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    Tytuł:
    Metaphor As Knowledge. A Hermeneutical Framework for Biblical Exegesis with a Sample Reading from the Song of Songs (Song 8:10)
    Autorzy:
    Verde, Danilo
    Powiązania:
    https://bibliotekanauki.pl/articles/1053601.pdf
    Data publikacji:
    2016-01-29
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    Metaphor
    Metaphorology
    Cognitive Linguistics
    Song of Songs.
    Opis:
    The main purpose of this article is to provide biblical scholarship with a broad hermeneutical framework concerning the cognitive dimension of metaphorical phenomena. According to current research, metaphor is a tool of knowledge, a way through which the human mind conceptualizes reality. Despite the fact that Cognitive Linguistics (CL) is generally credited with bringing the cognitive dimension of metaphor to light, the discovery of this dimension is by no means recent. This article will show that it already appeared in Aristotle’s work, was blurred in Classical Rhetoric by a more aesthetic perspective, reappeared at the very beginning of the modern age, and finally became dominant in the 20th century. CL is therefore the result of a long tradition that has the merit of clarifying the cognitive mechanisms of metaphorical processes. Its theoretical and methodological model currently represents the reference point for studies on daily and literary metaphors, shedding new light on biblical metaphors. This article shows how CL can be beneficial for biblical exegesis by analysing Song 8:10 in light of this approach.
    Źródło:
    The Biblical Annals; 2016, 6, 1; 45-72
    2083-2222
    2451-2168
    Pojawia się w:
    The Biblical Annals
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Czy Oblubienica rzeczywiście „znalazła pokój”? Dylematy translacyjne Pnp 8,10b
    Did the Bride Really „Find Peace”? Translation Problems in Song 8:10b
    Autorzy:
    Bardski, Krzysztof
    Powiązania:
    https://bibliotekanauki.pl/articles/1621493.pdf
    Data publikacji:
    2016-12-01
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    Pieśń nad Pieśniami
    tłumaczenie
    pokój
    szczęście
    Pnp 8:10
    Song of Songs
    translation
    peace
    happiness
    Song 8:10
    Opis:
    W sposób dosłowny tekst Pnp 8,10 powinien zostać przetłumaczony: „I stałam się w jego oczach jako ta, która znajduje pokój”. Główne problemy translatorskie i interpretacyjne dotyczą idiomatycznego wyrażenia hebrajskiego: „znaleźć łaskę w czyichś oczach” oraz znaczenia hebrajskiego terminu shalom. Artykuł analizuje różne sugestie translatorskie w Biblii wydanej w języku angielskim, portugalskim, francuskim, niemieckim i polskim oraz prezentuje własną propozycję: „znalazłam szczęście w jego oczach”.
    From a purely literal standpoint, Song 8:10 is properly translated as: „I became in his eyes as one finding peace”. However, the main problems of translation and interpretation here have to do with the similarity between the Hebrew idiomatic formula „to find favor in someones eyes” and the meaning of the Hebrew word „shalom”. We analyze different suggestions for translation of the passage as found in published Bibles in English, Portuguese, French, German and Polish. Finally, we present our own proposal for a truer rendering: „I found happiness in his eyes”.
    Źródło:
    Verbum Vitae; 2016, 30; 43-51
    1644-8561
    2451-280X
    Pojawia się w:
    Verbum Vitae
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Pieśń nad Pieśniami w interpretacji Aponiusza
    Song of Songs in the Aponius interpretation
    Autorzy:
    Strękowski, Stanisław
    Powiązania:
    https://bibliotekanauki.pl/articles/612266.pdf
    Data publikacji:
    2012
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    Aponiusz
    Pieśń nad Pieśniami
    Aponius
    Song of Songs
    Opis:
    This article is the first attempt in Polish to present the main features of Aponius interpretation of the Song of Songs. For he was one of many authors who commented this book of the Old Testament, the content of which has always been a problem of interpretation. In ancient Christian times there were two exegetical currents: the literal and allegorical. Aponius falls within this second trend but brings individual and original exegesis off. In love of the bridegroom and the bride seems to see the symbol of love of the divine nature to human nature in the mystery of the Incarnation of the Son of God. By Aponius God himself comes through the Incarnation of the Word of the Father for his vineyard, which is the people of Israel, and through the precious seedlings originating from it and by the apostles, is revealed to the whole world, and through the seed of faith sown in individual peoples, creates a separate vineyards and offers the bride to the lavish use of the specific, unique fruits of welfare, to a shared joy in the vineyards.
