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Metody misyjne Bp. Bernarda Hiszpana I Bp. Ottona z Bambergu. Analiza porównawcza

100%

Masalski R.

Colloquia Theologica Ottoniana

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2017

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issue 1

59-72

PL

Nieodzownym elementem rodzącej się wiary zarówno w życiu osobistym człowieka, jak i w życiu społecznym całych narodów jest sakrament chrztu świętego. Początki chrześcijaństwa na Pomorzu Zachodnim należy łączyć z dwiema osobami: biskupem Bernardem i biskupem Ottonem z Bambergu. Są to postacie o diametralnie różnych profilach misyjnych. Biskup Bernard to ubogi duchowny, którego ewangelizacja w zetknięciu z mentalnością Pomorzan poniosła fiasko. Natomiast biskup Otton ubogacony doświadczeniem swojego poprzednika, liczący się z mentalnością ówczesnych ludzi i mający świadomość skuteczności ordaliów, zapoczątkował proces chrystianizacji Pomorza Zachodniego. Mając na uwadze teorię misji, należy podkreślić, że misjonarze Pomorza w całym średniowieczu stosowali naczelną zasadę perswazji. Analizując zaś sam przebieg misji, zauważalne jest, że kierowano się schematem Alkuina. Konsekwencją chrystianizacji Pomorza było utworzenie 14 października 1140 roku pomorskiego biskupstwa misyjnego ze stolicą w Wolinie.

EN

The sacrament of baptism is an indispensable element of the faith in personal life and also in the social life of entire nations. The beginnings of Christianity in Western Pomerania should be combined with two people: bishop Bernard and bishop Otto of Bamberg. They were characters with diametrically different mission profiles. The Bishop Bernard, poor clergyman whose evangelization failed in contact with the mentality of Pomeranians. Bishop Otto enriched by the experience of its predecessor, counting with the mentality of contemporary people and being aware of effectiveness of trial by ordeal, initiated the process of Christianization of Western Pomerania. Bearing in mind the theory of the mission it should be emphasized that missionaries in Pomerania, as throughout the whole Middle Ages, used the guiding principle of persuasion. Analyzing the course of the mission, it is noticeable that missionaries went by Alcuin’s scheme. The consequence of Christianization of Pomerania, was the creation of Pomeranian bishopric missionary with its capital in Wolin, on 14 October 1140.

2

Polskie głosy w dyskusji o niemieckiej przeszłości w dwóch inscenizacjach Kamienia Mariusa von Mayenburga

100%

ŁAPICKA K.

Transfer. Reception studies

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2018

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vol. 3

EN

Marius von Mayenburg (born in 1972) is one of the most influential contemporary German playwrights. He is also a stage director and translator who works with the Schaubühne am Lehniner Platz in Berlin. He is an artist with the faith in history, as well as in the character. One of the consequences of this faith is The rock, a play written in 2008. This paper examines the Polish productions of this play. The first one was directed by Adam Nalepa and staged at Teatr Wybrzeże in Gdańsk in 2009. This performance was followed by a produc-tion directed by Grzegorz Wiśniewski, staged by the students at the Łódź Film School in 2014 and presented at the Studyjny Theatre. The two productions differ greatly on every level including adherence to the original text, choice of space, as well as acting style

DE

Marius von Mayenburg (geb. 1972) ist einer der bedeutendsten deutschen Gegenwartsdramatiker, ebenso wie Regisseur und Übersetzer, der mit dem Berliner Theater Schaubühne am Lehniner Platz zusammenarbeitet. Ein Schriftsteller, der an die Geschichte und an seine Helden glaubt. Ein Ergebnis davon ist das Drama Der Stein, das im Jahre 2008 geschrieben wurde. Im vorliegenden Text werden zwei polnische Theateraufführungen gründlich untersucht, einerseits die Uraufführung im Theater Wybrzeże Gdańsk (2009), unter der Regie von Adam Nalepa, sowie andererseits die Diplomaufführung der Studenten der Filmhochschule in Łódź (2014), bei der Grzegorz Wiśniewski Regie führte und das Stück im Theater Studyjny aufgeführt wurde. Die Bühnendarbietungen unterscheiden sich in jeder Hinsicht voneinander, angefangen vom Text, über die Wahl des Spielraums, bis hin zum Spiel der Schauspieler.

PL

Marius von Mayenburg (ur. 1972), jeden z najważniejszych niemieckich dramatopisarzy współczesnych, jest również reżyserem i tłumaczem współpracującym z berlińską sceną Schaubühne am Lehniner Platz. To artysta, który wierzy w historię i wierzy w postać. Jednym z owoców tej wiary jest Kamień, sztuka napisana w roku 2008. Artykuł proponuje analizę dwóch polskich inscenizacji Kamienia. Pierwsza została wystawiona w roku 2009 w Teatrze Wybrzeże w Gdańsku w reżyserii Adama Nalepy. Druga powstała pięć lat później jako spektakl dyplomowy studentów Łódzkiej Szkoły Filmowej. Na scenie Teatru Studyjnego przygotował ją Grzegorz Wiśniewski. Oba spektakle różnią się znacząco na wielu poziomach, począwszy od stopnia wierności wobec tekstu, poprzez wybór przestrzeni, na stylu aktorstwa skończywszy.

