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    Wyświetlanie 1-8 z 8
    Tytuł:
    Miłosierdzie Boże jako źródło radości i szczęścia
    Autorzy:
    Machniak, Jan
    Powiązania:
    https://bibliotekanauki.pl/articles/669607.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Papieski Jana Pawła II w Krakowie
    Tematy:
    Mystery of God, Divine Mercy, Merciful Jesus, Holy Trinity, Saint Faustina Kowalska, joy, happiness, mystical union, psycho-spiritual health
    Opis:
    Joy is an important factor in human life. It is indispensable in giving a positive sense to human existence, in enlivening everyday life; it is also important in the process of man’s self-improvement. It exerts a big influence on one’s somatic and psycho-spiritual health and that is why one may refer to it as a healing element. It is a strength which removes inter-human barriers which unites and creates a community. It is based on friendship and love. Thanks to joy, man finds it easier to forgive others and is able to love his neighbor.The source of Christian joy is Jesus himself, who is revealing God Father. The mystical experience of St. Sister Faustina, described in her Diary is conferring the possibility of truth joy coming out from the experience of God in the contemporary world.
    Źródło:
    Analecta Cracoviensia; 2013, 45
    2391-6842
    0209-0864
    Pojawia się w:
    Analecta Cracoviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Miłosierdzie Boże jako źródło inspiracji twórczej
    Autorzy:
    Michałek, Krzysztof
    Powiązania:
    https://bibliotekanauki.pl/articles/668955.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Papieski Jana Pawła II w Krakowie
    Tematy:
    Divine Mercy
    Magnificat
    Gregorian chant
    Saint Faustina
    Johann Rudolph Ahle
    Durante
    Wolfgang Amadeus Mozart
    Henryk Jan Botor
    Wojciech Widłak
    Wojciech Kilar
    the Magnificat
    St. Faustina
    Opis:
    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.
    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.
    Źródło:
    Pro Musica Sacra; 2013, 11
    2083-4039
    Pojawia się w:
    Pro Musica Sacra
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Miłość większa niż śmierć w doświadczeniu mistycznym św. siostry Faustyny
    Love Greater than Death in St. Faustina’s Mistical Experience
    Autorzy:
    Chmura, M. Nulla
    Powiązania:
    https://bibliotekanauki.pl/articles/571144.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Papieski Jana Pawła II w Krakowie
    Tematy:
    św. siostra Faustyna
    Miłosierdzie Boże
    zawierzenie
    ufność
    śmierć
    saint sister Faustina
    Divine mercy
    entrustment
    trust
    death
    Opis:
    Obchody 80-lecia śmierci św. siostry Faustyny Kowalskiej, polskiej świętej, inspirują do pochylenia się nad jej duchową spuścizną, jaką pozostawiła w Dzienniczku, pisanym przez ostatnie cztery lata swego życia. Jawi się nam jako apostołka Bożego miłosierdzia, inspiratorka ruchu apostołów Bożego miłosierdzia, obejmującego wszystkie kontynenty, mistyczka i mistrzyni życia duchowego. Jej doświadczenie Boga miłosierdzia daje nowe spojrzenie także na człowieka w kontekście jego umierania, śmierci i wieczności. Siostra Faustyna pozostaje ciągle wiarygodnym świadkiem, a zarazem niedościgłym wzorem zawierzenia Bogu, który nieustannie pochyla się nad człowiekiem. Jej Dzienniczek to dobra szkoła uwielbienia Boga w jego miłosierdziu i przygotowania się do spotkania z Nim w godzinie śmierci.
    Celebration of the 80th anniversary of the death of saint sister Faustina Kowalska, the Polish saint, inspire us to take a closer look at her spiritual heritage she left in the Diary, written during the last four years of her life. She appears to us as an apostle of the Divine mercy, as the inspirer of the movement of the apostles of Divine mercy, embracing all continents, as the mystic and the master of spiritual life. Her experience of God of mercy gives a new look also to a man in the context of his dying, death and eternity. Sister Faustina is still a reliable witness, and at the same time an unattainable model of entrusting to God, who constantly bends over a man. Her Diary appears as a good school of praising God in His mercy and preparing to meet Him at the hour of death.
