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1

The Retable of the Main Altar from the Parish Church of Saint John the Baptist in Łekno (German: Bast), Dating from 1588

100%

Zalewska K.

Ikonotheka

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2017

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vol. 27

187-209

EN

The triptych from Łekno was painted in 1588 and commissioned by one of the five sons of Duke Philip I of Wolgast of the Griffin dynasty. The painter, who signed the work with the initials CS (and may perhaps be identified as Christoff Schreiber), used graphic patterns in the composition of biblical scenes and included crypto-portraits of Griffin rulers in the depictions of the Last Supper and Crucifixion. After Anna of Stettin married Ulrich III of Mecklenburg, another (also unknown) artist repainted the face of one of the apostles into a high-quality portrait of the duke of Mecklenburg.

2

Ostatnia Wieczerza popkultury

63%

Smorawska A. J.

Media Biznes Kultura

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2017

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issue 2(3)

139-149

EN

An oxymoronic relation between popular culture and the sacred is one of the strategies of shockvertising. The analysis of The Last Supper theme in printed advertisement shows how often the industry of advertising uses well-known and easily recognizable sacred symbols. Elements taken from the sacred sphere can be found in advertisements from various sectors, and also in different places, events and services. The reactions to analyzed advertisements show how strong emotions are related to shockvertising that uses sacred symbols. Research proves that it is valuable to look at the relation between popculture and the sacred not only as a way to simply shock, but also as an important voice in the debate about the present.

PL

Oksymoroniczne zestawienie kultury popularnej z elementami należącymi do sfery sacrum jest jedną ze strategii shockvertisingu. Analiza występowania w reklamie drukowanej motywu znanego z Ostatniej Wieczerzy Leonarda da Vinci pokazuje, jak często współczesny przemysł reklamowy sięga po oswojone, powszechnie rozpoznawalne przedstawienia należące do porządku sakralnego. Z zapożyczeń chętnie korzystają przedstawiciele rozmaitych branż, by za pomocą nawiązań do Ostatniej Wieczerzy promować produkty, miejsca, wydarzenia czy usługi. Reakcje towarzyszące pojawieniu się poszczególnych reklam unaoczniają, jak silne emocje wywołuje sięganie przez ich twórców po elementy ze sfery sakralnej. Warto na mariaż sacrum i kultury popularnej spojrzeć nie tylko jako na chęć zwrócenia uwagi znudzonego odbiorcy i szokowania za wszelką cenę, ale także szerzej – jako próbę postawienia ważnych pytań w debacie dotyczącej współczesności.

3

"Ostatnia Wieczerza" Pawła Huellego (i Jany Unuk) jako konfrontacja z tradycją, z własną i cudzą kulturą

51%

Tokarz B.

Przekłady Literatur Słowiańskich

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2013

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vol. 4

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issue 1

185-207

SL

Slovenski prevod romana Zadnja večerja Pawła Huelleja je izšel leta 2010, komaj tri leta po izidu izvirnika, prevedla ga je Jana Unuk. Miselna shema Zadnje večerje (kot podlaga stereotipa), ki jo sestavljajo skupna večerja Jezusa in apostolov na način daritvene gostije, Jezusova vednost o Judeževi izdaji, lastnem mučeništvu in žrtvovanju ter preobrazba in sporočilo vere — obsega strukturo celotnega romana. Stereotip je vključen v kontekst sodobnih dogajanj kot argument širšega dialoga na temo skupnosti, svobode, izdaje, vere in umetnosti. Jana Unuk je pri prenašanju smisla in ideje izvirnika v slovensko kulturo glede na uresničeni jezikovni transfer do določene mere soustvarjalka romana. Kljub prevajalkini zvestobi izvirniku in njenim prevajalskim veščinam miselna shema Zadnje večerje, naravnana na prihodnost, zaradi drugačne pragmatike slovenskega jezika in nekoliko drugačne kulturne imaginacije ni dosegla vseh potencialov izvirnika (zbujajočih upanje). Ko izvirnik vstopa v ciljno kulturo, privzema njene lastnosti celo na ravni prevoda tako univerzalnih stereotipov, kot so religiozni stereotipi.

EN

In 2010, only three years after the Polish edition, a translation by Jana Unuk of the novel Ostatnia Wieczerza (‘The Last Supper’) by Paweł Huelle appeared. The mental schema of The Last Supper (the basis of a stereotype), which is in the character of a sacrificial feast and consists of: the shared supper of Jesus and the apostles, the knowledge of Jesus about the betrayal by Judas, about His own martyrdom, sacrifice and transubstantiation and the message of faith, covers the structure of the entire novel. The stereotype has been introduced into the context of the contemporary events as an argument of a broader dialogue on the topic of community, freedom, betrayal, religion and art. In a way, Jana Unuk has become a co-author of the novel by transferring the sense and the idea of the original version to the Slovenian culture, due to the performed language transfer. Despite the faithfulness to the original and the translation art of the translator, the mental schema of The Last Supper that is oriented upon the future did not receive the potentiality of the original (giving hope) because of the different pragmatics of the Slovenian language and its slightly different cultural conception.

