Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 8

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  mountain
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

Biblijna teologia góry jako miejsca spotkania z Bogiem

100%
Markiewicz A.
Studia Koszalińsko-Kołobrzeskie
|
2020
|
issue 27
123-134
PL
Góra jest miejscem, które ma przede wszystkim znaczenie geograficzne. Góra jest również pojęciem, którym zajmują się teologowie. W Piśmie Świętym wzgórza pełnią różnorodne funkcje, co jest właściwe wszystkim ludom starożytnym, które łączyły górę z kultem. Na wzniesieniach nawiązywano dialog z Bogiem. Na górach objawia się Jahwe i proklamowana jest Jego wola. Hebrajczycy mieli wielki szacunek do gór i uważali, że jest to teren, przebóstwiony, gdzie czuje się obecność Stwórcy panującego nad światem. Jahwe jest wychwalany na wzgórzach. Góry łączą się także z działalnością Jezusa, który wielokrotnie modlił się na górze, na górze proklamował swoje błogosławieństwa, przemienił się na górze i zmarł na górze Kalwarii. Góra jest miejscem spotykania osób – Boga i człowieka. Góry w Piśmie Świętym stanowią nieodłączny element kultury religijnej.
EN
A mountain is primarily a place of geographical significance. However, a mountain is also a concept that theologians deal with. In the Scriptures, mountains perform a variety of functions, a rule common for all ancient civilizations, which associated them with worship. It is on a hill where the dialogue with God takes place. Jehovah reveals Himself in the mountains and there His will is proclaimed. The Hebrews respected the mountains and believed that they were an area that is divinized, where one can feel the presence of the Creator ruling over the world. As a result, Jehovah is praised in the hills. The mountains are also connected with the activity of Jesus, who repeatedly prays on the them and proclaims his blessings there. His transfiguration and takes place on a mountain and He dies on the mount of Calvary. Mountains are places of meeting – God and men. In the Holy Bible they are an inseparable element of religious culture.
2
Publication available in full text mode
Content available

Investigating and Accounting for Lexico-Semantic Changes Affecting a Conceptual Category in Mediaeval English

100%
Diensberg B.
Anglica. An International Journal of English Studies
|
2012
|
issue 21/2
79-85
3

„Z gór, gdzie dźwigali” — a słuchali w salonach. Zygmunta Krasińskiego transgresje na szczycie góry

84%
Łoboz M.
Góry, Literatura, Kultura
|
2017
|
vol. 11
101-109
EN
The present Article is an attempt at an analysis and interpretation of Zygmunt Krasiński’s 1847 poem “Z gór, gdzie dźwigali” (From the mountains, where they carried). The poem, full of sceptical pessimism, refers to the Biblical episode featuring Moses, whom God showed the vast expanse of the promised land from the top of a mountain, telling him, however, that he would see the land but would never enter it. Krasiński addressed this Biblical analogy to participants in the Great Emigration and his entire generation. The metaphorical mountain carries an ambiguous message: on the one hand it radiates (heavenly) light and on the other is a symbolic place of suffering, a Golgotha on the top of which each participants in the Messianic process carries his own cross — the burden of superhuman torment and penance. The mountain top is a place in which each of them experiences transgression, overcoming their own physical and intellectual weaknesses, and achieving spiritual stability by accepting the ungrateful role of “intermediaries” in the journey towards a free homeland. When it comes to the literature of Polish Romanticism, this is a noteworthy and important reflection.
4

Wspinaczka w wersji cyfrowej: droga od prostej symulacji do atrakcji w grach wideo

84%
Flamma A.
Góry, Literatura, Kultura
|
2015
|
vol. 9
237 - 246
EN
The aim of the article is to present the essence of virtual mountain climbing in high-budget video games and simple simulation programmes. The author analyses two aspects of the topic: climbing as a physical activity, and the way and context in which it is presented. That is why the article features a broad historical background of mountain climbing in video games beginning already in the early 1980s, illustrating the changes occurring in video games. Next, the author presents the way in which mountain climbing itself can function on its own in marketing. The Tomb Raider or Assasin’s Creed game series discussed in the article are an excellent example of this, also showing how important climbing can be to a game. In addition, the author of the article reflects on whether and how climbing can make video games attractive. The titles in question are to illustrate various aspects of the topic.
5

Benedyktyni na górach, cystersi w dolinach — usytuowanie polskich klasztorów jako element tradycji i współczesnej komunikacji wizerunkowej

67%
Borkowski I.
Góry, Literatura, Kultura
|
2015
|
vol. 9
51 - 65
EN
Like in the past, today, too, the location of a monastery as a place of seclusion and contemplation is by no means insignificant. Another aspect is that of the image — a monastery location on top of a mountain, among mountain tops or, on the contrary, in a river valley is still an important element in building its image. Those who are fortunate to live in such a monastery — a place of elevation or seclusion in inaccessible mountain valleys — can also point to this topographic feature as an opportunity to perfectly fulfil their spiritual location. In part one the author points to numerous examples demonstrating that the location of a monastery has usually been one of the important aspects of building a positive story of the place and the people living in it.
6
Publication available in full text mode
Content available

