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Aksjologiczne wymiary nędzy w Dzienniczku Faustyny Kowalskiej – perspektywa językoznawcza

100%
Bizior R.
Polonia Sacra
|
2018
|
vol. 22
|
issue 3(52)
123-143
PL
Dzienniczek św. Faustyny Kowalskiej jest tekstem religijnym oraz tekstem mistycznym w sensie filologicznym i teologicznym. Ten rodzaj tekstu z uwagi na sytuację komunikacyjną oraz szerszy kontekst zewnętrzny może cechować się modyfikacjami w zakresie semantyki używanego słownictwa oraz towarzyszącego mu nacechowania aksjologicznego. W związku z tym w artykule zakłada się, że nacechowanie aksjologiczne określonego słowa i związanego z nim pojęcia zależy od szeregu uwarunkowań kontekstowych, które ukształtowały istotną kategorię tekstową, jaką jest punkt widzenia. Analiza semantyki występujących w tekście użyć słowa nędza wskazuje na jego różne znaczenia, odbiegające od typowych znaczeń leksykalnych podawanych przez słowniki. Celem pracy jest ustalenie aksjologicznych wymiarów pojęcia nędza oraz ich zależności od czynników pozajęzykowych, wśród których istotną rolę odgrywa chrześcijański system wartości.
EN
Diary of St. Faustyna Kowalska is both a religious and mystical text in its philological and theological meaning. This type of text, due to its communicative situation and a wider external context, may be characterized by the modifications in the scope of semantics of the vocabulary used and by the axiological value associated with it. Therefore, the article assumes that the conveyed axiological value of a particular word and the concept associated with it depends on a number of contextual conditions that have shaped the important text category, i.a., the point of view. The semantic analysis of the in-text uses of the word poverty indicates its various meanings, deviating from the typical lexical meanings given by dictionaries. The aim of the work is to determine the axiological dimensions of the concept of poverty and their dependence on non-linguistic factors, among which the Christian system of values plays an important role.
2
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Orędzie miłosierdzia powierzone św. Faustynie jako źródło nadziei dla współczesnego świata

100%
Seremak W.
Roczniki Teologii Duchowości
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2009
|
vol. 1
53-79
EN
The author of this paper entitled „The Message of Divine Mercy Entrusted to St. Faustina as the Source of Hope for the Contemporary World” have characterised contemporary threats present now in the world. This characterisation has been based on the teaching of two popes, John Paul II and Benedict XVI. Then he determined the principal elements of the message of Divine Mercy, and, eventually, on the basis of St. Faustina's Diary, he characterised the benefits that flow to us when once we receive Divine Mercy through Jesus Christ. When we put, side by side, the fruits of this reception and the threats to the contemporary world, we can clearly see that the message of Divine Mercy may become a source of hope for those who are open to it.
3
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Uczynki miłosierdzia względem ciała i duszy. Historia i praktyka

71%
Gryz K.
Analecta Cracoviensia
|
2016
|
vol. 48
EN
The Church made assisting the poor and needy an important part of its mission, as a response to an explicit command to enact the commandment to love one’s neighbor given by Christ. The obligation to show an active love of neighbor is expressed in the catechism formula of works of mercy toward the body and soul. The article analyzes both the genesis of this formula, as well as its historical interpretation over the centuries.The corporal works of mercy have been clearly stated by Christ Himself in the context of the teaching of the last judgment recorded in the Gospel of Matthew 25:31–40, however the spiritual works of mercy find their biblical justification in different places of the Gospels. In III century Origen in the spirit of allegorical exegesis interpreted the works of mercy mentioned in the Gospel of Matthew also as a call to help in the spiritual needs of man, and after him St. Augustine in the West. In this way, gradually the list of seven works of mercy concerning the soul was established.St. Thomas Aquinas gave us the classical moral interpretation of the acts of mercy, establishing the conditions under which they are a strict moral obligation. I the later period in the practice of charity stressed the elements such as: a personal experience of God’s mercy as a call to help others (St. Faustina), valuing man in his dignity (St. John Paul II) and recentely a concern for people excluded or deprived of opportunities of self-development (Pope Francis).
