Around the Bloc: Pope Francis No Believer in Medjugorje Miracle
The pontiff adds his voice to growing skepticism about the Virgin Mary’s supposed visitations to the Bosnian town.
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The pontiff adds his voice to growing skepticism about the Virgin Mary’s supposed visitations to the Bosnian town.
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The article presents the art criticism analysis of icons from Uspensk cathedral, which are stored in the collections of the National Kyiv-Pechersk Historical and Cultural Reserve.As a result of technical and technological research and iconographic studies of monuments, the attribution was verified and iconography’s features were identified.Consideration of some icons from the museum collections NKPIKZ provides additional material for various comparisons, iconographic analysis; extends and supplements knowledge about XVIII century Lavra icon. Made on request of clerics in workshops of Kiev-Pechersk Lavra, these works significantly expand the idea of time, artists, artistic techniques and tastes of customers.Now, there are enough possibilities for a more thorough and detailed review of Lavra icon painting works of the XVIII century: works of 1970-2000 years, published by national researchers on individual monuments, icons uncovered from under latest layers. There we got a need to summarize the available material and complement it with works that have not yet entered into scientific circulation, or those that have not got yet exhaustive interpretation.The relevance of this publication is to identify the features of interpretation of iconic image in the XVIII century Lavra icon painting.The purpose of the article is to introduce the icons from the Assumption Cathedral, which are stored in the collections of the National Kyiv-Pechersk Historical and Cultural Reserve, to scientific circulation. Consideration of the characteristics of these icons, namely technical and technological components of the composition and iconography allowed specifying their attribution.Icons of different shapes from the fund collection NKPIKZ: "This is the tabernacle of God, this is man" (CPL-G-674), "The Virgin Kup'yatytska with saints Gregory the Theologian, Basil the Great, John Chrysostom, St. Nicholas" (CPL-G-673), "Archangels" (CPL – G – 675 – 746, – 747 – 748) and "God the Father" (CPL-G-671), constitute a single stylistic and equal by the technical and technological parameters group. The icon-locket "The Ascension of the Virgin" (CPL-G-NDF-419) also joins the group. All icons were found during excavations of the Dormition Cathedral’s ruins in 1947; the locket depicting the "the Ascension of the Virgin" was found in 1976. All icons of the small size, made on solid copper plates, produced by forging and contour cut with scissors; painting performed in oil technique using leaf gilding and colored varnishes. Technical and technological researches of this group of icons were conducted to obtain accurate information about technique and technology of Kiev icons of XVIII century.In the icons of this group were used soils: 1) double-layered: where the bottom layer is red-brown (the filler – chalk, ochre, black coal); the upper layer is white (the filler is gypsum); the binder of both layers is animal glue; 2) single-layered, light with pink undertone; the soil’s filler is chalk, red ochre, vermilion, black coal; (the binding soil is glue;) the chalk-glue, single-layered, light; the soil’s filler is chalk, the filler of soil – chalk, silica; the binder of soil is glue. The introduction of similar soils is typical for the icons created in the 20-30 years of XVIII century. Argumentative evidence for dating the works and their belonging to the same art center are so-called dating pigments – pigments, which have precise chronological and territorial limits of their use in painting. In our case those pigments are blues – natural ultramarine and indigo –which were actively used together in Lavra painting the entire first third of the XVIII century.Obtaining this information has allowed to not only fully reveal the artistic uniqueness of each piece, but also to clarify the attribution.As a result of technical and technological researches icons date back 20-30 years of XVIII century; it is also possible to assert that Lavra painters were using technology of easel painting works of leading European schools – Italian and Dutch. It is also interesting, that in the area of icon’s painting technology along with techniques of Western European painting of XVII century there is a link with colouristic experiments of Renaissance. This is evidenced by the widespread use of various bakan (organic colored pigments) painting on gold leaf (on the background and on the clothing ornamentation).According to the results of iconographic research, obviously, all the medallions are fragments of the overall composition. Given the iconographic content, the composition was composed of several parts and was mounted on a single basis, where the center was a picture of the Virgin. Paul Aleppo wrote about such icons of the Lord and the Virgin in the interior; the similar icon of st. Anthony with a frame, in which were embedded eight medallions with images – is above the cenotaph of st. Antony's Near Caves; the description of Marian icons in the carved icon cases, decorated with pictorial inserts, we find in the description of the main altar of the Dormition Cathedral.Thus, the results of iconographic and technical and technological researches of icons that are stored in the funds NKPIKZ and have not been introduced into scientific circulation yet tell us that they are attributed. It is established that the icons are made in the Lavra icon-painting workshop, in 20-30 years of XVIII century; their creation dates back to the restoration of the interior decoration of the Dormition Cathedral after the fire in 1718, and they are parts of a huge frame of the icon of the Virgin, which was situated in the Dormition Cathedral.