    Źródło:
    Vox Patrum; 2012, 57; 601-612
    0860-9411
    2719-3586
    Pojawia się w:
    Vox Patrum
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Recepcja wczesnochrześcijańskich motywów eucharystycznych w pieśni "Dziękujemy Ci, Ojcze nasz"
    Reception of the Early Christian Eucharistic Motifs in the Song "Dziękujemy Ci, Ojcze nasz (We thank Thee, our Father)"
    Autorzy:
    Garnczarski, Stanisław
    Powiązania:
    https://bibliotekanauki.pl/articles/43554793.pdf
    Data publikacji:
    2023
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    Didache
    pieśń
    eucharystia
    Kazimierz Pasionek
    dziękczynienie
    song
    Eucharist
    thanksgiving
    Opis:
    Pieśń zatytułowana Dziękujemy Ci, Ojcze nasz swoje źródło tekstowe ma w starożytnym dokumencie z pierwszych wieków, zatytułowanym Didache tu Kyriu dia ton dodeka apostolon tois ethnesin. Dokument posiada charakter instrukcji kościelnych, podnoszących różnorodną tematykę oraz ujmujących ją w formę poleceń i wskazówek w kwestiach moralnych, prawnych, ascetycznych i liturgicznych. W naszych badaniach skupiliśmy uwagę na trzech punktach w Didache (9-10 i 14), w których zawarto opis sprawowania Eucharystii. Jest tam mowa o dziękczynieniu składanym Bogu za Eucharystię, życie, wiarę i życie wieczne oraz prośba za wspólnotę Kościoła oraz pomoc Bożą w drodze do zjednoczenia z Bogiem na wieki. Tekst i melodia badanej pieśni zostały napisane przez ks. Kazimierza Pasionka w latach 60. minionego stulecia. Dokładna data nie jest znana. Na pewno stało się to przed rokiem 1968, gdyż w tym roku w czasie uroczystej Mszy św. z okazji jubileuszu 25-lecia kapłaństwa biskupa Jerzego Ablewicza połączone chóry - klerycki i katedralny - pod kierunkiem samego kompozytora wykonały po Komunii św. Modlitwę Eucharystyczną wg tekstu Didache. Podobnie jak starożytny dokument Didache jest świadectwem pobożności eucharystycznej w pierwszych wiekach chrześcijaństwa, tak pieśń Dziękujemy Ci, Ojcze nasz jest świadectwem pobożności eucharystycznej współcześnie w Kościele w Polsce.
    The song entitled Dziękujemy Ci Ojcze nasz (We thank Thee, our Father) has its textual origin in an ancient document from the first centuries, entitled Didache tu Kyriu dia ton dodeka apostolon tois ethnesin. The document has the character of church instructions, raising various topics and presenting them in the form of commands and guidelines in moral, legal, ascetic and liturgical matters. In our research, we focused our attention on three points in the Didache (9-10 and 14), which describe the celebration of the Eucharist. It’s about thanksgiving to God for the Eucharist, life, faith and eternal life, and a request for the community of the Church and God’s help on the way to unity with God for eternity. The text and melody of the analyzed song were written by Fr. Kazimierz Pasionek in the 1960s. The exact date is unknown. Certainly, it happened before 1968, because that year during the solemn Holy Mass on the occasion of the 25th anniversary of the priesthood of Bishop Jerzy Ablewicz, the combined choirs - clerical and cathedral – performed under the direction of the composer himself after Holy Communion Eucharistic Prayer according to the text of the Didache. Just as the ancient document Didache is a testimony to Eucharistic piety in the first centuries of Christianity, the song Dziękujemy Ci Ojcze nasz is a testimony to Eucharistic piety in the Church in Poland today.
