Search results

1

Kult sv. Cyrila a Metoděje ve výtvarném umění (klíč k jejich ikonografii

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Filip A., Osolsobě J., Osolsobě J.

Národopisná revue (Journal of Ethnology)

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2013

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vol. 23

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issue 2

120 – 133

EN

The essay pays attention to the iconography of Sts. Cyril and Methodius within the western Christian culture. There are more thoroughly analyzed the depictions of both brothers in the Middle Ages, both in Roma (Basilica of San Clemente) and in the Lands of the Bohemian Crown. The depictions from the Modern Era are limited just to the Czech Lands, whereby they do not more concern the chronological succession, but the description of significant sings in the iconography of both saints, which are documented by particular examples. We have observed both the narrative cycles and the so-called iconic depictions where seven types of depictions of Sts. Cyril and Methodius are defined. The depictions are usually combined with each other: 1) brothers, 2) citizens of Thessalonica 3) monk and bishop 4) Apostles of the Slavs, 5) our fathers, 6) heathendom conquerors, 7) patron saints of the Moravian nation.

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DOMUS ECCLESIAE – CHRZEŚCIJAŃSKIE MIEJSCE KULTU

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ZALEWSKI D.

Studia Ełckie

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2015

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vol. 17

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issue 2

139-148

EN

The religious experience of the ancient people was inseparably connected with a sacred space. Ancient religions were primarily religions of worship; however, the center of worship were altars and temples, it means the deity houses, in which the man met with gods. The first Christian communities met at the homes of their members. At the turn of the second and the third century, some houses were transferred to permanent Church’s disposal. These houses, called domus ecclesiae, were already formed as separate, special places, dedicated to Christian prayer meetings. They did not differ in their outside appear-ance from other houses; however, the interior was adapted to the needs of worship. Due to the existing for the first three centuries prohibition of the Christian religion throughout the Roman Empire, church houses were destroyed by the authorities. The oldest domus ecclesiae, which was preserved in a good condi-tion by chance, is a Christian home in Dura-Europos. Its uniqueness lies in the fact that it is the oldest outdoor example of an early Christian architecture with the partially preserved paintings.

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Intercultural Reflections on Translating Petőfi onto Serbian Language

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Németh F.

Acta Universitatis Sapientiae, Philologica

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2014

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vol. 6

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issue 1

17-24

EN

Only six years subsequent to Petőfi’s disappearance, i.e. his death, in 1855 the Petőfireception took on in Serbian literature, when Jovan Jovanović Zmaj translated the poem A csárda romjai (Razorena čarda [The Ruins of the Inn]). From that point on, Petőfibecame part of Serbian literature as well: famous and popular, to such an extent that there was hardly a Serbian poet who would not engage in translating at least one of Petőfi’s poems. Sava Babić, who made an account of the Petőfitranslations published between 1855 and 1980, listed as many as 658 entries in his bibliography. Translating Petőfi’s poems, according to literary historians, “proved an outstanding bridge between the lives of the two neighbouring nations” (Nagy 1994).1 These poems substituted for what Serbian literature lacked-the Serbian folk epic poem. Towards the end of the 19th century, the reception of Petőfi’s poetry in Serbian literature virtually bloomed into a cult, namely because his poems of patriotic and social themes as well as his revolutionary poetry quite complied and were even consonant with the increasingly aggressive patriotism of the so-called New Serbian Youth (Nova omladina). In the second half of the 20th century, the receptive attitude towards his poetry waned significantly. The study looks into the characteristics and effects of the translations of Petőfi’s poetry from its ‘literary transfer,’ its receptive situation, up to the intensification of its popularity and folklorization. In fact, it analyzes the literary/cultural transfer which fulfilled certain needs and conjunctures, but which was surprisingly integrated into the Serbian literary tradition of the late 19th and early 20th century.

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Pieśni ku czci Trójcy Przenajświętszej w “Śpiewniku archidiecezji katowickiej”

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Hudek W.

