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1
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John Garang de Mabior narodowa ikona "nowego Sudanu"

100%
Ząbek M.
Forum Politologiczne
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2008
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vol. 7 - Przywódcy i przywództwo we współczesnej Afryce
247-268
EN
John Garang, the dark skinned, stout and grey bearded strong man of the Sudan People Liberation Movement and Army (SPLM/A) was the first vice president in the Sudan from the South. During the last more than 20 years he was opposed to military rule and Islamic dominance of the country. Garang and the Bashir government signed a comprehensive, lengthily negotiated peace deal in January 2005, bringing to an end the civil war. He was charismatic and his uniting ability of the people of southern Sudanese together for struggle for freedom from Islamic oppression. He was a pan-African revolutionary who fought not only for the Southern Sudanese rights, but also for the liberty of other Africans as well. In late July 2005, Garang died after the Ugandan presidential helicopter he was flying in crashed. For many Sudanese peoples it is hard to grasp the significance of Garang's death. Like many African warlords, Garang was controversial in his life, but a national icon in death.
2
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Dzieje świętych wizerunków w chrześcijaństwie – zarys historii

88%
Jasiewicz A.
Seminare. Poszukiwania naukowe
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2011
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vol. 29
237-241
EN
Icon painting emerged in the Byzantine Empire - the Christian empire of the Hellenistic East during the years 330-1453 - as a fully fledged and widely spread art around 500 BC. The first steps in this art were taken in the early Christian art of painting including those examples found in the catacombs in the 2nd and 3:d centuries. It is an original, highly formalized art influenced by classical Greek art and Egyptian Hellenistic art as well as other art traditions especially Syrian. During the reign of Justus the Great who ruled in the Byzantine Empire for forty years (527-565), the Byzantine art of icon painting flourished. It continued to do so until the outburst of the Iconoclasm in 726. That year the emperor Leo III decreed that painting or using icons was to be regarded as idolatry. The Iconoclasm lived on, with a few intermissions until 843. From 843, when the church conquered the iconoclasm, the art of icon painting was revived, this time until the fall of Constantinople in 1453. This era was a golden age for the icon. During this second period of icon painting, its principal prototypes were shaped and the habit of adorning churches with icons was established.
3

The Status of William Carlos Williams in American Modernism

88%
Atashi L.
Messages, Sages and Ages
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2016
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vol. 3
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issue 2
54-63
EN
William Carlos Williams was an American poet who renounced poetic diction in favor of the unpoetic, establishing himself in American Modernism as a powerful voice distinct from such canonical contemporaries as T.S. Eliot and Ezra Pound. His attitude towards literary production was different from many of his contemporaries in that he believed ‘the idea is in the thing’ and therefore the presence of objects rather than abstractions is strongly felt in his poems. A critical survey of Williams’ poems indicates that the poet/physician observes, describes and levels criticism at his society where modernism has transformed the American identity in significant ways. In this article, American icons and popular culture are retraced in the poetry of William Carlos Williams in an effort to explain the seeming opacity of his poems.
4
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Pracownia Karmelu Miłości Miłosiernej im. Braci Trapistów Tibhirine w Szczecinie, Modlitwa Kolorem. Ikony z Pracowni Karmelu Miłości Miłosiernej im. Braci Trapistów Tibhirine, Szczecin 2003, ss. 64

75%
Bulas R.
Vox Patrum
|
2003
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vol. 44
501-504
EN
review
PL
recenzja
5
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Antropologiczny wymiar ikon Chrystusa

75%
Jerominek A.
Teologia w Polsce
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2019
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vol. 13
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issue 1
155-179
EN
The Catechism of the Catholic Church in 1992 drew attention to the need for a greater reception of the Council of Nice II. This resulted in the extension of studies on the icon in Polish theology. Testing horizons have been set. They are dominated by Christological and Mariology themes. Less attention is paid to the anthropological dimension. Meanwhile, thinking about the icons of Christ leads to the discovery of the mystery of man.
PL
Katechizm Kościoła Katolickiego z 1992 roku zwrócił uwagę na potrzebę większej recepcji soboru nicejskiego II. Spowodowało to rozbudowanie studiów nad ikoną w polskiej teologii. Wyznaczone zostały horyzonty badań. Dominuje w nich tematyka chrystologiczna i mariologiczna. Mniejszą uwagę zwraca się na wymiar antropologiczny. Tymczasem namysł nad ikonami Chrystusa prowadzi do odkrycia misterium człowieka.
6
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Uobecnienie w ikonie jako jeden z istotnych motywów pastoralnej posługi Cerkwi

63%
Klauza K.
Latopisy Akademii Supraskiej
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2021
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vol. Obraz - Słowo - Litera
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issue 12
101-116
EN
In the article, the author focuses on relations between real presence of iconic Prototype and functionality of icons described by V.V. Lepachin in monography entitled Икона и иконичность (Seged 2000). This aspect plays an important role in pastoral activity of archpriest Leoncjusz Tofiluk, the Foundateur of Iconographic School at Bielsk Podlaski in Poland since 1991. The school is a very important place for promotion of iconological spirituality not only in Orthodox Church but also for Catholic and Protestants communities.
7
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Argumentacja Soboru Nicejskiego II za kultem ikon

