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Wyświetlanie 1-11 z 11
Tytuł:
Postulaty religijne w wystąpieniach kozackich pierwszej połowy XVII wieku
The Religious Aspects of the Cossacks’ Uprisings in the First Half of 17th Century
Autorzy:
Drozdowski, Mariusz Robert
Powiązania:
https://bibliotekanauki.pl/articles/951733.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
the Cossacks
religion
the Orthodox Church
uprising
rebellion
Polish-Lithuanian Commonwealth
Opis:
This paper focuses mostly on the religious aspects of the Cossacks’ uprisings in the first half of 17th century (mainly the 1625, 1630, 1637 and 1638 uprisings), and discusses their impact on the origins, the course and following peace negotiations as well. The paper is based mostly on Cossack primary sources like manifestos, proclamations issued by the leaders, together with the directions which were to be followed during the peace talks, and the not Cossack sources as well. They prove how the religious aspects, namely the appeals to defend the persecuted orthodox confession, contributed to the character of the developments. Another question was, to what extent the religious engagement of the Cossacks uprisings at that time was caused by a sincere concern for the Orthodox Church situation, or perhaps there were other reasons, not having much in common with the faith. The analysis discusses also the Cossack delegates’ actions and policy on the Commonwealth Sejm in the years 1631–33, during which they firmly demanded restoration of the status the Orthodox Church had before 1596.
Źródło:
Poznańskie Studia Slawistyczne; 2016, 10; 85-98
2084-3011
Pojawia się w:
Poznańskie Studia Slawistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Chrześcijańska joga”? Słów kilka o modlitwie Jezusowej i hezychazmie
Autorzy:
Brzeziński, Bartłomiej
Powiązania:
https://bibliotekanauki.pl/articles/915712.pdf
Data publikacji:
2018-07-31
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
the Orthodox Church
the Jesus’ Prayer
the Prayer of the Heart
hesychasm
psychosomatic method
Michael Plekon.
Opis:
The article “«Christian yoga»? A few reflections on the Jesus’ Prayer and hesychasm” is a kind of commentary on the Polish translation of the article “Becoming what we pray...” by Michel Plekon that is presented in the same issue of periodical “Kultury Wschodniosłowiańskie — oblicza i dialog”. Author tried to remind the most important facts and figures connected with the history of the Jesus’ Prayer and hesychasm. Moreover, there are described controversies concerning the physical method that was used by some hesychasts during practice of the Jesus’ Prayer. Additionally, one can readabout the role of the heart in Orthodox theology and prayer tradition of Eastern Church. This role can not be overtaxed because from the point of view of Orthodox theology, the heart is the centre of human being, person. It is not only the physical organ, not only the area of emotions and affections but also the space of intelligence, thoughts and wisdom. But most of all, the heart is the place of mysterious meeting of God and man. In the secret hall of human heart a man can fell silent presence of Transcendence, can fellthe real epiphany of God who unceasingly waits for metamorphosis of human being’smentality, thinking, reason, activity, emotions, relations, who waits for transformation of the whole man.
Źródło:
Kultury Wschodniosłowiańskie – Oblicza i Dialog; 2017, 7; 241-252
2391-470X
Pojawia się w:
Kultury Wschodniosłowiańskie – Oblicza i Dialog
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wpływ ojców Kościoła na prawosławne pojęcie obrazu Bożego
The Influence of Church Fathers on the Orthodox Concept of the Image of God
Autorzy:
Kucy, Aleksy
Powiązania:
https://bibliotekanauki.pl/articles/607201.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
image of God
Christ
the orthodox patristic thought
hesychasm
Obraz Boży
Chrystus
prawosławna myśl patrystyczna
hezychazm
Opis:
The concept of the divine image in the patristic thought has a very rich tradition and a well-developed semantics. In an exegetic interpretation one can find both a broad treatment of this concept and a very narrow one, the objective one. In the strict sense of this word, the Divine Image, on the image of whom was created man, is Christ, the Incarnate Logos, who has fulfilled the eternal, divine intent towards man and towards the whole creation, which was the divinisation and the state when God will be all in all (1 Corinthians 15:28).
Źródło:
Poznańskie Studia Teologiczne; 2016, 30; 337-351
0209-3472
Pojawia się w:
Poznańskie Studia Teologiczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Modlitwy za Ukrainę i o pokój „w czas próby i rozdziału”
Prayers for Ukraine and Peace in the “Times of Tribulation and Division”
Autorzy:
Naumow, Aleksander
Powiązania:
https://bibliotekanauki.pl/articles/635425.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
liturgical prayers
war
peace
Moscow Patriarchate
Ukrainian Orthodox Church
Ukrainian Orthodox Church of the Kiev Patriarchate
Opis:
Based upon web-published materials, the article analyzes the eulogies composed in the Church Slavonic and Ukrainian languages, which have arisen following Kiev’s Maidan and its subsequent developments in the period December 2013 – December 2014. The texts under analysis come from Ukrainian Orthodox Church of the Moscow Patriarchate and from the Patriarchate of Moscow itself, from the Ukrainian Orthodox Church of the Kiev Patriarchate and some other texts. Initiatives from the laity are also taken in account (e.g. Ruslana Lyžyčko). The prayers under analysis show historical and political influences. In the Muscovite texts and in Patriarch Kirill’s statements, the attempt to impose the idea of a Russian Commonwealth (Russkij mir) is quite evident. This idea is based upon the unity and brotherhood of a people united by the christening of the Prince St. Vladimir. There are also charges brought against Greek Catholics and non-canonical Churches. The texts composed in Ukraine are either more decisively patriotic and anti-muscovite, with statements backing the European project (the Kiev Patriarchate Ukrainian Orthodox Church), or more religious in general terms, with a plea for fundamental Christian values and declarations of loyalty towards the State (the Moscow Patriarchate Ukrainian Orthodox Church).