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The subject of this article is related to conditions of Armenian Catholics between 1847 and 1918 in Ottoman State. I referenced to the Ottoman State Annuals (Salname-i Devlet-i Aliye-i Osmaniye) issued 68 issues. The aim is to present the point of view to Armenian Catholics in Ottoman official publications. Separately, it is facilitate to be understood Armenian Catholics admitted as a different ‘nation (millet)’ and conditions of the other Ottoman Catholics. Ottoman administrated non-muslims in accordance with the principle “keeping the pre-conquest structure”. İn the preconquest, Armenian Catholics in Ottoman territory didn’t have different catholic hierarchy, so they didn’t be admitted as a different nation. Separately, Armenians admitted catholic creed progressively multiplied in Ottoman period. When Pope approved Ottoman Catholic Armenians as a different hierarchy in 1740, they were administrated over Armenian Patriarchate of İstanbul. Ottoman governments didn’t acceptance them as a different ‘nation (millet)’. Because, they endeavored to keep the pre-conquest structure. So, Apostolic Armenians are named as ‘original Armenians’ (asıl Ermeniler) in Ottoman documents. They are admitted as a different hierarchy (nation-millet) by Sultan Mahmut II (1830). Priest Andon Nurican was elected as the first leader of Ottoman Catholic Armenians. Pope approved him as the archbishop of İstanbul. But, Ottoman government didn’t approve because of the fact that he wasn’t a citizen of Ottoman. Hagop Chuqurian was elected in place of him. Ottoman government approved him as the leader of Ottoman Catholics on 5 January 1831. The second leader was entitled patriarch by Ottoman government in 1835. The other Ottoman Catohilic Nations (Syrian Catholics, Chaldeans, Maronites, Melkites, Bulgarian Catholics) were subordinated to Armenian Catholic hieararchy. In the first Ottoman State Annual (1263/1847), Armenian Catholics and Greek Melkites are recorded as different nations. As a result, Armenian Catholics is unrecorded in only one issue from first to last recorded non-muslims. Besides, the sophisticated structure of Ottoman Catholics, such as two leaders and centres of patriarchate at the same time, is appeared in Annuals, too.
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The actuality of studying the history of church embroidery – a unique variety of Ukrainian art, is conditioned by an ever-growing public interest in the national heritage. The purpose of this article is to review literature on the study of Ukrainian church embroidery of Baroque period. It has to determine the level of the subject’s study in historiography and to reveal unsolved aspects of the problem.Interest in Ukrainian church embroidery became apparent in the second half of the 19th century. It was occasioned by the foundation of Church museums. In particular, they were The Church and Archaeological Museum of the Kiev Theological Academy (1872), the Poltava and Chernihiv eparchy antiquariums (1906). The pictures and descrip-tions of many church embroidery works were included in the Indexes of the museum collections. However, the huge amount of embroidery items, kept in the monastery and cathedral sacristies, were only partially covers by museumification process. Historical and statistical descriptions give some idea about participants of the meeting of individual dioceses or churches concluded, in particular, mytropolyt of Kiev Yevhenii (Bolkhovitinov), M. Malyzhenovskyi.In the 1920s the first scientific researches of the history of Ukrainian Baroque embroidery appeared. Blossoming of research activity of M. Novitskaya belongs to this time (from 1928 to 1933 she was managed department of fabric and embroidery in the All-Ukrainian Museum Town, the museum association, created in the Kiev-Pechersk Lavra). In 1927 M. Novitskaya published an article "Dated orarions of Lavra Museum. 