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Sympozjum
|
2016
|
issue 2(31)
41-72
EN
Pope John Paul II in the Motu Proprio Sacramentorum sanctitatis tutela on 30 April 2001 promulgated the norms concerning the gravest crimes reserved to the Congregation for the Doctrine of the Faith. Such an intervention of the Church, as the Pope explained, was required by the necessity to protect the sanctity of the sacraments, especially those of the Most Holy Sacrament and Sacrifice of the Eucharist and Sacrament of Penance, as well as the need to keep the purity of morality in regard to the sixth commandment of the Decalogue. The Church, driven by pastoral concern and keeping in mind the ultimate goal of any Church law, which should be salus animarum, intervenes to prevent any violation in such serious and delicate matter as the sacraments. The Congregation for the Doctrine of the Faith issued on 18 May 2001 a letter to the Ordinaries and Hierarchs of the Roman Catholic Church describing the new crimes reserved to the Congregation and the procedural norms to be followed in these cases. Nine years after the promulgation of De gravioribus delictis norms, the Congregation for the Doctrine of the Faith modified them, integrating and updating them in order to simplify the procedures, so that they could become more effective in solving contemporary problems. The modified norms concerning the crimes reserved to the Congregation for the Doctrine of the Faith were presented to Pope Benedict XVI who approved of them on 21 May 2010 and ordered to promulgate them. De delictis reservatis norms of 2010 consist of two parts: the first one, Normae substantiales, from article 1 to 7, and the second one including articles 8-31. The first part describes the competence of the Congregation, the crimes belonging to the delicta reservata category, and the norms concerning the prescription of actio criminalis in case of delicta reservata. The latter part defines the procedures in case of delicta reservata for which the Congregation for the Doctrine of the Faith is the Supreme Apostolic Tribunal. This article analyses only those of the crimes reserved to the Congregation for the Doctrine of the Faith which refer to the sacraments of the Eucharist. It should be stated that both existing and new norms concerning delicta graviora show great concern of the Church for the protection of the sacraments. On the other hand, which seems alarming, the necessity to update the norms protecting the sacraments indicates their relatively frequent violation. In the context of possible violations of dignified and valid administration of the sacraments, especially the Eucharist, the knowledge and right interpretation of the Church norms promulgated to protect these sacraments seem vital.
EN
The paper endeavours to analyse Ian McEwan’s self-reflexive novel with the theoretical apparatus provided by the psychoanalytic theory of Jacques Lacan. McEwan designs his novel as a fictitious narrative written by Briony Tallis, an aging novelist who wishes to atone for the childhood blunder that ruined the lives of her sister, Cecilia, and her sister’s beloved, Robbie. In order to gain reader’s sympathy, Briony describes her thirteen-year-old self as an idealistic and innocent child, deprived of paternal guidance, governed by the unconscious structures of the Symbolic Order. The girl’s compulsive craving for order and for control of the reality around her is linked to her narcissistic constitution, which, as Freud suggests, proves an important quality in the creative writing process. The paper follows Briony’s efforts to devise an elaborate expiative fantasy which allows her not only to create the appropriate mise-en-scène of personal atonement, but also to establish the coordinates of her desire to achieve some purpose through her writing.
PL
Artykuł podejmuje analizę autotematycznej powieści Iana McEwana Atonement [Pokuta] z wykorzystaniem aparatu pojęciowego zapożyczonego z teorii psychoanalitycznej Jacques’a Lacana. McEwan nadaje swojej książce formę „powieści w powieści” napisanej przez Briony Tallis, starzejącą się pisarkę, chcącą odpokutować za popełniony w dzieciństwie błąd, który zmarnował życie jej siostry Cecylii oraz ukochanego siostry – Robbiego. Z myślą o pozyskaniu współczucia czytelnika, Briony przedstawia swoją własną postać w wieku 13 lat jako idealistyczne i niewinne dziecko, pozbawione ojcowskiego autorytetu i sterowane przez nieświadome struktury Porządku Symbolicznego. Cechujący dziewczynkę upór w dążeniu do porządku i sprawowania kontroli nad otaczającą ją rzeczywistością jest przejawem jej narcystycznej osobowości, która, jak twierdzi Freud, jest przymiotem każdego pisarza. Artykuł analizuje proces budowania przez Briony misternej fantazji ekspiacyjnej, która pozwala jej stworzyć nie tylko odpowiednią scenę spektaklu pokuty, ale umożliwia również wyznaczenie koordynatów własnego pragnienia jako artysty-pisarza.
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