63%
Gilski M.
Studia Sandomierskie. Teologia-Filozofia-Historia
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2019
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vol. 26
EN
This article presents the arguments for the cult of icons presented during the Second Council of Nicaea. The arguments are theological, philosophical, sociological and logical. Of the eleven arguments cited, the largest part of the conciliar acts regard the depiction of the miracles performed through icons.
PL
Artykuł prezentuje argumentację za kultem ikon przedstawioną w czasie obrad Soboru Nicejskiego II. Argumenty mają charakter teologiczny, filozoficzny, socjologiczny i logiczny. Spośród jedenastu przytoczonych argumentów najwięcej miejsca w aktach soborowych zajmuje opis cudów dokonanych za pośrednictwem ikon.
8
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Otchłań w ikonie. Analiza typu ikonograficznego Zstąpienia do otchłani

51%
Nagel Z.
Łódzkie Studia Teologiczne
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2019
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vol. 28
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issue 4
185-198
EN
The abyss is most often discussed from the point of view of the Scripture or human existential experience. The purpose of this article is to show the abyss in the icon where these two aspects are present. Applying reference and comparison methods, one can see the victory of Jesus Christ, which takes place in sheol over Satan and his rebellious angels. The victory accomplished on the cross by the Savior has its continuation here because in the icon it becomes the gate to heaven for the righteous dating back to Adam and Eve, the first parents of humankind. Rich symbolism of the icon Descend into the Abyss from various icon schools allows us to make a broad theological interpretation which becomes an inspiration for further research and the discovery of its message and symbolism, in the dogmatic, spiritual, liturgical, homiletic, artistic and psychological dimensions.
9
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Obraz Najświętszej Maryi Panny w pieśniach do Matki Bożej Nieustającej Pomocy

51%
Ropiak S.
Studia Redemptorystowskie
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2013
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issue 11
274-293
XX
Service to Our Lady of God of Perpetual Succour has been known in Poland since 1869 and due to Redemptorist Fathers it is reborn at present. As a result of research on the content of the church songs to worship Our Lady of God of Perpetual Succour a theological picture of the Holy Virgin Mary functioning in folk piety characteristic for this type of service has appeared. Our Lady of God of Perpetual Succour is beautiful in her picture. Her beauty surpasses other creatures. She is both Queen Mother and Virgin with a loving face and anxious eyes. Our Lady is our Mother helping us continuously. She is a sensitive and carrying Mother, extremely successful in offering help. Her helpful hands and intercession in God cause that as a loving Mother she is an escape and hope for Her worshippers. The picture of Our Lady of God of Perpetual Succour in the songs is correct but not full. On one hand it is in accordance with the statement of the Vatican Council that Church uses in its summons to Blessed Virgin the following titles: Advocate, Succour Mediator but on the other hand this picture requires a supplement in the songs with ecclesiotypical content.
10
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Ikony Matki Bożej typu „Hodegetria” w prawosławiu i ich obecność w polskich cerkwiach

51%
Charkiewicz J.
Rocznik Teologiczny
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2016
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vol. 58
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issue 2
153-172
PL
W prawosławnej ikonografii wizerunek Bogurodzicy zajmuje pierwsze miejsce po wyobrażeniach Jezusa Chrystusa i tworzy z nim harmonijną całość. Ikonografia Matki Bożej liczbą typów i wariantów przewyższa nawet liczbę ikon Zbawiciela. Chociaż badacze nie są w pełni zgodni co do systematyki ikon maryjnych, to odnosząc się do pierwowzorów wykonanych przez ewangelistę Łukasza i opierając się na tradycji cerkiewnej, założyć można, że istnieją trzy kluczowe typy: „Hodegetria”, „Eleusa” i „Orantka” oraz jeden umowny – „Akatyst”. Wśród nich „Hodegetria” zajmuje szczególne, uprzywilejowane miejsce. Ikony tego typu, wywodzące się z Cesarstwa Bizantyjskiego, największy rozkwit uzyskały na Rusi, skąd dotarły też na polskie ziemie. W prawosławnych świątyniach w Polsce znajduje się obecnie wiele ikon tego typu, wśród których do najbardziej znanych należy zaliczyć: Bielska, Białostocka, Chełmska, Iwerska ze św. Góry Grabarki, Supraska, Turkowicka, Leśniańska, Lubelska, Hajnowska „Radość Nieoczekiwana”, Rybołowska, Sanocka, Jabłeczyńska, Jaworska, Krasnostocka, Kożańska.
EN
Abstract The image of the Mother of God in Orthodox iconography has got the first place just after the images of Jesus Christ and together with him forms a harmonious entirety. The number of types and variants of the iconography of Our Lady is even higher than the number of icons of the Savior. Although researchers are not fully agreed to the typology of images of the Mother of God, it refers to the archetypes made by the Evangelist Luke and it’s based on the tradition of the Orthodox Church, it can be assumed that there are three key types: Hodegetria, Eleusa and Orans and one contractual – Akathistos. Among them, Hodegetria has a special, privileged place. Icons of this type, came from the Byzantine Empire, but the greatest prosperity achieved in Rus, from where they came to the Polish lands. Nowadays there are many icons of this type in Polish Orthodox churches, among which the most famous are: Bielska, Białostocka, Chełmska, Iviron from Holy Mount of Grabarka, Supraska, Turkowicka, Leśniańska, Lubelska, Hajnowska “Unexpected Joy”, Rybołowska, Sanocka, Jabłeczyńska, Jaworska, Krasnostocka, Kożańska.
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