Warianty kreacji obrazu domu w rosyjskiej literaturze wampirycznej

67%
Arciszewska K.
Białorutenistyka Białostocka
|
2017
|
vol. 9
RU
В статье рассматриваются разные типы вампирического домашнего пространства, с которыми реципиент встречается в произведениях русских писателей XIX–XX веков. Классической моделью вампирического пространства является предложенное Брама Стокером (Brama Stoker) в повести “Дракула” (“Dracula”) ‘экзотическое, дикое, грозное сценическое оформление с знаменательным и символическим мотивом леса и горы (lasu i góry), к такому образцу обращаются русские писатели-романтики, нпр. Николай Гоголь, а также позднейшие мастера слова, которые этот мотив модифицируют, нпр. Виктор Пелевин. Мотив дома в русской вампирической литературе взаимодействует с элементами магии и демонизма, а в новейших произведениях наближается к изображению дома или человеческого пространства, что связано с изменением подхода к мотиву вампира. Главный герой и объект вампирической литературы из кровопийцы и хищника становится искателем спокойствия и признания соучастия в современной культуре.
EN
In the article the author describes different types of vampire house space in works of Russian writers of the 19th and 20th centuries. A classical example of vampire space in the form of a dangerous exotic scenery can be found in Bram Stoker’s “Dracula” with its characteristic motif of wood and mountain. Such an image is also found in novels of Russian romantic writers – Nikolay Gogol or Wiktor Pielewin. The motif of home in Russian literature coexists with the motifs of magic and demons. In contemporary works it gets closer to the concept of home and human space, which is connected with changes in the interpretation of vampire motif. The main character and the subject of vampire literature loses the attributes of blood-sucker and killer, looks for peace and acceptance as a participant of modern culture.
7
Publication available in full text mode
Content available

Une « Babel » moderne dans les cimes : cité sanatoriale et utopie thérapeutique dans Les « Heures de silence » de Robert de Traz et dans Siloé de Paul Gadenne

67%
Augereau C.
Quêtes littéraires
|
2021
|
issue 11
134-146
EN
Often perceived as the result of empirical speculation, the sanatorium, intended for the treatment of tuberculosis patients in the first half of the 20th century, was at first sight a therapeutic utopia originating in the medical profession. In this enclosed space, it is the doctor that exercises the authority and their recommendations have the value of injunctions. However, a reversal of this order is depicted in two 20th-century novels: Les “Heures de silence” by the Swiss writer Robert de Traz (1884-1951), and Siloé by Paul Gadenne (1907-1956), a French author who was himself a regular visitor to such care institutions. In these works, the unity of place - the sanatorium - becomes a convenient device for questioning the world of the healthy on three levels: the ego, the relationship to others and the relationship to natural space. Because the "tubercular condition" neutralises the differences between individuals, it questions the primacy of health and paradoxically outlines a balanced lifestyle based on the idiorhythmic alternation between solitude, social life and immanence.
FR
Souvent perçu comme le fruit de spéculations empiriques, le sanatorium, destiné dans la première moitié du XXe siècle à la prise en charge des tuberculeux, se présente de prime abord comme une utopie thérapeutique émanant du corps médical. Dans ce lieu clos s’exerce en effet l’autorité du docteur, dont les préconisations ont valeur d’injonctions. Pourtant, deux romans, Les « Heures de silence », de l’écrivain suisse Robert de Traz (1884-1951) et Siloé, de Paul Gadenne (1907-1956), auteur français qui fut lui-même un habitué des établissements de soins, mettent en scène un renversement. Dans ces œuvres, l’unité de lieu sanatoriale devient en effet un artifice commode pour questionner le monde des bien-portants à trois niveaux : l’ego, la relation aux autres et le rapport à l’espace naturel. Parce que la « condition tuberculeuse » pondère les différences entre les individus, elle remet en cause le primat de la santé et esquisse paradoxalement un mode de vie équilibré, fondé sur l’expérience idiorythmique de l’alternance entre solitude, vie sociale et immanence.
8
Publication available in full text mode
Content available

Synaj górą objawienia Imienia Boga

51%
Kosytorz R.
Scriptura Sacra
|
2013
|
issue 17
169-180
EN
God who revealed himself to Moses on Mount Horeb, revealed himself to humanity in a way that he had never been revealed before. Until the moment Moses encounters God in the burning bush God had always been known as „the God of your father, the God of Abraham.” (Exodus 3;6). Then He calls himself „ I am who I am” (Exodus 3;14), a name which describes his eternal power. God gives Moses his own personal name, which is very important for Jews. (A name expresses the person’s essence and identity. God having a name is not an anonymous force. To disclose one’s name is to make oneself known to others). God reveals himself as God of Covenant who is faithful and compassionate, merciful and gracious. God gives laws ensuring justice for everybody, telling at the same time that mercy goes before punishment. Thus, God revealing himself on Mount Sinai (Horeb) is God full of mercy, which is an anticipation of the New.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.