    Źródło:
    Vox Patrum; 2023, 87; 115-134
    0860-9411
    2719-3586
    Pojawia się w:
    Vox Patrum
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    L’esegesi di Cant 1,5-6 e il tema dell’epektasis in Gregorio di Nissa, con specifico riferimento al ruolo della grazia e del libero arbitrio
    The Exegesis of Ct 1:5-6 and the Theme of Epektasis in Gregory of Nyssa, with Specific Reference to the Role of Grace and Free Will
    Autorzy:
    Marone, Paola
    Powiązania:
    https://bibliotekanauki.pl/articles/43547305.pdf
    Data publikacji:
    2023
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    Gregory of Nyssa
    Homilies
    Exegesis
    Homilies on the Song of Songs
    Epektasis
    Opis:
    Come giustamente ha rilevato Moreschini (Gregorio di Nissa, Omelie sul Cantico dei Cantici, a cura di C. Moreschini, Roma 1996, Intr. p. 9), tutto il complesso delle Homiliae in Canticum Canticorum di Gregorio «è costruito sullo schema dell’epektasis» e non è esagerato affermare che «esse vogliono rappresentare una serie di esperienze successive dell’anima la quale, dopo avere avuto un contatto, sia pure parziale, con lo sposo divino, approfondisce sempre di più il suo rapporto spirituale con lui». Ma soprattutto a proposito dell'esegesi di Cant. 1, 5-6 (Sono nera e bella, o figlie di Gerusalemme, come le tende di Kedar, come le pelli di Salomone. Non guardatemi perché sono stata fatta nera, se il sole mi guardò di traverso...) l’epéktasis è inserita in un contesto di ampio respiro e assume un significato compiuto in una prospettiva soteriologica. Dunque, con il nostro intervento, si vuole portare l’attenzione specificatamente sulle Homiliae 2 e 4 che sono dedicate all’interpretazione di Cant. 1, 5-6 e si vogliono mettere a fuoco le varie argomentazioni con le quali il Nisseno, ormai alla fine della vita, attribuì il progresso spirituale dell’anima all’azione salvifica di Dio, in linea con quanto aveva sostenuto molti anni prima nel De virginitate 12,2 («non è opera nostra… divenire simili alla Divinità, ma è il risultato della munificenza di Dio, che fin dalla sua prima origine ha fatto grazia della somiglianza con Lui alla nostra natura»).
    As Moreschini rightly pointed out (Gregorio di Nissa, Omelie sul Cantico dei Cantici, a cura di C. Moreschini, Roma 1996, Intr. p. 9), Gregory of Nyssa’s Homilies on the Song of Songs «sono costruite sullo schema dell’epektasis», and it is no exaggeration to say that «esse vogliono rappresentare una serie di esperienze successive dell’anima la quale, dopo avere avuto un contatto, sia pure parziale, con lo sposo divino, approfondisce sempre di più il suo rapporto spirituale con lui». But above all about the exegesis of Ct. 1: 5-6 (I am dark, but lovely, You daughters of Jerusalem, Like Kedar’s tents, Like Solomon’s curtains. Don’t stare at me because I am dark, Because the sun has scorched me…) the epektasis is placed in a wide-ranging context and takes on a new meaning in a soteriological perspective. Hence the purpose of the present study is to analyze specifically the Homilies 2 and 4, concerning the exegesis of Ct. 1: 5-6, and to focus on all the theological topics (the gratuity of grace, the free acceptance of the gift of grace) with which Nyssen, now at the end of life, attributed the spiritual progress of the soul to the saving action of God, in accordance with what he had claimed, many years earlier, in De virginitate 12 («In fact this likeness to the divine is not our work at all…; it is the great gift of God bestowed upon our nature at the very moment of our birth»).
    Źródło:
    Vox Patrum; 2023, 85; 55-72
    0860-9411
    2719-3586
    Pojawia się w:
    Vox Patrum
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Instrumenty muzyczne w Księdze Amosa
    Musical Instruments in the Book of Amos
    Autorzy:
    Kubies, Grzegorz
    Powiązania:
    https://bibliotekanauki.pl/articles/1051430.pdf
    Data publikacji:
    2015-11-23
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    Old Testament
    Book of Amos
    music
    song
    musical instruments
    horn
    lyre
    king David
    Opis:
    References to music are common elements of prophetic literature, especiallyin the Books of the Major Prophets (Isaiah, Jeremiah and Ezekiel), indirectly indicating writers’ interests in that form of art. There are five musical terms mentioned in the Book of Amos: šôpär - horn (Am 2,2; 3,6), qînäh - lamentation, dirge (Am 5,1; 8,10), nëbel - probably lyre (Am 5,23; 6,5), šîr - song (Am 5,23; 6,5; 8,3.10) and Külê-šîr - instruments of song, string instruments (Am 6,5). The purpose of the article is to interpret the musical motifs excluding two related to singing in the biblical and archeomusicological contexts. Am 5,23 and 6,5 can be linked with real musical performance practices in sacred and secular environments in ancient Israel/Palestine. Am 2,2 confirms how important part in the Near East played signal aerophones, whereas Am 3,6 reflects characteristic aspects of Amos’s vocational narrative. The figure of Kind David in Am 6,5 is analyzed in the context of the origin of musical instruments. The comparative materials for Am 2,2; 3,6; 5,23 and 6,5 are mainly the prophetic Books.