1640–1743". The main compositions, embroidery techniques and peculiarities of orarion decoration were described. K. Berladina – the Head of Department of Kharkiv State Art and Historical Museum in the early 1930s was significant scientific researcher. Two articles included in the cycle "Materials for the history of Ukrainian fine art embroidery" belong to her most notable publications. Ideological repressions of the 1930s forced M. Novytskaya and K. Berladina to stop their researches. However, their works on Ukrainian embroidery of XVII–XVIII centuries made a scientific foundation for the future study of the subject.A next phase of interest in Baroque church embroidery in the 1960s was caused by preparation for edition "History of Ukrainian art". Two fundamental articles, dedicated to Ukranian folk and church embroidery, by scholars G. Logvin and M. Novytskaya were included in the second and fourth volumes of this edition. For the analysis of evolution of the Ukrainian church embroidery of XIII – the first half of the XVII century G. Logvin used archival and graphic sources, and also highly artistic works of embroidery gold from the Ukrainian and foreign collections. M. Novitskaya provided short historical the description of development of the Ukrainian church sewing during the specified period and concerned a question of production the subjects of church sewing in convents.T. Kara-Vasylieva deepened and extended researches of her predecessors. Her fundamental monograph "Liturgical embroidery of Ukraine of the XVII–XVIII centuries. Iconography, typology, style" (1996) represented Baroque embroidery as an integral artistic phenomenon. Other important publications by T. Kara-Vasylieva are "Masterpieces of the church embroidery of Ukraine" (2000), part "Church embroidery of the XIV-XVIII century" in the edition of "History of Ukrainian embroidery" (2008).An important contribution to the study of church Baroque embroidery was made by researchers of the leading Ukrainian museums. In 1970–1980’s according with cultural and educational activities of museums some items of church embroidery were exhibited and published in the thematic art albums and guidebooks. Since the independence of Ukraine an ever-growing public interest in the national heritage caused new opportunities for studying Ukrainian church embroidery. K. Hereles, V. Shcherbakova – members of stuff of the National Kyiv-Pechersk Historical and Cultural Reserve, made several publications on its largest in Ukraine collection of embroidery. V. Zaichenko, scientific researcher of the Chernigiv Historical Museum named after V. V. Tarnovsky, made catalog of Museum’s "Golden embroidery" collection. Works by R. Kosiv dedicated to a subject of the National Andrey Sheptytsky Museum’s in Lviv embroidery collection, were notable by high standard of scientific research.Thus, review of historiography of Ukrainian church embroidery proves that the topic of Ukrainian XVII–XVIII centuries Baroque embroidery has repeatedly drawn the attention of art historians, scientific researchers and members of museum staff. At the same time we have insufficient information on the embroidered works from the collections of leading national museums. At the present time there is necessity of museum collections systematization and including into scientific circulation still unknown items of church embroidery.
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This article presents issues for creation the educational course on Kyiv architectural history. Lection-excursion is the main teaching method of the course as it helps to combine scientific and visual spheres to build the holistic approach. Lections-excursions must be created on the landscape-ensemble approach, as Andriivskyi descent excursion, presented in this article.Geographically Kyiv is an extremely compound city. The architecture is composed of specific landscapes and architectural complexes or ensembles. Education program for students should be based on the Kyiv architecture specific features.The Andriivskyi Descent – is one of the best-known places in Kyiv. A number of the Andriivskyi Descent’s archi-tectural sights and monuments are closely connected to the lives of prominent Kyiv citizens. In late 80s of the XX cen-tury, the Andriivskyi Descent underwent principal renovation in the architectural style of XIX century. Streetlights, stone-block pavement and house fronts has been completely reconstructed. Art studios, cafes, galleries and other places have been opened there. It is possible to say that the Andriivskyi Descent has become a typical open-air museum.St. Andrew’s Church and M. Bulgakov Museum (located at №13 on the Andriivskyi Descent) are conceptually-emotive centers of the tour down the Andriivskyi Descent.St. Andrew's Church, a monument of XVIII century, is the Baroque period architectural pearl of international importance. St. Andrew's Church is one of four Ukrainian attractions included into UNESCO list. The chronicles indicate that during the XI century, St. Andrew’s Monastery was situated here, instead of the church.Placing the church on the hill makes it dominant and noticeable from everywhere. According to the chronicles, St. Andrew the First Called (I century AD) has placed the cross here, blessed the earth around and predicted the building of the huge city with plenty of churches around. In XVIII century, the Empress Elizabeth stated her willingness to build a palace church here. St. Andrew's Church built during 1747 – 1762 and designed by the prominent architect F.