a) biblical rationalism (p.128-130), b) historical and literary criticism (p. 131-140), c) grammar interpretation (p.140-144), d) philosophy and cultural studies (p.145-150), d) biblical irrationalism (p.150-153) and, moreover, 8) interpretive model of the latest biblical hermeneutics (p.154-270), including issues such as: a) the liberal school of hermeneutics (p.154-180), b) the mythological school of hermeneutics (p.180-184), c) the biblical existentialism (p.184-193), d) the most recent phenomenological hermeneutics (p.194-218), e) extra-hermeneutical model of analysis of biblical texts (p.218-234), f) return to the assumptions of "pure hermeneutics" (p.235-270), 9) non-secular schools of Biblical Studies (p.270-280). In the third chapter entitled Methodological system of analysis of biblical texts (p.281-541), the author presents the following questions: 1) the basis of ‘extra-textual’ context of the Bible as an interpretative paradigm of the historical and critical method in hermeneutics (p.281-331), including issues such as: a) the historical paradigm (p.283-305), b) paradigm of cultural studies (p.305-321), c) the geographical paradigm (p.321-331), moreover, 2) the generic paradigm and critical-literary method of interpretation (p.332-387), including issues such as: a) the specificity of the epic (prose) and types (species) of prose in the Old Testament (p.335 -342), b) ancient Jewish poetry and wisdom literature (p.342-358), c) the stories of the prophets: creating genological factors and artistic-figurative curiosities (p.358-371), d) Gospel as the basis of generic description of the New Testament (p.371-381), e) literary analysis of the letters of the New Testament (p.381-387), f) the generic nature of apocalyptic literature: the specificity of artistic organization of the text (p.388-396); besides 3) the author’s paradigm and psychological method of interpretation (p.396-417), 4) the paradigm of language and grammatical method of interpretation (p.417-439), 5) contextual and intertextual principles of the hermeneutical analysis (p.439-465), 6) metatextual paradigms of the Bible and principles of their interpretation (p.465-541), including such problems as: a) the archetypal paradigm (p.465-481), b) the symbolical paradigm (p.481-505), c) the allegorical paradigm (p.505-519), d) the typological paradigm (p.519-541). The author presents the conclusions of the analysis separately (p.542-562), and includes an extensive bibliography (i.e. the literature of the subject - p.563-586). In my opinion, it would be useful to translate this book into English to make it possible for scholars from other European countries to become familar with the conceptions of the Ukrainian sacrological school.
7

“Artful theology”: Sara Maitland’s Stations of the Cross

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Słyszewska A.
Beyond Philology: An International Journal of Linguistics, Literary Studies and English Language Teaching
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2016
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issue 13
195-209
EN
Among a number of modern female writers engaged in religious as well as feminist discourse Sara Maitland seems to occupy a very par-ticular place. She not only presents a coherent and innovative theo-retical framework and points at vital correspondences of literature and religion but also creates works that in a unique way connect fem-inism and Christian theology. Moreover, she is able to find common ground between tradition and postconciliar changes within the Church. All these aspects can be found in Stations of the Cross, a collection of stories inspired by paintings by Chris Gollon and in-tended either to be read as short literary forms or to facilitate religious services.
FR
Parmi les auteures contemporaines engagées dans le discours à la fois religieux et féministe, Sara Maitland semble occuper une place très particulière. Non seulement elle présente un cadre théorique cohérent et novateur, mais aussi elle suit ses propres règles et elle crée des œuvres qui mettent en relation le féminisme et la théologie catholique. De plus, elle est capable de trouver un espace commun pour la théologie et l’église après les changements postconciliaires. Tous ces éléments peuvent être trouvés dans Les stations de croix – un recueil des récits inspirés par les tableaux de Chris Gollon, destiné à la lecture simple ou à la contemplation religieuse du Chemin de croix.