    Źródło:
    The Biblical Annals; 2015, 5, 1; 81-94
    2083-2222
    2451-2168
    Pojawia się w:
    The Biblical Annals
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Oblubieniec widziany oczami oblubienicy w Pieśni nad Pieśniami
    Autorzy:
    Drawnel, Henryk
    Powiązania:
    https://bibliotekanauki.pl/articles/1053372.pdf
    Data publikacji:
    2017-05-30
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    Stary Testament
    księgi mądrościowe
    Pieśń nad Pieśniami
    miłość
    stworzenie
    Old Testament
    Wisdom books
    Song of Songs
    love
    creation
    Opis:
    The Canticle seen in its literal, non-alegorical or spiritual, sense recounts the story of a profound love relationship between an anonymous man and an anonymous woman. Their mutual love is expressed by the two fundamental terms dôdîm and ’ahăbāh that are mainly used by the bride, hence the feminist approach to the text. These two terms on the lips of the bride do not refer exclusively to the erotic aspect of love, but, to the contrary, implicate an involvement of the whole person of both the bride and bridegroom. The concept of love rises quite often from the sensual description of the body to the transforming experience of love the purpose of which is to create a full and exclusive communion with the beloved. Thus the experience of love in the Canticle utterances formulated by the bride should be inscribed within the context of the creation account (Gen 2) that stresses the communion between man and woman. Love in the Canticle should also be analyzed in the context of aesthetic categories characteristic to poetic compositions that tend to positively transform the object of love by using the language of metaphor and symbol.
    Źródło:
    The Biblical Annals; 2008, 55, 1; 17-29
    2083-2222
    2451-2168
    Pojawia się w:
    The Biblical Annals
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Nowe ujęcia translatoryczne w przekładach Księgi Koheleta i Pieśni nad Pieśniami w Biblii Ekumenicznej
    New Options in the Translation of Qohelet and Song of Songs in the Polish Ecumenical Bible
    Autorzy:
    Bardski, Krzysztof
    Powiązania:
    https://bibliotekanauki.pl/articles/1051504.pdf
    Data publikacji:
    2015-11-14
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    Biblia ekumeniczna
    polskie tłumaczenia Biblii
    Księga Koheleta
    Pieśń nad Pieśniami
    Ecumenical Bible
    Bible translations in Polish
    Qohelet
    Song of Songs
    Opis:
    The article presents the new ecumenical polish translation of the Scripture and focuses on its original aspects. The author of the article translated the books of Qohelet and Song of Songs in the Ecumenical Bible. The main newness in the book of Qohelet was a translation of the motto of the book. The traditional “vanity of vanities” was interpreted according to the Hebrew etymology connected with wind and vapor, using at the same time an adjectival form. Literally it could be expressed in English: “evanescent, how evanescent – says Qohelet – everything is so evanescent”. Another newness is the interpretation of the Hebrew re’ut ruach as “similar to the wind” based on the interpretation of the word re’ut in connection with the verbal root resh-ayin-hei. Also we propose, on the base of some semantic and intertextual analyses, a new interpretation of the passage considered misogynic of Qoh 7,27-28: “Behold, I have discovered this, says Qohelet, comparing one women with another to find an explanation. I am not able to understand even the one whom I love with all my heart. I am able to understand one man among a thousand, but I am not able to understand any woman among all these”. In the translation of the Song of Songs, instead of the traditional marginal notes “bride” and “bridegroom” introducing the speeches of different characters, we choose simply “she” and “he”.