-B. Rastrel-li was harmoniously blended into surrounding landscapes and became one of the architectural landmarks of the city. Not only authentic architectural shapes, but also sumptuous interior, being the gorgeous pattern of church interiors of the Baroque period remained unchanged. Elegant carving art works (iconostasis, altar canopy-rotonda, pulpit), gold-plated sculptures and oil paintings of the XVIII century, created on F.-B. Rastrelli’s sketches and drawings, are extant as holistic and undamaged ensemble.Small garden square of Ivan Kavaleridze’s sculptures and his workshop are located just below the St. Andrew's Church to the right of the street. On the opposite side of the street the house of 1840s, profitable merchant № 34, built in 1901 are attracting attention.The Memorial Museum of Mikhail Bulgakov is located at №13. Viktor Nekrasov has once identified it as Turbiny’s house. This is the place where events of the novel "The White Guard" and the play "Days of Turbiny" took place. M. Bulgakov’s portrait sculpture is placed on the right of the house.Majority of Kyiv residents identify the city with the Andriivskyi Descent. Here different times, events and out-standing Kyiv citizens’ fates meet. The history itself is breathing with gardens and hills.This tour can be finished on Kontraktova Square near the Samson fountain, reconstructed in 1982. The duration of the tour will vary from one to 2 academic hours. Duration of the tour depends whether sightseers are going to visit M. Bulgakov museum, climb up the Castle Hill, visit exhibition "Museum of One Street". Lecturer can vary content and duration of the tour depending on tastes of the audience and weather conditions. The Church of the Tithe, St. Andrew Church, Pokrovksa Church and M. Bulgakov Museum are the main objects of this lecture-tour.
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In the 1983 Code of Canon Law, Pope Saint John Paul II states that the Code is especially inspired by the Second Vatican Council constitution, that is, the Dogmatic Constitution Lumen Gentium and the Pastoral Constitution Gaudium et Spes. The second constitution does not have to be a source of inspiration to the formulation of legal norms. However, we can find there some support for future canonical regulations. This concerns, in particular, the extension of the idea of marriage which inspired the Code that defines, anew, the dissolution of marriage and clarifies the relations between the state and the Church on the basis of which the concordate law is developed in the post-Second Vatican Council times.
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Godine 2006. tečaj talijanskog jezika u talijanskom gradiću Foggia-i trajao je od 8. kolovoza do 1. rujna, a pohađao ga je potpisnik ovih redaka. U Italiju sam krenuo 6. kolovoza, autobusom do Splita, gdje sam se susreo sa svojim organizatorom tečaja fra Antom Radošem. On se vraćao iz Međugorja s grupom mladih iz Foggie. Od Splita svoj put sam nastavio u društvu hodočasnika. Išli smo preko Ancone i stigli u Foggiu 9. kolovoza. Bio je to moj prvi odlazak u Italiju i susret s talijanskim jezikom.
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Spis Karla Jaspersa Pitanje krivnje o političkoj odgovornosti objavljen je 1946. godine. U njemu je poznati filozof, nakon proživljenog rata u Njemačkoj, pokušao odgovoriti na tada ključno pitanje krivnje i odgovornosti njemačkog naroda za rat. Taj spis je nastao iz niza predavanja o duhovnoj situaciji u Njemačkoj održanoj u zimskom semestru 1945-1946. godine na Sveučilištu u Heidelbergu. Cijeli svijet optužuje Njemce i Njemačku. O njemačkoj krivnji govori se sa srdžbom, prezirom, užasom i mržnjom. Naravno da postoje podijeljena mišljenja. Postoji jedan dio ljudi koji priznaju svoju krivnju, a postoje i drugi koji sebe drže nevinim, okrivljujući druge.