Studia Pastoralne

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2018

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vol. 14

171-191

EN

The Book of Songs of Katowice Archdiocese, published in 2000 by Rev. Professor Antoni Reginek, contains 9 songs of praise to the Holy Trinity in the collection in which they are numbered from 197 to 205. Compared with other collections of church songs, it is placed as the second in row as far as the quantity of such works is concerned. The biggest collection of songs of praise to the Holy Trinity is the Evangelical Book of Songs (Bielsko-Biała 2002) with a number of eleven songs. Following The Book of Songs of Katowice Archdiocese is the book The Way to Heaven (Droga do nieba, Opole 2006) with six songs and The Hymn Book by Rev. Jan Siedlecki (Kraków 2017) with five songs of praise to the Holy Trinity. The texts of the analyzed songs can be divided into three formal genres: antiphonies, hymns, and stanza songs. Their content is bound up by descriptions of the nature of the Holy Trinity (Divinity and Unity), internal relations (creation, origin, and inspiration) and the external action (creation, salvation and devotion). The language of the songs is rich with metaphors and poetics that approximates the mystery of God. Musically, the songs are characterized by the noble simplicity. The melody in majority of them is held in key major and in two cases one can find references to church modes. Four are held in 4/4 meter, and two in duple meter, which reinforces the musical illustration of the Holy Trinity mystery. The ambitus of the songs accommodates to the average human voice capacity and varies from the largest one containing the eleventh (203) to the smallest one in the interval of the sixth (199, 202). The examples of particularly vital songs can be: the Silesian Hymn Te Deum Laudamus or We praise you God (199) and the song The Undivided and Holy Trinity (202). This hymn is known and sung in all parishes of the archdiocese (paradoxically in all churches it is sung in the meter different from 3/4). The second song, apart from the melodic variation placed in the collection (counter-facture to the morning song When the morning stars are awake [549] and the evening hymn All our daily matters [553]) has its original version which functions in the living musical tradition in the Silesian Chełm parish.

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Predylekcje polityczne a formy oporu pomorskiego duchowieństwa wobec obchodów imienin Marszałka Józefa Piłsudskiego w latach 1933-1935

88%

Węsierski A.

Studia Pelplińskie

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2013

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vol. 46

251-260

EN

The Pomeranian Catholic clergy rejected the official celebration of the Marshal’s feast on the 19th March because this is one of the major solemnities in the Church, namely the Commemoration of St Joseph. However, some of the priests who maintained a much more favorable attitude towards Piłsudski’s name-day celebrations followed the example of the Church hierarchy and were taking part in it. Numerous priests (especially those whose political predilections were with the National Party) decided to protest against the spread of the official ‘cult’ and the legendary portrayal of the Marshal on his name day. Some of them, trying to sidestep the embarrassing situations, transferred the liturgical Commemoration of Saint Joseph to another day. There were many Pomeranian priests who did their best to prevent the Catholic youth from taking part in the official meetings. In some parishes where the pastors were political adversaries of Piłsudski the celebrations in memorial of Joseph Wrycza and Joseph Haller had a very ostentatious form. Numerous parish priests rejected the requests to celebrate the Holy Mass for the intention of the Marshal. This may be explained by the fact that the vast majority of pastors opted for the anti-Piłsudski political opposition. Some of the clergy, like Józef Wrycza or Paweł Konitzer, were even active supporters of the National Party.

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The Myth-Shaping Power of a Past Vision of the Future

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György V. I.