4

Par-eikon: przypadek Ostatniej Wieczerzy

51%

Zarychta A.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2014

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vol. 14

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issue 23

93-110

EN

The text is an attempt to analyze the evolution of aesthetic forms and motifs discussed on the example of the so-called “great figure” The Last Supper – the starting point for the analysis of the motif is the photography of David La Chapelle of the series: Jesus is my homeboy. Significant here is the context theory of parody by Linda Hutcheon – understood as a central point overview of contemporary art – a phenomenon combining fidelity to tradition and contemporary ideas of creative freedom, to express, among others, in need of confrontation with the ‘classic’ conventions – encroaching and deconstructive also in our contemporary pop-cultural processes of “image-consumption”.

PL

The text is an attempt to analyze the evolution of aesthetic forms and motifs discussed on the example of the so-called “great figure” The Last Supper – the starting point for the analysis of the motif is the photography of David La Chapelle of the series: Jesus is my homeboy. Significant here is the context theory of parody by Linda Hutcheon – understood as a central point overview of contemporary art – a phenomenon combining fidelity to tradition and contemporary ideas of creative freedom, to express, among others, in need of confrontation with the ‘classic’ conventions – encroaching and deconstructive also in our contemporary pop-cultural processes of “image-consumption”.

5

Wieczerza Pańska – „pamiątka” Chrystusowej męki, śmierci i zmartwychwstania jako ekspiacyjnej Ofiary „za wielu” i Ofiary Nowego Przymierza (1 Kor 11,23-27; Łk 22,19-20)

51%

Witczyk H.

The Biblical Annals

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2018

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vol. 8

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issue 4

545-565

EN

Research on the role of oral tradition (orality) in the process of Gospel and Pauline letters composition provides a basis for the synchronic reading of the traditions on the Last Supper (Matt 26:26-29; Mark 14:22-24; Luke 22:14-14-20; 1 Cor 11:23-26). The author, taking into consideration the data contained in the mentioned textual traditions, seeks an answer to the question of what Jesus recommended to his disciples in the Cenacle by saying: “Do this in remembrance of me” (Luke 22:19; 1 Cor 11:24). The author enters into a polemic with the latest theories according to which Jesus intended to celebrate the Last Supper as a “covenant sacrifice”, precisely speaking a “feast of covenant”. Through the analysis of the formulas pronounced over bread and wine, which take into consideration the texts on the suffering and death of Jahwe’s Servant (Isa 53), the author seeks to demonstrate that Jesus applied to his death the sense of the sacrifice of expiation which also establishes the New Covenant. To interpret the formulas only in light of “covenant sacrifice/feast” means to radically diminish the meaning of the prophetic words and gestures of Jesus from the Last Supper.

6

Ostatnia Wieczerza a Wieczerza Paschalna

51%

Szurek T.

Łódzkie Studia Teologiczne

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2021

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vol. 30

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issue 2

69-81

PL

Passover is the first and most important Jewish feast. That celebration was governed by many customs and orders contained in the Mishna – an essential part of the Talmud. The course of the paschal supper (seder pesach) was also clearly established, identifying and explaining each element of the common celebration of the Exodus. Just before his death, Jesus, along with his disciples, wanted to eat the Last Supper, which was rooted in the rites of Judaism. Taking into account the correlation between the Last Supper and the Paschal Supper, two concepts can be identified – the first, represented by Louise Bouyer, assumes that Jesus did not associate the institution of the Eucharist with rites specific only to the Passover feast. This “incomplete” dependence on the Passover allowed Christ’s disciples to reinterpret these rites in a Christian way. Joachim Jeremias takes a slightly different position, proposing the hypothesis about the institution of the Eucharist in the “atmosphere” of Passover. According to the passages from the New Testament Jesus made many references to the course of the Passover feast, such as eating in Jerusalem, starting after sunset, breaking bread after the first course, and singing Hallel at the end of the feast. However, it also introduces many new themes that allow us to conclude that the Last Supper was something that stood out from the rules of Judaism – it was the Passover of Jesus.

Refine search results

1 Ikonotheka

1 Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

1 Media Biznes Kultura

1 Przekłady Literatur Słowiańskich

1 The Biblical Annals

1 Łódzkie Studia Teologiczne

1 Smorawska A. J.

1 Szurek T.

1 Tokarz B.

1 Witczyk H.

1 Zalewska K.

1 Zarychta A.

1 2021

2 2018

1 2017