PL
Wśród współczesnych autorek zajmujących się dyskursem religijnym i feministycznym Sara Maitland zdaje się zajmować szczególne miejsce. Nie tylko nakreśla innowacyjne ramy teoretyczne i wskazuje istotne zależności między literaturą a religią, ale także tworzy prace, które w niezwykły sposób łączą feminizm i teologię chrześcijańską. Co więcej, jest w stanie nakreślić wspólną przestrzeń łączącą tradycję ze zmianami, jakie w kościele przyniósł Sobór Watykański II. Wszystkie te elementy odnaleźć można w Stacjach krzyża, zbiorze opowiadań inspi-rowanych obrazami autorstwa Chrisa Gollona przeznaczonymi do zwykłej lektury lub też w rozważaniach Drogi Krzyżowej.
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[Rev.:] Zorâna Lanovik, Hermeneutica Sacra, Redakcìjno-Vydavničij Vìddìl TNPU, Ternopìl′ 2006, 586, [2], s.

51%
Tytko M. M.
Religious and Sacred Poetry: An International Quarterly of Religion, Culture and Education
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2013
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issue 3(3)
141-144
PL
Monografia literaturoznawczo-biblistyczna pt. Hermeneutica Sacra, której autorką jest Zorâna Lanovik, ukraińska profesorka literaturoznawstwa z Uniwersytetu w Tarnopolu, jest przykładem niezwykle rzetelnego opracowania zagadnienia sakrologicznego. Uczona z Ukrainy, zajmując się m.in. literaturą rosyjską i ukraińską teorią literatury, komparatystyką (studiami komparatystycznymi), biblistyką, wypracowała własne ujęcie sakrologii i sakrologicznej hermeneutyki, zwłaszcza w zakresie motywów biblijnych w literaturze. Bardzo obszerna (licząca 586 stron) książka pisana w języku ukraińskim stanowi niezwykle ważne dzieło w zakresie sakrologii literatury i hermeneutyki literatury biblijnej (interpretacji Biblii). Monografia składa się ze wstępu (Vstup, s.6-13) oraz trzech rozdziałów zasadniczych, podzielonych z kolei na liczne podrozdziały. W rozdziale pierwszym pt. Bìblìâ ì lìteratura: specifìka hudožn′oї prirodi bìblìjnih tekstìv âk osnova bìblìjnoї germenevtiki [tj. Biblia i literatura: specyfika artystycznej natury tekstów biblijnych jako podstawa hermeneutyki biblijnej] (s.14-57) autorka analizuje m.in. następujące kwestie: 1) Biblia i literatura piękna (literatura artystyczna) w kontekście problemu interpretacji tekstu (s.14-19), 2) historia świata (Weltgeschichte) oraz historia święta (Heilsgeschichte) w relacji do problemów historyzmu i mitologizmu w Biblii (s.19-37), 3) językowe koncepty Biblii (s. 38-43), 4) poetyka i retoryka (artystyczna natura tekstów biblijnych, s.43-50), 5) polisemantyczność i dialogiczna mnogość Biblii (s.50-57). W rozdziale drugim pt. Geneza bìblìjnoї germenevtiki: lìteraturoznavčij aspekt [tj. Geneza hermeneutyki biblijnej: aspekt literaturoznawczy] (s.58-280) autorka poruszyła następujące zagadnienia dotyczące dziejów hermeneutyki biblijnej (historiografia teorii interpetacji Biblii): 1) intertekstualność i alegoryzm jako dominanty dawnej żydowskiej hermeneutyki tekstów sakralnych (s.58-74), 2) zasady literackiej interpretacji Starego Testamentu we wczesnej apologetyce (s. 75-79), 3) rozwój alegorycznej i literalno-historycznej metody interpretacji Biblii w patrystycznej egzegetyce (s.79-93), 4) koncepcja tekstowej interpretacji w średniowiecznej scholastyce (s.93-107), 5) filologiczny zwrot okresu humanizmu i renesansowa hermeneutyka (s.108-111), 6) transformacja biblijnej hermeneutyki w epoce reformacji (s.112-128), 7) indukcyjne podstawy