    Źródło:
    The Biblical Annals; 2014, 4, 2; 451-459
    2083-2222
    2451-2168
    Pojawia się w:
    The Biblical Annals
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    El Espíritu Santo en su índole trinitaria y esponsal según Guillermo de Saint Thierry
    The Holy Spirit in Its Trinitary and Espousal Nature according to St-Thierry
    Autorzy:
    Reyes-Gacitúa, Eva
    Powiązania:
    https://bibliotekanauki.pl/articles/1044112.pdf
    Data publikacji:
    2020-06-26
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    Trójca
    mąż
    żona
    Oblubieniec
    Unitas Spiritus
    Pieśń nad pieśniami
    Trinity
    Song of Songs
    husband
    wife
    Bridegroom
    Unitas spiritus
    Beloved
    Opis:
    In his writings, the theologian and mysticist William of St-Thierry (early 12th century) elaborates a pneumatological conception centering around espousal dynamism. From this place, the author’s main formulations are reflected in the work Expositio super Cantica canticorum: First, William of St-Thierry understood love as a primacy of the Spirit; second, he elucidated the progress of beauty as the source of every good, referring to lovers’ reciprocity; and finally, he speaks of the union of the two lovers which brings them into only one Spirit. From these axes, we intend to understand and analyze Unitas spiritus, as an economic event in the life of a believer, from which our author articulates that the Holy Spirit makes possible the unity of Father God and Son, as well as that of God and mankind.
    Teolog i mistyk Wilhelm z Saint-Thierry rozwinął trynitarną myśl pneumatologiczną, której osią jest dynamizm oblubieńczy. To właśnie na nim autor oparł główne założenia w dziele Expositio super Cantica cantorum: pierwsze z nich to postawienie w centrum jego zainteresowania miłości jako pierwociny Ducha; drugie to przyjęcie rozwoju piękna za źródło wszelkiego dobra w odniesieniu do wzajemności zakochanych, trzecie zaś to złączenie obojga w jednego Ducha. Opierając się na wspomnianych założeniach, podejmiemy próbę zrozumienia i analizy Unitas Spiritus jako wydarzenia ekonomicznego w życiu osoby wierzącej, dzięki któremu autor zakłada, że Duch Święty umożliwia zarówno zjednoczenie Boga Ojca z Synem, jak i Boga z ludzkością.
    Źródło:
    Verbum Vitae; 2020, 37, 1; 201-213
    1644-8561
    2451-280X
    Pojawia się w:
    Verbum Vitae
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Rendering Trauma Beneficial… for Whom? Gregory of Nyssa’s Homily 12 on the Song of Songs
    Autorzy:
    Dasios, Maria
    Powiązania:
    https://bibliotekanauki.pl/articles/43665602.pdf
    Data publikacji:
    2024
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    Gregory of Nyssa
    Galatians
    Song of Songs
    reception
    exegesis
    allegory
    trauma
    wounds
    blows
    violence
    benefit
    instruction
    healing
    late antiquity
    legacy
    Christian
    Opis:
    Gregory’s Homily 12 on the Song of Songs offers one opportunity to trace the legacies of the compelling claim, in Galatians 6:17, that Paul bears “the marks of Christ” on his body. Gregory appeals to this verse to aid his exegesis of Song 5:7 (a violent passage he calls “repellant in its plain sense”) and develop his claims that “the wound”, after all, is “an admirable thing”. My paper probes social and ethical dimensions of this exegetical and cultural conceptual lineage. It surveys wounds and marks in Homily 12; suggests how other works by Gregory support “striking and wounding” as enacting spiritual healing (ἴασιν); considers contexts for violence in the name of guardianship and instruction in late antiquity; and closes by considering violence enacted in the name of Christianization and “civilization” in Canada’s residential schools. This study embeds Gregory’s treatment of Gal 6:17 in a larger attempt to raise critical questions about the persistence of benevolent understandings of trauma and violence across diverse Christian exegetical contexts and the harms such understandings may perpetuate.