    Źródło:
    Polonia Sacra; 2018, 22, 3(52); 29-57
    1428-5673
    Pojawia się w:
    Polonia Sacra
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Znaczenie miłosierdzia w powołaniu kapłana
    Meaning of mercy in the vocation of a priest
    Autorzy:
    Bernyś, Mariusz
    Powiązania:
    https://bibliotekanauki.pl/articles/503355.pdf
    Data publikacji:
    2015
    Wydawca:
    Wyższe Seminarium Duchowne w Łodzi
    Tematy:
    św. Faustyna Kowalska
    pojęcie miłosierdzia Bożego
    orędzie miłosierdzia dla kapłanów
    formacja kapłańska
    saint Faustina Kowalska
    the term “Divine Mercy”
    message of mercy for priests
    priestly formation
    Opis:
    The author of the article refers to the notion of the Divine Mercy as understood by sister Faustina Kowalska. Due to the fact that there is a problem with defining the term of the Divine Mercy, at the beginning of the article the author attempts to interpret the message to priests included in the “Diary” by saint Faustina. Then he presents his own experience with his priestly service to patients in the Central Clinical Hospital of the Medical University in Warsaw. The third part of the article is a theological analysis of the term “Divine Mercy” in the “Diary” by saint Faustina.
    Źródło:
    Łódzkie Studia Teologiczne; 2015, 24, 4; 7-25
    1231-1634
    Pojawia się w:
    Łódzkie Studia Teologiczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Encyklika „Dives in misericordia” w kontekście „Dzienniczka” św. Faustyny Kowalskiej
    Encyclical Letter “Dives in misericordia” in the context of the “Diary” by saint Faustina Kowalska
    Autorzy:
    Jodko, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/502442.pdf
    Data publikacji:
    2015
    Wydawca:
    Wyższe Seminarium Duchowne w Łodzi
    Tematy:
    św. Faustyna Kowalska
    Jan Paweł II
    Encyklika Dives in misericordia
    Dzienniczek siostry Faustyny
    obrazy miłosierdzia Bożego
    saint Faustina Kowalska
    John Paul II
    encyclical letter “Dives in misericordia”
    “Diary” by sister Faustina
    images of the Divine Mercy
    Opis:
    The author expresses his deep conviction that the “Diary” by saint Faustina Kowalska was a sui generis inspiration for John Paul II when he tackled the subject of the Divine Mercy in his encyclical letter “Dives in misericordia”. In this article the author attempts to move backwards and find in “Diary” the context for papal statements.
    Źródło:
    Łódzkie Studia Teologiczne; 2015, 24, 4; 35-42
    1231-1634
    Pojawia się w:
    Łódzkie Studia Teologiczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Miłosierne oblicze Boga w znaku obrazu Jezu, ufam Tobie!
    Autorzy:
    Chmura, Nulla
    Powiązania:
    https://bibliotekanauki.pl/articles/503389.pdf
    Data publikacji:
    2015
    Wydawca:
    Wyższe Seminarium Duchowne w Łodzi
    Tematy:
    św. Faustyna Kowalska
    obraz „Jezu, ufam Tobie!”
    oblicze Boga
    miłosierne oblicze Boga
    saint Faustina Kowalska
    picture “Jesus I trust in you”
    the face of God
    merciful face of God
    Opis:
    The Gospel of John says: “No one has ever seen God, but the one and only Son, who is him-self God and is in closest relationship with the Father, has made him known” (J 1, 18). In the scene where Philip asks Jesus: “Lord, show us the Father and that will be enough for us”. Jesus answers: “Don’t you know me, Philip, even after I have been among you such a long time? Anyone who has seen me has seen the Father” (J 14, 8–9). The subject of this article Merciful face of God in the sign of the picture “Jesus, I trust in you” refers to those words “Anyone who has seen me has seen the Father”. Looking at the image of the merciful Christ we have unusual experience. Faustina says that it represents the Incarnated Word of God, which took a human body with its limitations. The picture which was painted according to Jesus’ directions has its “limitations”. But still it is the icon of God who is rich in mercy
    Źródło:
    Łódzkie Studia Teologiczne; 2015, 24, 4; 27-33
    1231-1634
    Pojawia się w:
    Łódzkie Studia Teologiczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Błogosławiony ks. Michał Sopoćko. Kapłan o miłosiernym obliczu
    Blessed father Michał Sopoćko. A priest with a merciful face
    Autorzy:
    Wiśniewski, Sebastian
    Powiązania:
    https://bibliotekanauki.pl/articles/502728.pdf
    Data publikacji:
    2015
    Wydawca:
    Wyższe Seminarium Duchowne w Łodzi
    Tematy:
    ks. Michał Sopoćko (1888–1975)
    krzewiciel Bożego miłosierdzia
    pastoralne horyzonty miłosierdzia
    spowiednik św. Faustyny
    fr. Michał Sopoćko (1888–1975)
    propagator of the Divine Mercy
    pastoral mercy
    horizons
    saint Faustina’s confessor
    Opis:
    This article is an attempt of a holistic outlook on blessed father Michał Sopoćko. Looking in this way we can easily see in him a passion to speak and teach about the endless Divine Mercy. Firstly and mainly we discover in him a priest with model zeal, as it flows out of his personal convictions and surrendering to the Divine Mercy. The whole life of blessed Michał has three main motifs: the first one was the experience of the Divine Mercy (active in sacraments) and of human mercy (particularly in his youth and seminarian life). The second motif was demonstrating mercy in concrete actions addressed towards relatives, the faithful in his care (parishioners, soldiers, seminary students and religious sisters) and towards particular groups (youth, national minorities). The third motif which joined the two previous ones and activated them was his personal devotion to the Divine Mercy. Thanks to such deep prayer life and its consistency, conscientious research of the truth of the Divine Mercy in the Bible, liturgy, tradition and Church magisterium he was filled with genuine mercy.