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Kada me – kao što je danas slučaj - poput britvice oštra studen natjera u kuću, odakle kroz prozor promatram ples snježnih pahulja na vjetru i ples automobila na zaleđenoj cesti, preostaje mi samo prisjetiti se nekih toplijih trenutaka. U pamet mi odmah dođe sjećanje na proteklo ljeto, koje sam, zajedno s fra Jozom Šarčevićem i fra Robertom Sliškovićem, proveo u Firenzi, jednoj od europskih kulturnih i turističkih prijestolnica, smještenoj skoro u samom srcu apeninske čizme. Tamo smo, zajedno s brojnim studentima iz svih kutaka plavog planeta, pohađali tečaj talijanskog jezika. Mnogo toga korisnog i zanimljivog čovjek čuje i nauči od svih tih ljudi. “Glavni štab” u Firenzi nam je bio samostan San Salvatore al Monte, smješten tik do trga Piazza Michelangelo, na kojem smo često uživali u čarobnim zalascima sunca nad Firenzom i u najboljem sladoledu koji sam u životu jeo. Fratri su nas srdačno primili, a i mi smo se brzo uklopili. Svatko u samostanu je imao neko zaduženje, pa tako i mi. Osobito zanimljivo je bilo zajedničko pripremanje večere. Talijanska kuhinja je odlična, jedino nas je mučio oskudan doručak: keks i čaša mlijeka, to je za nas nespojivo s pojmom dobrog doručka. Osim kuhinje, svidio mi se i talijanski mentalitet. Talijani vole fi zički kontakt, grle se, cmakaju, tapšaju po leđima, vole puno priče, drame, osjećaja, galame, za razliku od, recimo, Nijemaca, koji su uglavnom hladniji, službeni, ozbiljni i dostojanstveni (Schopenhauer je rekao kako se “s Italijom može živjeti kao s ljubavnicom, danas u žestokoj svađi, sutra u obožavanju, a s Njemačkom kao s domaćicom, bez velike srdžbe i bez velike ljubavi.”).
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Na tečaju engleskog jezika na Malti posljednji je puta skupina naših bogoslova bila prij e petnaest ljeta. Ove se godine za to ponovo otvorila mogućnost, i to posve slučajno, a da upravo slučajni doživljaji često ostanu u najljepšem sjećanju, uvjerili smo se kolega fra Bruno Ćubela i ja nakon što smo ovogodišnji srpanj proveli na tečaju engleskoga u srcu Mediterana – na Malti.
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Lombardija je sjeverna provincija u Italiji s glavnim gradom Milanom. Ime je dobila po Langobardima, germanskom plemenu koje je 568. godine osvojio sjeverni dio Italije sa sjedištem u Paviji. Utjecaj germanske kulture nastavio se i dalje kroz povijest. Tako je Bečkim kongresom 1815. godine uspostavljeno Lombardsko-venetsko kraljevstvo kojim vlada dinastija Habsburg, koja je na ovome području bila prisutna i ranije od 1706. do 1797. Godine 1848. izbila je revolucija kojom je austrijska vlast protjerana iz Milana, a nedugo poslije i iz Venecije. Takvo stanje nije dugo trajalo pa se Austrija u Italiju vratila već slijedeće godine i ponovno stekla izgubljene prostore. Lombardija se konačno oslobodila Austrije tek 1859. godine, a Venecija 1866. godine pripojila Kraljevini Italiji.
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Akademska godina u mislima uvijek završi prije nego što je to propisano Statutima. Kako mi studenti moramo nekako isplanirati svoj ljetni raspust i prije nego ispiti završe, već si napravimo neku sliku o sebi u ljetnim mjesecima. Ove sam godine bio na proputovanju kroz svoju rodnu kosovsku grudu i susjednu joj sestrinsku albansku. S nestrpljenjem sam dočekao 31. srpnja, dan polaska prema jugu. Iako već više godina putujem na relaciji Sarajevo – Priština, Priština – Đakovica, ipak je ovaj put to putovanje bilo malo drugačije. Ono što nikako ne mogu prežaliti jest činjenica da autobus prema jugu uvijek putuje noću, tako da predjeli i pejzaži ostanu skriveni mome pogledu. Na svoje odredište, na autobusnu stanicu u Đakovici (Gjakovë) stigoh u popodnevnim satima gdje me je dočekala prijateljica, framašica Mimoza Raja. Skupa smo se uputili u franjevački samostan i svetište Svetog Ante gdje me je s nestrpljenjem dočekao fra Aleksandër Tanushi.
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Kaže se da nada u čovjeku zadnja umire. Ona je staza kroz sredinu, s dva različita pogleda, s pogledom na loše strane života i s pogledom na svjetliju budućnost. Nada je prekretnica između prošlosti i budućnosti, jer ona prošlost korigira, a budućnost planira. Ona dakle uključuje dvije strane: i onu lošu i onu dobru, jer da je sve dobro, ne bismo se trebali nadati, a da je sve loše, ne bismo se mogli nadati. Nada je trenutak sadašnjega vremena u kojem se pročišćava prošlost i otvara nova budućnost, suvremena budućnost. Zato svaku nadu prati radost, zbog korekcije onog negativnog u životu i zbog iščekivanja onog pozitivnog u budućem vremenu.