Acta Universitatis Sapientiae, Philologica

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2014

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vol. 5

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issue 2

185-202

EN

The creation of an era itself, as rhetoric of time, creates the otherness from which it builds up its own borders. Thus the creation of an era goes hand in hand with identity formation. The beginning of the 20th century, as the boundary of an era, appears as such a self-reflective moment in the life of Târgu Mureş. The study aims at presenting the social, economic and cultural changes of this period, notably the time when György Bernády was the mayor, the most significant period of urbanization of the town, the moment of the conscious designation of the above mentioned boundary of an era. It makes an attempt to grasp the beginning of the powerful personality cult of the former mayor; it analyzes those strategies of canonization and discourses that have played a key role in the process of the myth-formation of the hero and its time. In this era the process of György Bernády’s raising to the status of a cultural hero took place. The articles, which appeared in the local press, give a clear-cut image about what kind of judgements and appreciations have developed about the city and its councillor, as well as the infrastructural and cultural development

7

Cult and Ritual in Polish Archaeology: Past Research and New Perspectives

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Gardeła L., Půlpánová-Reszczyńska A.

Analecta Archaeologica Ressoviensia

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2015

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vol. 10

9–28

EN

This paper provides a brief overview of past and recent studies on the archaeology of cult and ritual in Poland. It discusses some of the most important publications and scholarly initiatives that have been shaping current approaches to various aspects of pre-Christian beliefs and it also attempts to predict future research trajectories

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Il culto di liber a Taurunum: un contributo allo studio della viticoltura nella Pannonia inferiore

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PILIPOVIĆ S.

Eirene. Studia Graeca et Latina

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2016

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vol. 52

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issue 1-2

445–470

EN

The goal of this study is to shed light on the cult of Liber in Taurunum, today Zemun, in the Roman province of Lower Pannonia. The aim is to examine nine votive altars with reliefs and inscriptions, preserved in a fragmentary state. The study attempts to understand and explain, as far as possible, the spread and characteristics of the veneration of Liber in Taurunum. At the same time, this study will elucidate the importance of wine and viticulture in this naval base.

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Symbolika średniowiecznych motywów liturgicznych w powieści arturiańskiej na przykładzie "Poszukiwania świętego Graala" (La Queste del Saint Graal)

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Kryśkiewicz H.

Przegląd Humanistyczny

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2016

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vol. 60(2 (453))

137-153

PL

The presented paper focuses on the topic of liturgical motifs – their variety, as well as symbolism – found in The Quest for the Holy Grail: one of the novel parts that altogether form the 13th-century saga of Arthurian prose. The main aim of the article is to highlight the references and allegories of both religious as well as ideological nature, which have been implemented by the (anonymous) author of the writing. What follows is the classification (methodological categorisation) of such motifs, definition of their potential purpose, and – last but not the least – an attempt to comprehend their origin in view of the cultural landscape of the historical period, in which the Quest has been composed.

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Kult Nemezis w starożytnym Rzymie

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Karczewska H.

Seminare. Poszukiwania naukowe

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2015

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vol. 36

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issue 2

175-186

EN

In ancient Rome Nemesis, primarily known as a goddess of revenge, was also worshiped as a deity of indignation and punishment. She directed the affairs of men, decided about human happiness and misery, and guarded the law. The cult of Nemesis can be traced back to the fifth century BC Greece, however, it was particularly vivid in Rome, especially at the time of the Empire, when it occupied a special place in Roman religion. Literary sources, as well as iconographic representations present Nemesis as a guardian of the law and order of the state. Nemesis in ancient Rome was primarily a patron of games held in amphitheaters. She became the main object of worship among gladiators and venatores. One of the most interesting representations is, however, an effigy of Nemesis trampling over a lying human body, which became an important element of imperial propaganda, especially during the reigns of Trajan and Hadrian.

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Kult sv. Cyrila a Metoděje a jeho nacionalizace v moderní době

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Rychlík J., Rychlíková M.

