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1
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Gothic balsagga*

100%
Snædal M.
Studia Etymologica Cracoviensia
|
2013
|
vol. 18
|
issue 4
153-159
EN
The Greek word τράχηλος ‘neck’ is, in the Gothic Bible translation, once translated with hals and once with balsagga*. The paper deals with the question of the latter form: Can it make sense if taken as it is or is it a scribal error for intended *halsagga
2
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What Ever Happened to My Peace of Mind? Hag Horror as Narrative of Trauma

100%
Fisiak T.
Text Matters: A Journal of Literature, Theory and Culture
|
2019
|
issue 9
316-327
EN
In his pioneering study of Grande Dame Guignol (also referred to as hag horror or psycho-biddy), a female-centric 1960s subgenre of horror film, Peter Shelley explains that the grande dame, a stock character in this form of cinematic expression, “may pine for a lost youth and glory, or she may be trapped by idealized memories of childhood, with a trauma that haunts her past” (8). Indeed, a typical Grande Dame Guignol female protagonist/antagonist (as these two roles often merge) usually deals with various kinds of traumatic experiences: loss of a child, domestic violence, childhood abuse, family conflicts or sudden end of career in the fickle artistic industry, etc. Unable to cope with her problems, but also incapable of facing the inevitable process of aging and dying, she gradually yields to mental and physical illnesses that further strengthen the trauma and lead to her social exclusion, making her life even more unbearable. Unsurprisingly, scholars such as Charles Derry choose to name psycho-biddies horrors of personality, drawing attention to the insightful psychological portrayal of their characters. Thus, it would be relevant and illuminating to discuss films such as Die! Die! My Darling! (1965) and Whoever Slew Auntie Roo? (1971) as narratives of trauma. This will be the main concern of my article.
3

The Significance Of Space In Iris Murdoch’sThe UnicornAs A Twentieth-Century Irish Gothic Novel

100%
Jarząb J.
Studia Anglica Posnaniensia
|
2014
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vol. 49
|
issue 4
5-20
EN
During the twentieth century almost all literary genres came back to prominence in different and alternative forms. The Gothic is no exception to this phenomenon as many a writer made an attempt at using this eighteenth-century genre once again, but adding to it some contemporary elements. Consequently, an abundance of new techniques have been introduced to Gothic fiction to evoke the feeling of horror and terror among the more and more demanding readers of modern times. Still, some writers prefer to return to the traditional concept of the Gothic – as does Iris Murdoch in her novel The Unicorn. The purpose of this article is to analyse the text from the perspective of the Irish Gothic. Those features of the genre which are traditional as well as local are going to be discussed in the context of space as the dominating aspect of the novel. The typical Irish landscape abounding in marshes, bogs and the sea will be contrasted with the inner space of the house, and its resemblance to the old Victorian mansions popular among the Anglo-Irish ascendancy of nineteenth-century Ireland. In what follows, the paper aims at showing how Murdoch’s skilful play with the spatial differentiation between the inside and the outside dislodges other more universal issues, such as the question of freedom, of social taboos and of the different anxieties still present in Irish society today.
4
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Sebepoškozování v adolescenci : kontext reálného versus virtuálního prostředí a subkultur Emo a Gothic