    Źródło:
    Vox Patrum; 2024, 90; 85-106
    0860-9411
    2719-3586
    Pojawia się w:
    Vox Patrum
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Jan Chryzostom objaśnia "Hymn o miłości" [1Kor 13] (In I Epistolam ad Corinthios hom. 33-34)
    John Chrysostom Explains “The Song of Love” (1Cor 13) (In Epistolam ad Corinthios hom. 33-34)
    Autorzy:
    Iluk, Jan
    Powiązania:
    https://bibliotekanauki.pl/articles/612718.pdf
    Data publikacji:
    2008
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    Jan Chryzostom
    Hymn o miłości
    Drugi list do Koryntian
    św. Paweł
    komentarz
    miłość
    John Chrysostom
    The Song of Love
    The Second Letter to the Corintians
    St Paul
    commentary
    love
    Opis:
    In 1CorHom, edited in the autumn and winter of 392 and 393 AD, John Chrysostom found a natural opportunity to return to his numerous utterances on the role of love in the lives of people. Obviously, the opportunity was the 13“ chapter of this Letter - The Song of Love. Among his works, we will find a few more smali works which were created with the intention of outlining the Christian ideał of love. Many of the contemporary monographs which were devoted to the ancient understanding of Christian „love” have the phrase „Eros and Agape” in their titles. In contemporary languages, this arrangement extends between sex and love. Both in the times of the Church Fathers (the 4th century AD) and currently, the distance between sex and love is measured by feelings, States and actions which are morę or less refined and noble. The awareness of the existence of many stops over this distance leads to the conviction that our lives are a search for the road to Agape. As many people are looking not so much for a shortcut but for a shorter route, John Chrysostom, like other Church Fathers, declared: the shortest route, because it is the most appropriate for this aim, is to live according to the Christian virtues that have been accumulated by the Christian politeia. There are to be found the fewest torments and disenchantments, although there are sacrifices. Evangelical politeia, the chosen and those who have been brought there will find love) - as a State of existence. In the earthly dimension, however, love appears as a causative force only in the circle of the Christian politeia. Obviously, just as in the heavenly politeia, the Christian politeia on earth is an open circle for everyone. As Chrysostom’s listeners and readers were not only Christians (in the multi-cultural East of the Roman Empire), and as the background of the principles presented in the homilies was the everyday life and customs of the Romans of the time, the ideał - dyam] - was placed by him in the context of diverse imperfections in the rangę and form of the feelings exhibited, which up to this day we still also cali love. It is true that love has morę than one name. By introducing the motif of love - into deliberations on the subject of the Christian politeia, John Chrysostom finds and indicates to the faithful the central force that shaped the ancient Church. This motif fills in the vision of the Heavenly Kingdom, explains to Christians the sense of life that is appropriate to them in the Roman community and explains the principles of organised life within the boundaries of the Church. It can come as no surprise that the result of such a narrative was Chrysostonfs conviction that love is „rationed”: Jews, pagans, Hellenes and heretics were deprived of it. In Chrysostonfs imagination, the Christian politeia has an earthly and a heavenly dimension. In the heavenly politeia, also called by him Chrisfs, the Lord’s or the
    Źródło:
    Vox Patrum; 2008, 52, 1; 291-315
    0860-9411
    2719-3586
    Pojawia się w:
    Vox Patrum
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Wierzchowce i sala tronowa Salomona oraz gwiazdozbiór Panny według Pieśni nad Pieśniami
    Solomon’s Riding Horses, Throne Hall, and Virgo Constellation according to the Song of Songs
    Autorzy:
    Lipiński, Edward
    Powiązania:
    https://bibliotekanauki.pl/articles/1053558.pdf
    Data publikacji:
    2015-11-04
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    Stary Testament
    Pieśń nad Pieśniami
    interpretacja
    terminologia
    Akiba
    Apadana
    Dura-Europos
    stela
    Ezechiel Tragik
    gwiazdozbiór Panny
    sala tronowa
    Salomon
    wierzchowce
    Old Testament
    Song of Songs
    interpretation
    terminology
    stele
    Ezekiel the Poet
    Virgo Constellation
    throne Hall
    Solomon
    riding horses
    Opis:
    The Qumran fragments of the Song of Songs witness some versions of the poem which are older than the textus receptus. They also show that independent songs have been combined into one composition. Thus Cant. 3, 6-8, missing in 4QCantb, was a description of Solomon's guards on riding horses or camels, for mttw is the suffixed plural of the Arabic and Aramaic noun matiya, designating a riding animal. This passage has been joined to the following poem, starting in Cant. 3, 9 with a description of king's apadana, a colonnaded hall or palace. Its fi rst word, borrowed from Old Persian, has indeed been misspelled as 'prywn. Another poem, missing in 4QCanta, corresponds to Cant. 4, 8 - 5, 1. It is written entirely in Aramaic in 4QCantb and the Hebrew textus receptus still preserves traces of its original language. The Aramaic poem refers to the zodiacal constellation Virgo, called Kalla in Aramaic and requested to show the New Moon of Elul above the Lebanon range: 't mn lbnwn 'b'y, 'Let the sign enter from Lebanon'. The Song of Songs in its fi nal shape, characterized by its dramatic features and love lyrics, was accepted as Scripture because of its presumed Solomonic authorship, and it was highly valuated by Akiba, as its contents was appearing to him as a qds h-qdsym, a play word meaning 'the sanctification of betrothals'.