Národopisná revue (Journal of Ethnology)

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2013

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vol. 23

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issue 2

75 – 82

EN

The essay explains how the religious cult of Sts. Cyril and Methodius was changing during centuries. Both saints were - after the Great Schism in 1054 A. D. - considered saints mainly in the Eastern Orthodox Churches, while in the Catholic Church they were formally confirmed as saints only in 1880. Gradually, the cult obtained also national character. In the 19th century, Sts. Cyril and Methodius were considered mainly the Slavic saints because they brought Christianity to the Slavs, and according to the traditions, they were partly of the Slav blood. In addition, the particular Slavonic nations started considering them as national saints. Both brothers thus served as the factor forming the national identity of various Slavonic nations in the Balkans and Central Europe. The cult also led to disputes among the particular nations about the “nationality” of both brothers and mainly about the nationality of the Slavic people who they preached to. Because the place of birth of both holy brothers was in Macedonia, the Greeks, Bulgarians, and – in the second half of the 20th century - also the newly formed Macedonians began to claim Sts. Cyril and Methodius to become symbols of their national history and cultural heritage.

12

Kult Matki Bożej Loretańskiej w Polsce

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Marecki J.

Folia Historica Cracoviensia

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1994

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vol. 2

EN

The cult of the Virgin Mary of Loreto began to grow in Italy together with the emergence of the Holy House in the vicinity of the town Recanati. The cult reached the territory of the Republic of Poland in the early 15th century, brought home by Polish pilgrims to Loreto. The worship of the Virgin Mary of Loreto was popularised for good by Jesuits, Franciscans and Bernardines.

PL

Kult Matki Bożej Loretańskiej zaczął rozwijać się w Italii wraz z pojawieniem się w okolicy miasta Recanati świętego Domku. Na teren Rzeczpospolitej dotarł w początkach XV wieku. Jego znajomość zawdzięczamy polskim pątnikom pielgrzymującym do Loreto. Dzięki jezuitom, franciszkanom i bernardynom, kult ten przyjął się na dobre.

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[Recenzja]: Ewa Martinek, Szulec. Wieś cudu Świętego Józefa, Opatówek: Fundacja „Inicjatywa dla Opatówka” 2018, ss.128, il. 21

75%

Mikołajczyk M.

Archiwa, Biblioteki i Muzea Kościelne

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2020

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vol. 113

543-546

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Kult św. Wojciecha w księgach brewiarzowych na terenie Pomorza Wschodniego i Prus do końca XVIII wieku

75%

Wiewióra Z.

Archiwa, Biblioteki i Muzea Kościelne

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2008

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vol. 90

213-231

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Концепт релгггя в думовги картинг ceimy

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михно Л.

Stylistyka

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2010

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vol. 19

313-322

EN

The article deals with the concept of “religion” in the Ukrainian folklore. Linguistic umts in which the concept of religion appears are presented. The author analyses lexical and phraseological materiał which forms the kemel of this concept. The research results confirm the idea of the dumas language connect-m with the religious source.

16

Centralizacja kultu w Księdze Powtórzonego Prawa

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Łach S.

The Biblical Annals

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1965

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vol. 12

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issue 1

23-33

PL

Nous sommes toujours loin de l’unanimité au sujet de l’origine de la loi deutéronomique concernant 1’unité de lieu du culte. On a proposé maintes solutions, aucune de ces tentatives n’a pourtant pas réussi de résoudre le problème. La plus vraisemblable des opinions nous paraît celle qui prétend que la loi de 1’imité du culte, réjoignant dans ses principes les temps de Moïse, s’est cristallisé dans Israël pendant le règne d’Ezéchias qui, dans 4 Rois 18, 4-6 et 2 Rois 29,3,30,3, a fait disparaître des sanctuaires locaux. L’époque était d’ailleurs la plus propice à ordonner l’unité de lieu de culte: Samarie était vaincu et on se demandait quelles étaient les causes qui ont amené la chute. Une de ces causes a été sans aucun doute l’existence des sanctuaires locaux où le culte de Jahwe se mélait souvent au culte des dieux étrangers. Les seules conditions politiques n’arrivent pas pourtant à expliquer l’origine de la loi sur l’unité du culte. Des rois d’Israël nétaient pas des Iégislateurs mais veillaient seulement sur l’observance des lois. Le besoin de l’unité du culte devait donc être compris dans la tradition israélite et rejoindre Moïse. En fait, à l’époque de Moïse, Israël disposait d’un seul sanctuaire avec 1’arche d’alliance où en déposait des offrandes. Après avoir conquis le Canaan, tous les Israélites s’unissaient dans le sanctuaire central à Gilgal, plus tard à Silo ou à Gabaon et ensuite à Jérusalem. Cette systématique centralisation du culte trouve son explication dans l’analyse même de la loi concemant l’unité de lieu du culte. Cette loi interdisait premièrement la fréquentation d’autres sanctuaires, elle introduisait avec le temps 1’ordre de détruire tout sanctuaire. La loi de l’unité du culte prenait naissance lentement, lente était aussi réception en Israël, comme le prouvent les temples à Elephantine à Leontopolis ou à Samarie.