89%
Černá A., Šmahel D.
E-psychologie (E-psychology)
|
2009
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vol. 3
|
issue 4
26-44
EN
The article focuses on self harming as maladaptive coping strategy in adolescents. The role of real and virtual environment of adolescents, which is important for this phenomenon, is emphasized. The research is of explorative character, data has been collected through half-structured online interviews with 9 adolescent girls aged 15 through 18, who write about self harming on their blogs (online diaries), and analysed using the grounded theory method. It has been found that both real and virtual environment can have a huge impact on the emergence of self harming behavior in adolescents, its character and experiencing. Both environments might act as a medium for spreading knowledge of self harming and even as a source of self harming itself. Although the self harming online community is being looked at as supportive, it did not bring an end to self harming behavior in the case of our respondents, unlike the real social environment. On the contrary, the risk of normalisation of this behavior by sharing information on blogs occurred. The real social environment is then an important helper in ending the self harming behavior. The intersection of real and virtual environment of adolescents might be the Emo and Gothic subcultures. The connection of subcultures and self harming is being widely discussed by media in these days. In our research we did not prove such a connection.
CS
Článek se zabývá sebepoškozováním jako maladaptivní copingovou strategií v období adolescence. Důraz je kladen zejména na roli, kterou u tohoto fenoménu hraje reálné a virtuální prostředí, v němž se adolescenti pohybují. Výzkum je explorativního charakteru, data byla získána prostřednictvím polostrukturovaných online rozhovorů s 9 adolescentkami ve věku 15 – 18 let, které na svém blogu (online deníčku) píší o sebepoškozování, a analyzována s využitím metody zakotvené teorie. Bylo zjištěno, že reálné i virtuální prostředí může mít významný vliv na vznik sebepoškozujícího jednání u adolescentů, jeho charakter a prožívání. Obě dvě sféry mohou být prostředníky pro šíření povědomí o sebepoškozování, potažmo zdrojem šíření sebepoškozování samotného. Ačkoli je online prostředí dívkami vnímáno jako podpůrné, k ukončení sebepoškozování na rozdíl od reálného sociálního okolí patrně nepřispívá. Naopak se objevilo riziko normalizace sebepoškozování na základě sdílení informací na blozích. Skutečné sociální prostředí je pak důležitým pomocníkem při ukončení sebepoškozování. Průsečíkem reálného a virtuálního prostředí adolescentů pak mohou být subkultury mládeže (v tomto případě Emo a Gothic). Souvislost těchto subkultur a sebepoškozování je v současnosti poměrně hojně medializována. V našem výzkumu jsme přímou souvislost mezi sebepoškozováním a těmito subkulturami neprokázali.
5

READING LIKE THE JAPANESE: THE GOTHIC AESTHETICS OF HORROR IN SHAKESPEARE’S TITUS ANDRONICUS

88%
Raducanu A.
Gender Studies
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2013
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vol. 12
|
issue 1
144-163
EN
Shakespeare’s plays have been universally praised for centuries. However, Titus Andronicus was not included in this positive evaluation until the second half of the 20th century, when mainly feminist criticism contributed to an academically kinder re-assessment of this generally gory play. This paper, focusing on the issues of aesthetic value and the deletion of empathy, proposes a defamiliarized, a different reading of this Shakespearean play, from the perspective of the Japanese people, ‘famous’ for aesthetically enjoying the cathartic showing of gratuitous violence.
6
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The Utopian and the Gothic in Ellis James Davis’s ”Pyrna: A Commune; or, Under The Ice”

88%
Komsta M.
Lublin Studies in Modern Languages and Literature
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2019
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vol. 43
|
issue 2
DE
Der Artikel enthält Zusammenfassungen nur in Englisch.
EN
The paper discusses spatial modelling in Ellis James Davis’s Victorian utopia, Pyrna: A Commune; or, Under The Ice (1875) in the context of appropriating the Gothic mode into the utopian convention. In what follows, by examining selected aspects of the novella’s presented world, this article argues that the Gothic tropes of numinosity and sublime constitute significant elements of the examined narrative as major defamiliarizing components of the semiotically monolithic utopian spatial model.
FR
L'article contient uniquement les résumés en anglais.
7
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Translations of Ossian, Thomas Moore and the Gothic by 19th Century European Radical Intellectuals: The Democratic Eastern Federation

88%
O'Donnell K. A.
Lublin Studies in Modern Languages and Literature
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2019
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vol. 43
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issue 4
DE
Der Band enthält die Abstracts ausschließlich in englischer Sprache.
EN
This article will show how translated works by European radical writers of The Poems of Ossian by the Scot James Macpherson and Irish Melodies and other works by the Irishman Thomas Moore, were disseminated. Moore prefaced Irish Melodies with “In Imitation of Ossian”.  It will also demonstrate how Celtic literature, written in English, influenced the Gothic genre. The propagation of these works was also disseminated in order to implement democratic federalism, without monarchy; one example is the Democratic Eastern Federation, founded in Athens and Bucharest. To what extent did translations and imitations by Russian and Polish revolutionary intellectuals of Celtic literature and the Gothic influence Balkan revolutionary men of letters?
FR
L'article contient uniquement les résumés en anglais.
8

Lady Audley’s Sphinxian Mystery?