antycznych tekstów w naukowym paradygmacie modernizmu, nowożytności (s.128-153), w tym – takie problemy, jak: a) biblijny racjonalizm (s.128-130), b) krytyka historyczno-literacka (s.131-140), c) interpretacja gramatyczna (s.140-144), d) podejście filozoficzno-kulturologiczne [filozoficzno-kulturoznawcze] (s.145-150), d) biblijny irracjonalizm (s.150-153), nadto 8) interpretacyjny model najnowszej hermeneutyki biblijnej (s.154-270), w tym – kwestie takie, jak: a) liberalna szkoła hermeneutyki (s.154-180), b) mitologiczna szkoła hermeneutyki (s.180-184), c) biblijny egzystencjalizm (s.184-193), d) najnowsza hermeneutyka fenomenologiczna (s.194-218), e) niehermeneutyczny model analizy tekstów biblijnych (s.218-234), f) powroty do założeń „hermeneutyki czystej” (s.235-270), 9) nieświeckie szkoły biblistyki (s.270-280). W rozdziale trzecim pt. Metodologìčna sistema analìzy bìblìjnih tekstìv [tj. Metodologiczny system analizy tekstów biblijnych] (s. 281-541), autorka przedstawiła następujące kwestie: 1) podstawy zewnątrztekstualny (pozatekstowy, zewnątrztekstualnościowy) kontekst Biblii jako interpretacyjny paradygmat metody historyczno-krytycznej (krytycznohistorycznej) w hermeneutyce (s.281-331), w tym zagadnienia takie, jak: a) paradygmat historyczny (s.283-305), b) paradygmat kulturologiczny (kulturoznawczy, s.305-321), c) paradygmat geograficzny (s.321-331), nadto 2) paradygmat rodzajowy (gatunkowy, genologiczny) i krytycznoliteracka metoda interpretacji (s.332-387), w tym kwestie takie, jak: a) specyfika epiki (prozy) i rodzajów (gatunków) prozatorskich w Starym Testamencie (s.335-342), b) starożydowska poezja i literatura mądrościowa (s.342-358), c) opowiadania prorockie: czynniki rodzajotwórcze (gatunkotwórcze, genologiczne) i artystyczno-obrazowe osobliwości (s.358-371), d) Ewangelia jako podstawa rodzajów (gatunków) Nowego Testamentu (s.371-381), e) literaturoznawcza (literacka) analiza nowotestamentowych listów (s.381-387), f) rodzajowa (gatunkowa) natura literatury apokaliptycznej: specyfika artystycznej organizacji tekstu (s.388-396), nadto 3) paradygmat autorski i psychologiczna metoda interpretacji (s.396-417), 4) paradygmat językowy i gramatyczna metoda interpretacji (s.417-439), 5) kontekstualne oraz intertekstualne zasady analizy hermeneutycznej (s.439-465), 6) metatekstualne paradygmaty Biblii oraz zasady ich interpretacji (s.465-541), w tym – problemy takie jak: a) paradygmat archetypiczny (s.465-481), b) paradygmat symboliczny (s.481-505), c) paradygmat alegoryczny (s.505-519), d) paradygmat typologiczny (s.519-541). Autorka przedstawiła osobno wnioski z analizy (Visnovki, s.542-562), zamieściła obszerną bibliografię (Lìteratura s.563-586). Książka nie posiada indeksu nazwisk, indeksu geograficznego, ich obecność niewątpliwie ułatwiałaby wyszukiwanie informacji osobowych lub geograficznych. Książka nie posiada przypisów dolnych lub końcowych, ale wewnątrztekstowe (głownie odnoszące się do perykop biblijnych). Książka nie ma także streszczenia (summary) w języku angielskim, co niewątpliwie ułatwiłoby zapoznanie się z jej treścią czytelnikowi spoza Ukrainy, nieznającemu języka ukraińskiego. Książka w całości napisana została w języku ukraińskim. Uważam, że rzeczą konieczną jest przetłumaczenie jej i wydanie w języku angielskim, aby koncepcja ukraińskiej szkoły sakrologicznej stała się dostępna dla czytelników innych narodów europejskich.
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