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Podstawy teologiczne kultu świętych w Kościele

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Żądło A.

Studia Pastoralne

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2011

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vol. 7

430-446

EN

The cult of saints creates a certain phenomenon that has been present for centuries in the life-mission of the Church. It is therefore worthy to devote adequate space for reflection of this theme, dedicated to its theological foundations. This theme in fact is continually timely and attracts our attention – both in life and research. The article presented above comes from statements relating to the conception and organization of Christian worship, from a previous attention to worship in the Old Testament, and which cult found its fulfillment in the New Covenant people, and so, in the life of Christ’s disciples upon the fulfillment of His work of salvation, brought to fulfillment at the coming of the Holy Spirit. Not surprisingly, and clearly emphasized by biblical texts, early Christians of ecclesial communities felt called to live holy lives on a daily basis, and sometimes even called each other „saints”. In fact, the Christians of that period not only felt a vocation to holiness, but witnessed their ability in practice. In addition, they were aware of the fact that such a calling does not guarantee any social prestige, but an obligation to follow Christ in His great devotion to the will of our heavenly Father – even to the Cross, which was taken up and carried freely, with the knowledge of the need of filling in their own flesh what is still lacking in regard to Christ’s afflictions, for the sake of His Body, which is the Church (Col 1:24). The demanding Christian life, namely the prospect of holiness lived out in the image of Jesus crucified and risen, caused the birth of a desire in the hearts of believers to memorialize – not only in the archives, but above all in the liturgy – the example left by Christians who throughout their lives could maturely answer the call to holiness addressed to them by God. In the examples of holiness that the Lord has instilled in their hearts, introduced in time into the liturgy, Christians began to discover – and are still discovering – the continuation of a plan holiness undertaken by God, constantly carried out in time according to the rhythms foreseen by Him. In venerating the saints, the Church proclaims the paschal mystery and gives glory to God for the work revealed in their lives, as well as recognizing in them witnesses, who have reached, through God’s multiple graces, eternal salvation – „They sing to God in heaven great glory and intercede for us” (SC 104).

18

Magistri Docent: The cult of Men Tiamou, preliminary remarks

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Sekunda N.

Miscellanea Anthropologica et Sociologica

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2014

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vol. 15(3)

149-156

PL

This article explores, in a preliminary fashion, the evidence for the cult of Men Tiamou, which was confined to the region of Lydia Katakeaumene (“Burnt Lydia”). The epithet seems to be derived from the personal name Tiamos, which is found in Anatolia, and which seems to be of Persian origin, being found at Persepolis.

19

Cztery pieśni do świętego Mikołaja pochodzące ze Zbioru pieśni nabożnych katolickich do użytku kościelnego i domowego (Pelplin, 1871) w aspekcie semantycznym oraz wybranych zagadnień muzycznych

75%

Kaczorowski R.