75%
Raducanu A.
Gender Studies
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2012
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vol. 11
|
issue 1
323-336
EN
The present study is based on the analysis of the themes of madness and monstrosity, depicted through the female character, in Mary Elizabeth Braddon’s well-known Lady Audley’s Secret. It discusses the elusive nature of madness and monstrosity that may be perceived as attributes of reader, writer and characters alike; it also considers the possibility of ‘madness’ as subversive survival strategy and/or escape from narrow patriarchal, political, social and cultural confines
9
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Mary Shelley’s Frankenstein; or, the Modern Prometheus: Friendship, Monstrosity and Radical Otherness

75%
Jeray C.
Anglica. An International Journal of English Studies
|
2016
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issue 25/1
59-71
XX
This essay looks at the relationship between Victor Frankenstein and his Creature, examining the ethical implications of Victor’s hostility towards the Creature. This problem is considered with reference to the views of various philosophers, ancient and modern, stressing one’s responsibility for the Other and the importance of the Self’s will to befriend another being. It is argued that Shelley indeed presents the Creature as “befriendable.” Such presentation, this article indicates, is a consequence of Shelley’s sympathy for the rejected and persecuted and her insistence on parental responsibility – the ideas actually emphasised in the novel, yet passed over in the 1930’s Hollywood production, as a consequence, permanently affecting the popular image of the Creature.
10
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“Making Kin in Broken Places”. Post-apocalyptic Adolescence and Care in Jeff VanderMeer’s Borne

75%
Czemiel G.
Zagadnienia Rodzajów Literackich
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2018
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vol. 61
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issue 4(128)
39-53
EN
Abstract en: This article attempts to place Jeff VanderMeer’s novel Borne (2017) in the context of the New Weird, and more broadly within the tradition of speculative fiction represented by the Weird and the Gothic. The aim of this is also to bring into focus the role of genre fiction in diagnosing the uncanny underside of its times. In the present context, the key issue is to develop new models of subjectivity that would embrace a trans-species, less anthropocentric and more ecological model of caring and “making kin”. This phrase references Donna Haraway’s project, which is argued to dovetail with VanderMeer’s conclusions, defining the article’s ethical premise, formulated around the theme of adolescence in a post-apocalyptic setting.
11
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Inskrypcja na grocie rozwadowskiej włóczni (KJ 35): ik eruls czy ik erlas?

75%
Garbacz P.
LingVaria : Półrocznik Wydziału Polonistyki UJ poświęcony zagadnieniom języka i językoznawstwa
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2016
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issue 21
13-20
EN
The paper discusses two possible interpretations of the (East Germanic?) runic inscription found in Rozwadów, Poland (KJ35), which reads ]krlus. Two alternatives are proposed: (1) [i]k (e)r(u)ls, and (2) [i]k (e)rlas, both with the meaning ‘I belong to the Heruli’. The first alternative assumes that the rune kaunan is a remainder of the first person personal pronoun ik ‘I’ known from Gothic, whereas the preceding rune isaz has been destroyed as the spearhead is broken just before kaunan. Then, the expected rune ehwaz is absent; we can either guess it was destroyed, or never written at all. The last assumption here is a metathesis of uruz and laguz from the intended *eruls to the attested (e)rlus, and the syncope in a-stems. The second alternative is similar but it argues that the last but one rune should be read ansuz, not uruz, and moreover, it assumes neither the metathesis of uruz and laguz, nor the syncope in a-stems. If the inscription ]krlus is to be read [i]k (e)r(u)ls, it would contain the only known Germanic attestation of a continuant of the Proto-Germanic *erulaz, later to yield the Old Norse form *jǫrull. If, on the other hand, it is to be interpreted as [i]k (e)rlas, it would be the only attestation of a continuant of the Proto-Germanic form *erlaz predating Old Norse jarl. Both hypotheses show that the inscription is of great importance for the studies on the (phonetic) development of the word known from Proto-Nordic as erilar.
12
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Differences and similarities between Gothic and Greek in the area of the definite article – the case of the Gospel of John

75%
Kida I., Kida I.
Linguistica Silesiana
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2019
|
vol. 40
13
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“LET ME GO, IF YOU WANT ME TO LET YOU IN”: THE GHOSTLY CIRCLE IN CARYL PHILLIPS’S THE LOST CHILD