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Vareški je kraj Franjevačkoj provinciji Bosni Srebrenoj iznjedrio znamenite franjevce i svećenike. Najpoznatiji su fra Matija Divković (1564-1631), utemeljitelj književnosti na pučkom jeziku u BiH, fra Filip Lastrić (1700-1783), “otac” bosanskohercegovačke historiografije i fra Grgo Ilijić Varešanin (1736-1813), apostolski vikar od 1798. do 1813. godine. Ovom nizu se s pravom smije pridružiti fra Lujo Zloušić, također Varešanin, koji je živio i djelovao u prošlom 20. stoljeću. Nakon 120 godina od njegova rođenja sjećamo se lika i djela ovoga plemenitog i marljivog bosanskog fratra.
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Poznato je da je Luther vidio u papi Antikrista na djelu, koji, prema biblijskom svjedočanstvu, najavljuje predstojeći kraj svijeta. Drugim riječima, on je suprotnost Kristu. A budući da je Krist temelj Crkve, papa bi kao „Antikrist“ bio njezina propast. Papa bi tada bio prijetnja spasenju za ljude. Uvjerenje da je papa Antikrist u Lutherovo vrijeme nije, doduše, novo. Lik nejasno opisanog Antikrista u Pavlovoj Drugoj poslanici Solunjanima (2,1-12) od početka je davao krila mašti, pa su već u staro doba bile s njim identificirane promjenljive osobe – židovski Pseudomesija, Neron koji se vraća, car Friedrich II… Već u 13. i tada pojačano od 14. st. identificira se papinstvo, rimsku Crkvu i određene pape osobno s Antikristom. Povezanost je znakovita, jer papa ne odobrava i pobija radikalna shvaćanja kod franjevaca – i grupe „Fraticelli“ koja s njima simpatizira – o evanđeoskom siromaštvu, jer oni sa svoje strane papu smatraju Antikristom. Dakako, ovo se shvaćanje ne smije tako poopćiti kao da ga je dijelilo cijelo kršćanstvo.
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Natural form of transmission of the faith is the oral teaching. The sermons and homilies are its special form. Over the centuries, many materials have been published as homiletic. The recent form of homilies publication is YouTube. The search results for the word “homily” refers to about 253 000 materials, while the querry about “sermon” indicates 53 000 results on the Polish version of YouTube. In this study the author tries to answer the question: can the internet moveis be considerated as the contemporary homiliriums? The study, based on some examples, gives the answer: yes. The formal difference between the set sermon pub- lished as a book and obtained by On-line access is the a data carrier. It is worth to underline that the publication in audio-visual form has more important characteristics of a spoken homily than its printed version. Of course the On-line resources of the homilies have not only van- tages, but we shouldn’t fear to use them
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Repertuar kancjonałów benedyktynek z Opactwa św. Wojciecha w Staniątkach od lat skupia zainteresowanie badaczy — w szczególności muzykologów, ale także językoznawców, historyków liturgii. Klasztor ten, położony w okolicach Krakowa, jest najstarszym żeńskim klasztorem benedyktyńskim na ziemiach polskich. Zgodnie z tradycją został ufundowany w 1216 r. W artykule niniejszym zajmuję się charakterystyką repertuaru kancjonału „E” z 1705 r., z wykorzystaniem metod skomputeryzowanej analizy muzycznej. Starałem się zbadać, czy można podjąć próbę zbliżonego datowania repertuaru na podstawie skompu- teryzowanej analizy wybranych elementów kompozycji. Moim roboczym założeniem było przyjęcie, że kancjonał „E” ze Staniątek zawiera zasadniczo repertuar starszy, niż kancjonał „L 1642” z Sandomierza. Pierwszy z aspektów, jaki wziąłem pod uwagę, był sposób prowadzenia głosów. Okazało się, że brak bardzo wyraźnych różnic pomiędzy obydwoma źródłami rozpatrywanymi globalnie, choć zastanawiająca była większa ilość repetycji dźwięków w „L 1642”. Także analiza zawartości interwałów melodycznych głosu basowego raczej zbliżała kancjonał „E” do wcześniejszego repertuaru (m.in. Psalmów Mikołaja Gomółki). Tymczasem analiza interwałów harmonicznych zdawała się wskazywać raczej na rozbieżności pomiędzy kancjonałem „E” a twórczością Gomółki, sytuując kancjonał „L 1642” pośrodku. Próba przyjrzenia się zakresom głosów wokalnych okazała się mało konkluzywna. Od razu przypomnę, że wynika to z samej specyfiki repertuaru kopiowanego (a czasem tworzonego) dla klasztorów żeńskich. Kolejnym krokiem było zbadanie obecności kwint równoległych w opracowaniach. Okazało się, że w kancjonale „E” odsetek utworów całkowicie wolnych od równoległości jest nieco mniejszy, przy jednoczesnej ilościowej przewadze kwint równoległych w „L 1642”. W tym ostatnim kancjonale jest po prostu grupa utworów, w których jest nagromadzenie takich współbrzmień. Interesujące wnioski przyniosła analiza wartości rytmicznych. Okazało się, że kancjonał „L 1642” reprezentuje wyraźnie bardziej zachowawczy typ pod tym względem. Ostatnim wziętym pod uwagę aspektem, była struktura badanych utworów. Pod tym względem repertuar pieśni ze Staniątek [„E”] wydaje się bardziej różnorodny i — generalnie — ciekawszy.