3

Kamień w zabytkach wielickich nekropolii

89%

Zadak R.

Studia i Materiały do Dziejów Żup Solnych w Polsce

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2014

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issue 29

129-142

EN

The article is devoted to the use of natural stone in the monuments of Wieliczka cemeteries. The author of the study has presented the subject of rock materials used to raise tombstones. Certain types of rocks and their properties have been described. Various types of tombstones have been characterized, from the beginning of the municipal cemetery and the Jewish cemetery to the first half of the twentieth century. The article also presents the historical background of the above mentioned cemeteries as well as the names of sculptorscreators of Wieliczka tombstones. It should be emphasized that some of the tombstones listed in the article are subject to special protection of monuments and by the decision of the Regional Conservator of Historic Monuments in Cracow in 1991 were entered in the register of monuments of Cracow (Małopolska) Province. Others, according to the author, have high artistic values, and in some cases, the used stone is a worth noting rarity.

4

Kamień w budowlach Wieliczki

71%

Kuc W.

Studia i Materiały do Dziejów Żup Solnych w Polsce

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2014

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issue 29

99-128

EN

Buildings are the evidence of a city’s wealth. Wieliczka achieved its economic significance through the production of salt. The medieval village famous for its salt production grew in status as it received its civic rights in 1290, after commisioning the first mine shafts. Rock salt became a source of wealth and soon it was reflected in the image of the city. Probably the first solid stone building was the seat of the emerging mine›s manager and the surrounding wall. The rock material for the construction had been already well recognized. Geizes and the Lgota sandstones of lamellar structure had already been used over 200 years before on the Wawel Hill. Rocks were readily available in the nearby Biskupice. Similarly, professionals – stonemasons. Probably, the assortment of rock increased with the beginning of the fourteenth century when the construction of the western wing of „The House within the Saltworks” was started. Then Istebna sandstones from Dobczyce in the form of hewn blocks and construction components got to Wieliczka. The city further increased its importance at the reign of King Casimir the Great. This is reflected in the solid rock material which was brought for the expansion of the Saltworks Castle. The rocky and thick-bedded Upper Jurassic limestone from Krzemionki, near Kraków, was then applied on a large scale. “The beneficiary” of the building material imported to Wieliczka was also St. Clement›s Church, rebuilt from the wooden construction. These rocks are probably in its foundations and, certainly, in its pedestal. The presence of the above mentioned limestones is reflected in the tower, in the fourteenth and fifteenth-century portals, in the modern reconstruction of the walls and in the Saltworks Kitchen. In subsequent alterations of the Castle these three types of rocks were constantly used. They are visible in the stonework of the Parish Church and the bell tower of the late seventeenth century. For more fine-grained sandstone work the Carpathian and the Pińczów limestone were used; the latter could have been used in the decoration of the Morsztyn family chapel. The church, which was rebuilt after being destroyed in the 1780s, lacks the former rich stone decorations. First of all, it is noted that there is only a small proportion of the Dębno marble, a rock which was very popular in churches in Małopolska Province. However, the floor was changed three times. Currently, it is made of marble and granite and sienites. After 1772, the salt production facilities had a significant impact on the appearance of the city. Crushed limestone and porphyry were imported on a large scale. The same gravel and later porphyry cube from Miękinia and granite from the Sudety Mountains were imported for the roads. Also the Istebna sandstone pebbles (“Rabka” stones) were used. As the role of the quarry in Dobczyce diminished, more and more sandstone from Droginia and other areas of the Subcarpathian region is imported to the city. These rocks were used both in private buildings and in industrial facilities, now gradually eliminated from the panorama of the city. Today, apart from imports from abroad, the most common rocks in the stonework of the city are: the Zalas porphyry, plate and rocky limestone probably from Nielepice, the Szydłowiec sandstone, the Pińczów limestone, granite from the Sudety Mountains, “the Kielce marbles” in a fairly narrow range and a wide range of the Carpathian sandstone.

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2 Studia i Materiały do Dziejów Żup Solnych w Polsce

1 Colloquia Theologica Ottoniana

1 Transfer. Reception studies

1 Kuc W.

1 Masalski R.

1 Zadak R.

1 ŁAPICKA K.

1 2018

1 2017

2 2014

Metody misyjne Bp. Bernarda Hiszpana I Bp. Ottona z Bambergu. Analiza porównawcza

Polskie głosy w dyskusji o niemieckiej przeszłości w dwóch inscenizacjach Kamienia Mariusa von Mayenburga

Kamień w zabytkach wielickich nekropolii

Kamień w budowlach Wieliczki