75%
Stefanova S.
Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies
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2017
|
vol. 9
41-69
EN
The present article argues that the examination of the significance of Gothic motifs in Caryl Phillips’s The Lost Child (2015) reveals the author’s approach to unresolved individual and collective traumas that haunt his protagonists, but also his texts. The intricate interaction between the circular structure of the novel and the theme of historical and generational cyclicity requires a special attention to the journey trope and its spatial markers. The title of this essay is borrowed from Chapter III of Emily Brontë’s Wuthering Heights (1847), The Lost Child’s canonical intertext, in which Catherine’s ghost appears at the window and begs Lockwood to let her in. Drawing on some concepts developed by Derrida in his Specters of Marx (1993), the essay explores the meaning and function of spectrality and how it relates to circularity and to Phillips’s commitment to justice, which goes beyond remembering the “lost children” of the past, to actually let them in the present.
14
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Flexionsmarker der zweiten Person Singular aus diachroner und synchroner Sicht. Vom germanischen zum althochdeutschen Zustand.

75%
Woźnicka M.
Studia Germanica Posnaniensia
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2017
|
issue 38
177-186
EN
Flexion elements are a typical feature of the so-called flexion languages and are characterized by the fact that they change their form depending on (in-)flexion and they decode at least two functions. In the case of a Germanic verb inflexion elements stand for two categories: person and a singular/ plural form. In Proto-Indo-European and Proto-Germanic the inflection elements were relatively independent and it was easy to separate them from a verb stem which consisted of the so-called root and other components such as tense or mode markers. In old Germanic languages the processes of fusion and creating portmanteau word(s) (language contamination so to speak) were so advanced that it is difficult, yet not impossible, to separate primary flexion elements. The article presents the development of the 2-nd person singular marker from the Germanic state with regard to the Gothic language up to the old-high-German phase. The markers which were analysed belonged to the Present and Past Tense paradigm of all modes of the selected verb groups, that is both weak and strong ones and the rest not belonging to any of the groups mentioned above. The flexion elements were identified using a synchronic model of a morphological description worked out by Józef Darski (1987, 22004). Modification of the model concerning the character of diachronic studies ensures also a proper historical description.
DE
Flexion elements are a typical feature of the so-called flexion languages and are characterized by the fact that they change their form depending on (in-)flexion and they decode at least two functions. In the case of a Germanic verb inflexion elements stand for two categories: person and a singular/ plural form. In Proto-Indo-European and Proto-Germanic the inflection elements were relatively independent and it was easy to separate them from a verb stem which consisted of the so-called root and other components such as tense or mode markers. In old Germanic languages the processes of fusion and creating portmanteau word(s) (language contamination so to speak) were so advanced that it is difficult, yet not impossible, to separate primary flexion elements. The article presents the development of the 2-nd person singular marker from the Germanic state with regard to the Gothic language up to the old-high-German phase. The markers which were analysed belonged to the Present and Past Tense paradigm of all modes of the selected verb groups, that is both weak and strong ones and the rest not belonging to any of the groups mentioned above. The flexion elements were identified using a synchronic model of a morphological description worked out by Józef Darski (1987, 22004). Modification of the model concerning the character of diachronic studies ensures alsoa proper historical description.
15
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Poznámky ke gotické knižní malbě z jádra jihozápadních Čech

75%
Kubík V.
Studie o rukopisech (Manuscript Studies)
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2014
|
vol. 44
155-200
EN
The paper analyses book and illumination production in the central part of the South West Bohemia. The theme is studied on the basis of the material preserved in the region but also in connection with the production of the exiled artists and those living out of the region. The chronological criterion is combined with the typological analysis, cultural historical context (with includes also an analysis of the utilitarian bellow the average production). The regional production has been compared to the Central European illumination of the period.
16
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The ‘inadequacy of her resistance’: Reading Eighteenth-Century Rape Trials in Peter Teuthold’s The Necromancer

75%
Mangan C.
Anglica. An International Journal of English Studies
|
2016
|
issue 25/1
47-58
XX
Once thought to be the fictitious creations of Jane Austen, the seven Gothic novels that comprise the ‘Northanger ‘Horrid’ Novels’ have been critically neglected since their rediscovery in the early twentieth century. This paper engages with ideas of absence and exclusion within the ‘horrid’ novel The Necromancer by Peter Teuthold, in order to consider the historical (mis)construction of women by male voices in eighteenth-century rape trials. Particular emphasis is placed on an embedded narrative within the text that subversely explores the ways in which the female voice is subsequently read and mis(constructed), so that the narrative is ‘structured’ and ‘arranged’ to construct a version of a woman at odds with femininity, one that ultimately deviates from ‘the natural order.’
17
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The Gothic Genitive Plural in /-ee/ Yet Again: A Sarmatian Solution