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Pole badawcze przedstawionego artykułu obejmuje edukację religijną i estetyczną. Szeroka definicja malarstwa religijnego pozwala na odnalezienie wielu punktów stycznych między szkolną katechezą i wychowaniem plastycznym. Zasadniczy problem tekstu można wyrazić w pytaniu: Jakie obrazy są wykorzystywane we współczesnych materiałach do szkolnego nauczania religii na poziomie gimnazjalnym? Malarstwo religijne obecne jest w wielu szkolnych podręcznikach. W trzech analizowanych seriach najnowszych podręczników do gimnazjum z reguły sięgano po arcydzieła malarskie znanych mistrzów, choć autorzy i redaktorzy odwoływali się także do reprodukcji obrazów mniej znanych. Zdarzały się również odniesienia do obrazów o niewielkim znaczeniu estetycznym. Malarstwo religijne jest okazją do wizualizacji katechetycznych treści, do głębszej refleksji nad wiarą i odniesień do życia. Wykorzystanie obrazów religijnych w katechezie daje możliwość wychowania integralnego, także na płaszczyźnie intelektualnej, emocjonalnej, wolitywnej i działaniowej. W nowszych podręcznikach do nauczania religii katolickiej pojawia się pozytywny trend do coraz częstszego sięgania przez ich twórców do różnych dzieł malarskich. Wykorzystanie bogactwa, jakie niesie ze sobą całe dziedzictwo sztuki, wiąże się z okazją do korelacji oddziaływań nauczycieli religii i plastyki. Wzajemne poznawanie i pogłębianie treści zaprogramowanych na oba przedmioty może przynieść istotne korzyści w postaci większej wiedzy, rozwiniętych umiejętności i dojrzałych postaw samych uczniów.
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Krzysztof Zanussi w swoich filmach podejmuje od samego początku tematykę etyczną, często jednak z istotnymi odniesieniami do teologii. Jego najnowszy film, Obce ciało (2014), analiza sporu pomiędzy postawą wiary w Boga a ateizmem oraz między ponadnarodową korporacją, symbolizowaną przez Kris, a Angelo, człowieka wiernego swoim katolickim poglądom, jest w gruncie rzeczy opowieścią o nocy ciemnej, tak jak ją opisał św. Jan od Krzyża. Protagoniści doświadczają obecności bądź nieobecności Boga (Deus absconditus): Włoch Angelo, początkowo pewny swej wiary, przeżywa poważne wątpliwości, gdy jego bliska przyjaciółka Kasia postanawia wstąpić do klasztoru. Adam, walczący o życie ciężko chorego ojca, odrzucający obraz Boga niemiłosiernego, doświadcza nieoczekiwanej odpowiedzi: cud ratuje życie ojca. Filozoficzno-antropologiczny traktat Zanussiego, oparty na filozoficznych podstawach, odsłania nie tylko możliwe postawy głównych bohaterów wobec Boga, ale także sugeruje Jego działanie w ich życiu.
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Libraries are institutions whose purpose is not only to collect, develop and make accessible various materials. They are also institutions which are responsible for securing valuable collections which represent scholarly, historical or artistic merit. The object of the work has to do with the activities of the Theological Library of the University of Silesia, understood in this case as collecting books of clergymen in order to maintain national heritage for further generations.
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