PL
Wspomaganie biednych i potrzebujących uczynił Kościół ważnym elementem swojego posłannictwa, jako odpowiedź na wyraźny nakaz realizacji przykazania miłości bliźniego dany przez Chrystusa. Obowiązek okazywania czynnej miłości bliźniemu został wyrażony w katechizmowej formule uczynków miłosierdzia co do ciała i co do duszy. Artykuł analizuje zarówno genezę powstania tej formuły, jak również jej historyczną interpretację na przestrzeni wieków.Uczynki miłosierdzia co do ciała zostały wyraźnie sformułowane przez samego Chrystusa w kontekście nauki o sądzie ostatecznym, zapisanej w Ewangelii św. Mateusza 25, 31–40, natomiast uczynki co do duszy znajdują swoje biblijne uzasadnienie w różnych miejscach Ewangelii. W III wieku Orygenes w duchu egzegezy alegorycznej interpretował uczynki miłosierdzia wymienione w Ewangelii Mateusza także jako wezwanie do pomocy w duchowych potrzebach człowieka, a za nim na Zachodzie czynił tak św. Augustyn. W ten sposób stopniowo rodziła się lista siedmiu uczynków co do duszy.Klasyczną interpretację moralną uczynków miłosierdzia podał św. Tomasz z Akwinu, ustalając, w jakich warunkach są one ścisłą powinnością moralną. W późniejszym okresie w praktykowaniu miłosierdzia podkreślano takie elementy jak: osobiste doświadczenie Bożego miłosierdzia jako wezwanie do pomocy innym (św. Faustyna), dowartościowanie człowieka w jego godności (św. Jan Paweł II) oraz w ostatnim czasie troska o ludzi wykluczonych, czyli pozbawionych możliwości własnego rozwoju (papież Franciszek).
4
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Miłosierdzie Boże jako źródło inspiracji twórczej

71%
Michałek K., Karcz B., Tyrała R., Zając A., Delimat W., Janicki J. J., Malik J., Sterczewska L., UPJPII i., Pasek W., Karcz B., Malik J., Sterczewska L., UPJPII i., Pasek W.
Pro Musica Sacra
|
2013
|
vol. 11
EN
When analysing the works by outstanding composers, one may come to the conclusion that this topic was not exploited too often in the history of music. The issue of Misericordias Domini was not as popular as, for example, Stabat Mater or Te Deum. Even a broader look at this topic area does not allow for noticing too many compositions. Does it mean that the great masters of the past epochs were not interested in Divine Mercy?The answer to this question should be sought in theology, especially that of the Middle Ages. The then teaching of the Church exposed the Creator more in the role of a stern Judge than Merciful Father. In later times, this topic was tackled by composers more bravely and it thrived in the 20th century. Thanks to Helena Kowalska, later Saint Faustina, the cult of Divine Mercy accelerated and quickly spread all over the world. Its climax was the pontificate of Blessed Pope John Paul II who established the Feast of Mercy celebrated on the first Sunday after Easter. One of his last acts in this respect was the dedication of the Basilica of Divine Mercy in Krakow-Łagiewniki and forming the World Centre of Divine Mercy here. This site has become inspiration for our recording and PhD thesis.Gregorian chant is the oldest traditional chant in the liturgy of the Roman Catholic Church. The church has prayed with this chant since the 6th century. Misericordias Domini chant presented on the record is a typical example of a responsorial psalm in which prayer with the text of Psalm 103 is combined with the chant of the chorus Misericordias Domini in aeternum cantabo.Passacaglia is a form of composition characteristic for Baroque music, especially organ music. On the basis of the bass-ostinato, composers have built subtle polyphonic constructions. Misericordias Domini, the composition by Johann Rudolph Ahle (1625–1673), is constructed on this scheme. Ahle built a four-voice polyphonic construction on a diatonic, falling, half-note procession of sounds, by giving two voices to the violin duo and two to soloists: soprano and tenor. The multi-layer character of this piece relates not only to the sound matter but also to text, as the composer uses both Latin and German simultaneously.In the Renaissance and Baroque, the polychoral technique experienced the peak of its development. It was used in Misericordias Domini composed by Francesco Durante (1684–1755), representative of the Neapolitan School. Two choirs are involved in a dialogue to meet at the end of the composition, in the climax moments, when chanting Divine Mercy in eight voices.Wolfgang Amadeus Mozart’s (1756–1791) offertory of 1775, Misericordias Domini KV 222, belongs to rarely performed pieces. Its compact, through-composed form shows the masterly skill of the composer and his original approach to the topic of Divine Mercy. The dramatic narration, change of key which was not typical of classicism, e.g. from d-moll to c-moll, create an impression that the great composer might have been afraid whether he would experience Divine Mercy himself.Divine Mercy Song by Henryk Jan Botor (born in 1960), which was dedicated to Holy Father John Paul II, is composed well with other works inspired by the personality of the great Pope. It was composed in the jubilee year of 2000. The text borrowed from Saint Sister Faustina’s Diary was given to a soprano signer and also to the choir – in climax and text culmination moments. By using Neo-Romanticism musical language, Botor achieved the message readable to the listener, grasping pathetic and figurative music in words. Rich instrumentation, involving a string orchestra, a harp, an extended percussion section, a choir and solo voice, enabled the composer to create an almost unlimited pallet of colours and moods.Misericordias Domini composed by Wojciech Widłak (born in 1971) dated 19 April 2012 is the latest perspective on the described text. The composer created a subtly planned form, exploring the natural rhythm of the word Misericordias. Voices are treated here as instruments with the rhythm playing the leading role. The piece also uses modern means, such as glissando or recitals of texts in many languages, which affects the great power of the piece’s artistic expression. When it comes to texts, the author took them from memorial booklets in which pilgrims from all over the world entered their thank-you words and requests to Merciful Jesus at the Sanctuary of Divine Mercy in Krakow-Łagiewniki.Misericordia, the composition by Wojciech Kilar (born in 1932), is the piece that crowned the film Faustina (1994) directed by Jerzy Łukaszewicz. It is the meditation on Divine Mercy in the “form of crescendo” for a mixed choir of eight voices, string orchestra and piano. By using the minimum of means, the composer achieved maximum expression.The record is crowned with the organ improvisation based on the melody of the Polish church song: Jesus, I Trust in You.