75%
White D. L.
Beiträge zur allgemeinen und vergleichenden Sprachwissenschaft
|
2021
|
vol. 10
223-247
EN
Reasons are given to think that the Gothic GPL in /-ee/ (< /-ɛɛ/) developed in the M /n/-stems by analogy with GPL /-ↄↄnↄↄ/ in F /n/-stems: NSG /-ↄ/ : GPL /-ↄↄnↄↄ/ = NSG /-ɛ/ : GPL /-ɛɛnɛɛ/. This analogy was externally motivated, due to various features of Iranian causing Gothic F /-ↄↄnↄↄ/ and M /-ↄnↄↄ/ to both be rendered as /-aanaa/ in Sarmatian-accented Gothic. As levels of competence increased, /-aanaa/ was “genderized” (and “Gothicized”) by replacing gender-neutral /-aanaa-/ with F /-ↄↄnↄ/ (which spread to Pre-OHG) and M /-ɛɛnɛɛ/. Historical and lexical evidence is given indicating that Gothic culture and language were significantly influenced by their Sarmatian analogues, and additional cases where Gothic shows unusual grammatical resemblances to Iranian are adduced.
18
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Gothic Healing under the Mediterranean Sun: The Magus by John Fowles as a Gothic Novel

71%
Kowalcze M.
Tematy i Konteksty
|
2018
|
vol. 13
|
issue 8
507-521
PL
Celem niniejszego artykułu jest próba interpretacji powieści Johna Fowlesa Mag pod kątem obecnych w niej motywów gotyckich. Analizie poddane zostaną takie elementy konwencji gotyckiej jak: teatralność wydarzeń, motyw szaleństwa czy kwestia tłumionej seksualności. Autorka pragnie zwrócić uwagę na nieodzowny dla stylu gotyckiego element lęku, który w powieści pełni funkcję terapeutyczną. W powieści granica pomiędzy racjonalnym i irracjonalnym zostaje zatarta do tego stopnia, że główny bohater nie jest w stanie stwierdzić, czy wydarzenia, które mają miejsce w mrocznym domostwie tytułowego maga, dzieją się w rzeczywistości, czy też są dziełem jego omamionej śródziemnomorską rzeczywistością wyobraźni. Towarzyszący doświadczeniom Nicholasa strach ostatecznie uzdrawia zgorzkniałego mężczyznę ze stanu apatii i upośledzenia emocjonalnego.
EN
The present paper aims at interpreting the novel The Magus by John Fowles within the framework of the Gothic genre. The argument shall be founded on a close analysis of chosen characteristics of the Gothic convention which can be identified within the text, such as the theatricality, the motif of insanity, as well as the issue of repressed sexuality. It shall also be argued that the novel presents the therapeutic role of fear, intrinsically linked to the Gothic mode of expression. The boundary between the rational and the irrational is suspended to the point that the protagonist is unable to tell whether the apparitions he sees in the Magus’s shadowy estate are of supernatural provenance or they constitute mere figments of his imagination deluded by the elements of the Mediterranean ambience. Remarkably, it is the experience of terror that ultimately heals Nicholas, an embittered and disillusioned young man, from the state of apathy and emotional handicap.
19
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Zygmunt Krasiński spotyka się z Jakubem Żulczykiem albo pośmiertne życie gotycyzmu. Projekt zajęć