    Źródło:
    The Biblical Annals; 2011, 1, 1; 87-101
    2083-2222
    2451-2168
    Pojawia się w:
    The Biblical Annals
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Uporządkujcie we mnie miłość” (Pnp 2, 4, LXX) w egzegezie wybranych autorów wschodu i zachodu
    “You set charity in order in me” (Song 2:4, LXX) in the exegesis of selected authors of the east and west
    Autorzy:
    Nocoń, Arkadiusz
    Powiązania:
    https://bibliotekanauki.pl/articles/612891.pdf
    Data publikacji:
    2017
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    Pieśń nad Pieśniami
    porządek miłości (ordo caritatis)
    Orygenes
    Grzegorz z Nyssy
    Teodoret z Cyru
    Augustyn
    Jan Kasjan
    Apponiusz
    Song of Songs
    the order of charity (ordo caritatis)
    Origen
    Gregory of Nyssa
    Theodoret of Cyrus
    Augustine of Hippo
    John Cassian
    Apponius
    Opis:
    “You set charity in order in me” (Song 2:4, LXX) is one of the most fundamental biblical texts for the concept of the ordo caritatis. The Author seeks to examine how this text was read in the East and West, analysing the commentary of three Greek authors (Origen, Gregory of Nyssa and Theodoret of Cyrus), and three Latin authors (Augustine of Hippo, John Cassian and Apponius). There commentaries, he notes, agree with one another for the most part, and refer more or less to Origen’s exegesis of this verse. However, some differences can be noted. The Eastern Fathers, for example, hold that, in the order of charity, the criterion of merit is more important than the criterion of blood relationship; that is to say, the greater love is to be shown to those who have been born in Christ (cf. 1Cor 4:15) over those born of the flesh. Only the Eastern Fathers explore what the ordo caritatis means also in relation to one’s enemies. The Western Fathers, for their part, tend to underline the moral aspect of the ordo caritatis, insofar as upholding that order is virtue, while infringing it is sin. In this regard, a casuistic approach can occur in their commentary more frequently than in those of the Eastern Fathers. The novelty of the commentaries of the Western Fathers is also found in their reflection on the ordo caritatis within the Holy Trinity, as well as the manner in which they expand the embrace of this order to other categories of people: friends, fellow citizens, strangers. Some of the Western Fathers (Apponius) apply the ordo caritatis not only to people but also to works of mercy, while others (Augustine) bring out the aesthetic element in the ordo caritatis, noting that the effect of order of any kind, including the order of charity, is beauty.
    Źródło:
    Vox Patrum; 2017, 67; 477-497
    0860-9411
    2719-3586
    Pojawia się w:
    Vox Patrum
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    O kategoriach biblijnych w poemacie Karola Wojtyły „Pieśń o blasku wody”
    On biblical categories in Karol Wojtyła’s poem “The song of the brightness of water”
    Autorzy:
    Hawryluk, Dorota
    Powiązania:
    https://bibliotekanauki.pl/articles/1179525.pdf
    Data publikacji:
    2017
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    Wojtyła
    kategorie biblijne
    Samarytanka
    pieśń duszy
    filozofia poezji
    antropologia literatury
    Biblia
    poemat religijny
    poetycka medytacja
    Wojtyla
    the biblical categories
    the Samaritan
    the song of soul
    the philosophy of poetry
    the anthropology of literature
    Bible, the religious poem
    the poetic meditation
    Opis:
    Powstały w 1950 roku utwór Karola Wojtyły pt. „Pieśń o blasku wody” jest poetycką medytacją prezentującą całkowitą spójność z logiką przesłania biblijnego. Zdaje się o tym świadczyć nie tylko dosłownie przywołany na początku utworu fragment z ewangelii św. Jana, który został poddany wnikliwej poetyckiej refleksji, ale także podjęty przez autora oryginalny sposób literackiego przetworzenia problematyki kategorii biblijnych, stanowiących rzeczywistą osnowę całego utworu. W przyjętej przez Karola Wojtyłę optyce interpretacyjnej mowa jest zasadniczo o dwóch biblijnych kategoriach: pragnieniu i widzeniu. Przeprowadzona analiza problematyki tych kategorii została ukazana w konfrontacji z dokonującym się na płaszczyźnie ducha procesem dojrzewania człowieka do podjęcia życiodajnego dialogu z Bogiem, czego przejawem może być chociażby zaintonowana przez główną bohaterkę utworu pieśń uwielbienia, stanowiąca jedno z najbardziej twórczych dopowiedzeń Karola Wojtyły do