Studia Gdańskie

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2019

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issue 44

145-161

PL

W niniejszym artykule autor przybliża cztery pieśni do świętego Mikołaja, pochodzące z opublikowanego w 1871 roku w Pelplinie Zbioru pieśni nabożnych katolickich do użytku kościelnego i domowego. Pieśni nie posiadają tytułów. Ich incipity są następujące: pieśń I Niech będzie Bóg nasz pochwalony w świętym Mikołaju, pieśń II Krzyknijmy wszyscy, zgodnemi głosami, pieśń III Mikołaj Biskup przebłogosławiony, pieśń IV Kochany Bogu święty Mikołaju. Warstwa semantyczna pieśni wyrasta z nurtu tzw. religijności potrydenckiej, która wyrażała się między innymi w postrzeganiu istniejącego zła, choroby czy innego nieszczęścia jako kary Bożej za grzechy ludzi. Z drugiej jednak strony ukazuje postawę, która świadczy o tym, że to właśnie Bóg może dokonać cudownej interwencji, dlatego człowiek wzywa orędownictwa świętego. Z kolei w warstwie muzycznej pieśni posiadają prostą budowę i nieskomplikowaną linię melodyczną. Te przymioty niewątpliwie pomagały w modlitwie do ulubionego świętego.

EN

In this article, the author describes four hymns to Saint Nicholas originating from the collection Catholic Devotional Hymns for Church and Home Use, published in 1871 in Pelplin. The hymns are untitled. Their incipits are as follows: hymn I Let our God Be Praised in Saint Nicholas, hymn II Let us All Shout with One Voice, hymn III Saint Nicholas the Blessed Bishop, hymn IV Beloved God and Saint Nicholas. The semantic layer of the hymn grows out of the trend of so-called post-Tridentine devotion, which was expressed, i.a., in the perception that evil, illness or other misfortune was God’s punishment for people’s sins. On the other hand, it shows an attitude that illustrates that God can make a wonderful intervention, and for that reason the human calls on the intercession of the saint. In the musical layer, in turn, the hymns have a simple structure and an uncomplicated melodic line. These qualities undoubtedly helped in the prayer to the beloved saint.

20

Adoption, adaptation, transformation: the Mahisamardinī imagery in pre-Kusāna and Kusāna art

75%

Restelli E.

Cracow Indological Studies

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2012

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vol. 14

17-33

EN

The origin of the goddess killing the buffalo-demon is very obscure. Sculptural evidence starts with the beginning of the Common Era. The early specimens of Mahiṣamardinῑ motif are dated in the pre-Kuṣāṇa and Kuṣāṇa periods (c. 2nd century B.C. – 2nd century A. D.) and are found mainly in North Central India. This paper deals with the study of the icons of the goddess coming from Mathurā and belonging to this period. Here the Devῑ is shown while pressing the hind part of the buffalo with one of her hands and breaking the animal’s neck with another. By analysing the distinctive features of the icons we will show their composite nature. The multiple arms of the goddess give strong indication that there is much in the nature of the deity that relates to the indigenous traditions; however, the goddess displays in her attire some traits which can be at home in more than one culture. We will assume that, due to the specific historical and cultural period, the goddess has absorbed into her iconography a few motifs originating from non-Indian areas but sufficiently familiar in the local traditions so as to be assimilated; in fact, during the pre-Kusāna and Kusāna ages, the pathways between the territories beyond the Northwest frontiers and North India were more than connective routes carrying goods. Ideas and cultural innovations also travelled. Adoption, adaptation, transformation. These may be the hallmarks characterizing the vitality and creativity of pre-Kusāna and early Kusāna art, as can be represented by our goddess. In an attempt to understand where the notion of the multi-armed goddess with the buffalo comes from, we will analyze the iconographic units and stylistic idiosyncrasies of her imagery explaining why this occurs only in the Doab and how the components merged together in the iconography of the goddess. This process will be treated as being representative of the cultural and political climate fostered by pre-Kusāna and Kusāna rulers who were evidently interested in integrating motifs and foreign prototypes and in transforming them into new artistic idioms affecting the indigenous output.

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