63%
Barski K.
Polonistyka. Innowacje
|
2023
|
issue 17
149-164
EN
Gothicism is probably this part of the romantic and pre-romantic tradition which is most strongly present in contemporary pop-culture. It is an exceedingly lively phenomenon, not only discussed by specialists – historians of literature – but constantly consumed as part of subsequent literary, film, music or computer games, the recipients of which are sometimes even unaware of the 19th-century origin of their favorite works. Due to its cross-border nature, however, Gothicism is sometimes neglected in the history of literature education of Polish philologists. The purpose of this article is to present a class proposal, the implementation of which could be a step towards filling this gap in didactics. It is based on a juxtaposition of several older texts (by Zygmunt Krasiński, Roman Zmorski, Anna Mostowska) and a contemporary novel by Jakub Żulczyk (Insytut [The Institute]). The aim of the class is to show that Gothicism can work as an ahistorical code serving e.g., to talk about oppression.
PL
Gotycyzm jest prawdopodobnie tą częścią tradycji romantycznej oraz preromantycznej, która w najsilniejszy sposób spośród wszystkich innych obecna jest we współczesnej (pop)kulturze. Jest zjawiskiem niezwykle żywym, nie tylko dyskutowanym przez specjalistów – historyków literatury – ale nieustannie konsumowanym w ramach kolejnych pozycji literackich, filmowych, muzycznych czy grach komputerowych, których odbiorcy bywają nawet nieświadomi XIX-wiecznego rodowodu ulubionych dzieł. Z powodu swojego granicznego charakteru gotycyzm bywa jednak zaniedbywany w kształceniu historycznoliterackim polonistów. Celem niniejszego artykułu jest zaprezentowanie propozycji zajęciowej, której realizacja mogłaby stanowić krok na drodze ku wypełnieniu tej luki w dydaktyce. Opiera się ona na zestawieniu kilku tekstów dawniejszych (Zygmunta Krasińskiego, Romana Zmorskiego, Anny Mostowskiej) oraz współczesnej powieści Jakuba Żulczyka (Instytut). Celem zajęć jest pokazanie, iż gotycyzm może funkcjonować jako ahistoryczny kod służący m.in. do mówienia o opresji.
20
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Zastosowanie metody georadarowej w badaniach dawnej architektury: relikty gotyckiego kościoła w Trzygłowie/Trieglaff (gm. Gryfice, Pomorze Zachodnie)

63%
Welc F.
Saeculum Christianum. Pismo Historyczne
|
2023
|
vol. 30
|
issue 1
EN
The ground-penetrating radar (GPR) method has been used for many years in archaeological research. However, this method is still not widely used in studies of past architecture. The biggest problem in implementing the GPR in sites with archaeological relics are the extensive layers of rubble, leveling, vegetation, and infrastructure elements which significantly hinder the measurement and interpretation of the results obtained. Despite these limitations, properly planned and executed GPR studies, even in a small area, can provide very significant information on the remains of ancient buildings located underground. Moreover, the results of GPR profiling, integrated with historical data, allow for a three-dimensional reconstruction of searched architectural relics, not preserved above ground. An example may be the results of an GPR studies, presented in this article, performed on relics of the Gothic church of St. Elisabeth at Trzygłów (village in the commune of Gryfice, north – western Poland). This building was demolished in 1955. The results of the geophysical reconnaissance combined with a search of archival material, made it possible to visualise spatially (3D) the appearance of the non-existent church and, so to speak, reintroduce it to the local community. It seems that such a comprehensive approach should be standard in contemporary geophysical research focusing on the relics of past architecture. 
PL
Metoda georadarowa jest od wielu lat stosowana z powodzeniem w archeologii. Zaczyna być również standardem w nieinwazyjnych badaniach dawnej architektury. Największym problemem w implementacji tej metody na stanowiskach z reliktami architektonicznymi są rozległe warstwy gruzu, niwelacje, roślinność oraz elementy infrastruktury, które znacząco utrudniają pomiar oraz interpretację uzyskanych wyników. Pomimo tych ograniczeń, prawidłowo zaplanowane i wykonane badania georadarowe, nawet na niewielkim obszarze, mogą dostarczyć bardzo istotnych informacji dotyczących znajdujących się pod ziemią pozostałości dawnych budowli. Co więcej, wyniki profilowania georadarowego zintegrowane z danymi historycznymi pozwalają na trójwymiarową rekonstrukcję niezachowanego na powierzchni ziemi zabytku. Przykładem mogą być prezentowane w niniejszym artykule wyniki badań georadarowych reliktów gotyckiego kościoła św. Elżbiety w Trzygłowie (dawniej Trieglaff – wieś w gminie Gryfice, północno-zachodnia Polska). Świątynię tą rozebrano w 1955 roku. Wyniki rozpoznania geofizycznego w połączeniu z kwerendą materiałów archiwalnych pozwoliły na zobrazowanie przestrzenne (3D) wyglądu nieistniejącego już kościoła i niejako ponowne przywrócenie go lokalnej społeczności. Zaprezentowane tu podejście powinno być standardem w badanych architektonicznych zabytkowych budowli z użyciem metod nieinwazyjnych, co autor niniejszego opracowania proponuje określić terminem geofizyka architektury.
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