    Źródło:
    Łódzkie Studia Teologiczne; 2015, 24, 4; 111-121
    1231-1634
    Pojawia się w:
    Łódzkie Studia Teologiczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Pojęcie miłosierdzia w „Dzienniczku” św. Faustyny Kowalskiej (część I)
    The concept of mercy in the “Diary” by saint Faustina Kowalska (part I)
    Autorzy:
    Rutkowska, Izabela
    Powiązania:
    https://bibliotekanauki.pl/articles/502981.pdf
    Data publikacji:
    2015
    Wydawca:
    Wyższe Seminarium Duchowne w Łodzi
    Tematy:
    leksem „miłosierdzie” w Dzienniczku św. Faustyny
    obraz miłosierdzia
    wysławianie miłosierdzia Bożego
    transgresje semantyczne
    tekst religijny
    tekst mistyczny
    lexeme “mercy” in the “Diary” by saint Faustina
    image of mercy
    worshipping the Divine Mercy
    semantic transgressions
    religious text
    mystical texts
    Opis:
    All the contexts of the usage of the lexeme “mercy” in the “Diary” by saint Faustina give it a new semantic field and they stretch the term “mercy” onto all types of God’s activity – from the creation of the world to the salvation of mankind. It shows that the author anticipated the intuitions of the Second Vatican Council and contemporary research on this Christian notion, which has not been fully presented and understood yet. For theologians many phrases can be clear evidence that the massage of this text must have come from the revelation, for example such expressions as “depths of tenderness”, “the bosom of the Father”. For a theologian and biblical scholar it is a clear reference to Hebrew rahamīm, about which Faustina could not know. The expression “the bosom of the Father” is rarely used in religious texts even mystical ones. The image of mercy and attitudes one can adopt in relation to it point out mainly to one notion – worshipping the Divine Mercy. This image is proven by the research of key words – they focus on the priority of worshipping over other attitudes, even over the attitude of trust which is so often mentioned. Semantic transgressions can be noticed in the texts – shifts of the meaning, which are a particular characteristic of mystical writings. In this research those shifts refer to a semantic field of a lexeme “worship”. They also show that phrases describing a relationship of “mercy” “man – man” where included to a semantic field describing the relationship “man – God” and they mainly refer to the semantic scope of a lexeme “mercy”. The “Diary” clearly breaks with a common dictionary-based negative image of a situation of humiliating inequality which could be generated by showing mercy. According to Faustina’s text lowering of God to man and, similarly, of man to another man is aimed at making those people and their positions equal, entering into deep mutual participation and experiencing the same situation. Thus, showing mercy does not create a chasm between the giver and recipient but it annuls it. Such a wide semantic field exceeds a stereotypical (or prototypical) Christian image of mercy, which is mostly limited to a model of the merciful Samaritan or the father of a prodigal son, of Caritas foundation or religious orders which help the sick and the poor. According to the “Diary” every God’s activity demonstrates mercy, every action of Jesus as presented in the gospels, every healing, every meeting with people (with Nicodemus, Mary Magdalene, with a young man from Nain), a selection of disciples and the sermon on the mountain. We should include there a description of the creation of the world, events with the Babel tower and the flood. However if we made a survey and presented three images: of Christmas, of the Samaritan leaning over a dying man on the way from Jericho and the scene of Resurrection and if we asked which picture illustrated the Divine Mercy, people would most often point out the second image. For Faustina, however, there is no greater manifestation of mercy than the incarnation and resurrection. The issue of sacraments is treated in a similar way. The “Diary” points out that one should not look for the elements of mercy in the Eucharist but that the whole Eucharist should be interpreted as a gift of the Divine Mercy. It cannot be said, for example, that confession is more the image of mercy that baptism, confirmation or Eucharist. Undoubtedly, it can be perceived in this way due to existing stereotypes. This research, though it seems vast, is only an introduction to a more detailed analysis (hence a note at the title – part 1)
    Źródło:
    Łódzkie Studia Teologiczne; 2015, 24, 4; 71-89
    1231-1634
    Pojawia się w:
    Łódzkie Studia Teologiczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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