przekazu ewangelicznego. Jego autorskie pochylenie się nad problemem postrzegania przez człowieka własnej tożsamości może stanowić wybitną dokumentację dążenia do rekonstrukcji obecnej w tym utworze koncepcji człowieka. W jej świetle człowiek jawi się jako dzieło pochodzące z rąk Boga, powołane do życia w miłości na Boży obraz i Boże podobieństwo (por. Rdz 1, 27). Z tej fundamentalnej prawdy wynika zaznaczona wyraźnie w poemacie kwestia wszczepionych przez Stwórcę w ludzkim wnętrzu możliwości uzdalniających każdego człowieka do podjęcia drogi uczestnictwa w tajemnicach Bożej Mądrości (por. Mdr 6, 1-25) i osiągnięcia życia w całej swojej pełni. W tym kontekście niezwykle interesujący wydaje się być poetycki opis Karola Wojtyły przemiany dokonującej się we wnętrzu głównej bohaterki. Oto pod wpływem okazanej przez Syna Bożego zbawczej afirmacji, kobieta z Samarii zyskuje swoją nową tożsamość i odkrywa nowy typ Boskiej asystencji w ludzkim życiu, polegający na całkowitym zaangażowaniu Boga w cierpienia ludzkości. Dzięki temu może ona z ufnością otworzyć się na przyjęcie darowanej jej przez Chrystusa łaski wydźwignięcia ze stanu znalezienia się poza rzeczywistym obrębem miłości i doświadczyć duchowego uwolnienia ze skutków głębokiego zranienia swojej duszy. Wysoce oryginalne w ukazanej wizji może być to, że dar swojej nowej samoświadomości Samarytanka otrzyma przy studni w Sychem, która z perspektywy samego Zbawiciela może przypominać o nieustannym zachowywaniu przez Niego Źródła Swojej Synowskiej Tożsamości. W ten sposób prezentowana dotąd antropologia, już tak ściśle powiązana z teologią, staje się jakby nieodłączna od chrystologii, a utwór Karola Wojtyły jeszcze bardziej zaznacza swój chrystocentryczny i chrystoformiczny charakter.
    “The Song of the Brightness of Water”, a piece by Karol Wojtyła created in 1950, is a poetic meditation in complete agreement with the logic of the biblical message. This seems to be demonstrated not only by the directly quoted fragment from the Gospel according to John at the beginning of the poem, which was subjected to in-depth poetic reflection, but also by the original literary transposition of the subject-matter of the biblical categories, which create the ambience of the entire poem. The focus of the interpretation adopted by Karol Wojtyła is on two biblical categories: longing and perception. The analysis of these categories was contrasted with the spiritual process of an individual’s becoming mature enough to enter into a life-giving dialogue with God, which can be observed, for instance, in the song of adoration sung by the protagonist of pain, constituting one of the most-creative extensions of the Gospel’s message by Wojtyła. His focus on the individual’s perception of his/her identity can serve as brilliant evidence of the attempt to reconstruct the concept of the human being present in the poem. In the light of this concept the human is a work of God, created to live in love, and in the likeness and image of God (cf. Gen 1, 27). This fundamental truth is the source of the issue clearly depicted in the poem of the possibility embedded by the Creator in each human being, enabling him/her to participate in the mysteries of God’s Wisdom (cf. Wisdom 6, 1-25) and living life to its fullest. In this context Karol Wojtyła’s poetic description of the main protagonist’s transformation is extremely fascinating. Under the influence of the saving affirmation of the Son of God, the woman from Samaria gains a new identity and discovers a new type of God’s assistance in human life, i.e. His complete involvement in human suffering. Thanks to this, she is able to fully accept the grace given by Christ to enable her to rise above the state of being separated from experiencing love and being released from the consequences of the deep wounding of her soul. The highly original aspect of this vision is that the Samaritan receives the gift of a new self-awareness at the well in Shechem, which from the perspective of the Saviour Himself can symbolise His incessant preservation of the Source of His Filial Identity. In this way the anthropology presented so far, strictly connected with theology, becomes inseparable from Christology, emphasising the Christocentric and Christoformic nature of this poem by Karol Wojtyła.
    Źródło:
    Zeszyty Naukowe KUL; 2017, 60, 2; 351-372
    0044-4405
    2543-9715
    Pojawia się w:
    Zeszyty Naukowe KUL
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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