PL
When analysing the works by outstanding composers, one may come to the conclusion that this topic was not exploited too often in the history of music. The issue of Misericordias Domini was not as popular as, for example, Stabat Mater or Te Deum. Even a broader look at this topic area does not allow for noticing too many compositions. Does it mean that the great masters of the past epochs were not interested in Divine Mercy?The answer to this question should be sought in theology, especially that of the Middle Ages. The then teaching of the Church exposed the Creator more in the role of a stern Judge than Merciful Father. In later times, this topic was tackled by composers more bravely and it thrived in the 20th century. Thanks to Helena Kowalska, later Saint Faustina, the cult of Divine Mercy accelerated and quickly spread all over the world. Its climax was the pontificate of Blessed Pope John Paul II who established the Feast of Mercy celebrated on the first Sunday after Easter. One of his last acts in this respect was the dedication of the Basilica of Divine Mercy in Krakow-Łagiewniki and forming the World Centre of Divine Mercy here. This site has become inspiration for our recording and PhD thesis.Gregorian chant is the oldest traditional chant in the liturgy of the Roman Catholic Church. The church has prayed with this chant since the 6th century. Misericordias Domini chant presented on the record is a typical example of a responsorial psalm in which prayer with the text of Psalm 103 is combined with the chant of the chorus Misericordias Domini in aeternum cantabo.Passacaglia is a form of composition characteristic for Baroque music, especially organ music. On the basis of the bass-ostinato, composers have built subtle polyphonic constructions. Misericordias Domini, the composition by Johann Rudolph Ahle (1625–1673), is constructed on this scheme. Ahle built a four-voice polyphonic construction on a diatonic, falling, half-note procession of sounds, by giving two voices to the violin duo and two to soloists: soprano and tenor. The multi-layer character of this piece relates not only to the sound matter but also to text, as the composer uses both Latin and German simultaneously.In the Renaissance and Baroque, the polychoral technique experienced the peak of its development. It was used in Misericordias Domini composed by Francesco Durante (1684–1755), representative of the Neapolitan School. Two choirs are involved in a dialogue to meet at the end of the composition, in the climax moments, when chanting Divine Mercy in eight voices.Wolfgang Amadeus Mozart’s (1756–1791) offertory of 1775, Misericordias Domini KV 222, belongs to rarely performed pieces. Its compact, through-composed form shows the masterly skill of the composer and his original approach to the topic of Divine Mercy. The dramatic narration, change of key which was not typical of classicism, e.g. from d-moll to c-moll, create an impression that the great composer might have been afraid whether he would experience Divine Mercy himself.Divine Mercy Song by Henryk Jan Botor (born in 1960), which was dedicated to Holy Father John Paul II, is composed well with other works inspired by the personality of the great Pope. It was composed in the jubilee year of 2000. The text borrowed from Saint Sister Faustina’s Diary was given to a soprano signer and also to the choir – in climax and text culmination moments. By using Neo-Romanticism musical language, Botor achieved the message readable to the listener, grasping pathetic and figurative music in words. Rich instrumentation, involving a string orchestra, a harp, an extended percussion section, a choir and solo voice, enabled the composer to create an almost unlimited pallet of colours and moods.Misericordias Domini composed by Wojciech Widłak (born in 1971) dated 19 April 2012 is the latest perspective on the described text. The composer created a subtly planned form, exploring the natural rhythm of the word Misericordias. Voices are treated here as instruments with the rhythm playing the leading role. The piece also uses modern means, such as glissando or recitals of texts in many languages, which affects the great power of the piece’s artistic expression. When it comes to texts, the author took them from memorial booklets in which pilgrims from all over the world entered their thank-you words and requests to Merciful Jesus at the Sanctuary of Divine Mercy in Krakow-Łagiewniki.Misericordia, the composition by Wojciech Kilar (born in 1932), is the piece that crowned the film Faustina (1994) directed by Jerzy Łukaszewicz. It is the meditation on Divine Mercy in the “form of crescendo” for a mixed choir of eight voices, string orchestra and piano. By using the minimum of means, the composer achieved maximum expression.The record is crowned with the organ improvisation based on the melody of the Polish church song: Jesus, I Trust in You.
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