Źródło:
Poznańskie Studia Slawistyczne; 2016, 10
2084-3011
Pojawia się w:
Poznańskie Studia Slawistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Słowo – obraz paradygmatyczny – ikona. O intersemiotyczności w słowiańskiej kulturze prawosławnego średniowiecza
Word – paradigmatical image – icon. About intersemiotics in Orthodox Slavonic culture of the Middle Ages
Autorzy:
Dziadul, Paweł
Powiązania:
https://bibliotekanauki.pl/articles/635891.pdf
Data publikacji:
2012
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
intersemiotics
Slavonic Orthodox literature
iconography
theology
East Christian aesthetics
the Middle Ages
Opis:
This  work  deals  with  the  problem  of  intersemiotics  in  Orthodox  Slavonic  culture  in  the Middle Ages. Attention here is focused on the source, essence and ontology of correspondence of the arts. Despite the fact that in the Middle Ages word and image (icons, frescos, miniatures of manuscripts) had completely different specificity of signs, they were connected with each other on a different level of perception. According to the Church Fathers (John of Damascus, Maximus the Confessor, Basil the Great) and East Christian mysticism (Pseudo Dionysius the Areopagite), the art of the written word and visual art had the same aim and function,  because  they  referred  to  eternal  and  spiritual reality  and  to  the  divine  archetype. The ontology of the word and icon was linked to the specific version of Pseudo-Dionysius’ symbolism. Moreover, this symbolism is connected with the term – “paradigmatical image”, functioning beyond text and iconography, in the iconosphere of the Orthodox Middle Ages. Paradigmatical image becomes a specific link between a word and an icon. Of course, paradigmatical images  were  created  on  the  basis  of  Biblical  (and/or  apocryphal)  and  Patristic Byzantine texts, although they started to function  regardless of their original context. This work presents the way paradigmatical images function in Orthodox iconography and literature (the Raising of Lazarus, the Last Judgement, the Trinity).
This  work  deals  with  the  problem  of  intersemiotics  in  Orthodox  Slavonic  culture  in  the Middle Ages. Attention here is focused on the source, essence and ontology of correspondence of the arts. Despite the fact that in the Middle Ages word and image (icons, frescos, miniatures of manuscripts) had completely different specificity of signs, they were connected with each other on a different level of perception. According to the Church Fathers (John of Damascus, Maximus the Confessor, Basil the Great) and East Christian mysticism (Pseudo Dionysius the Areopagite), the art of the written word and visual art had the same aim and function,  because  they  referred  to  eternal  and  spiritual reality  and  to  the  divine  archetype. The ontology of the word and icon was linked to the specific version of Pseudo-Dionysius’ symbolism. Moreover, this symbolism is connected with the term – “paradigmatical image”, functioning beyond text and iconography, in the iconosphere of the Orthodox Middle Ages. Paradigmatical image becomes a specific link between a word and an icon. Of course, paradigmatical images  were  created  on  the  basis  of  Biblical  (and/or  apocryphal)  and  Patristic Byzantine texts, although they started to function  regardless of their original context. This work presents the way paradigmatical images function in Orthodox iconography and literature (the Raising of Lazarus, the Last Judgement, the Trinity). 
Źródło:
Poznańskie Studia Slawistyczne; 2012, 2
2084-3011
Pojawia się w:
Poznańskie Studia Slawistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ruś – Ukraina, Białoruś w Pierwszej Rzeczypospolitej
Ruthenia – Ukraine, Belarus in the First Polish Republic
Autorzy:
Drozdowski, Mariusz R.
Powiązania:
https://bibliotekanauki.pl/articles/636185.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Orthodox
Uniate church
faith
theology
Ruthenian culture
The Zaporozhian Cossacks
languages
education
religious polemics
church art
Opis:
The reviewed book is the eleventh in the series devoted to the “Culture of the First Polish Republic in dialogue with Europe. Hermeneutics of values”. This series is the aftermath of an interesting research project, whose aim is both to comprehensively present the cultural relations of the Polish-Lithuanian Commonwealth with Europe, as well as to recognize the ways and forms of mutual communication of literary, aesthetic, political and religious values. In addition, it aims to present in a broad comparative context the structure of Early Modern culture of the Polish-Lithuanian Commonwealth. Apart from the introduction, the book contains the dissertations of 11 authors originating from various scientific centers in Poland and abroad (Toruń, Białystok, Vilnius, Venice, Padua, Cracow, Poznań, Rzeszów) and representing different research specialties: philology, history, and history of art. The general and primary goal of the text it is to analyze various aspects of the Ruthenian culture of the Polish-Lithuanian Commonwealth, both in its dynamic connection with the Polish-Latin culture and the processes occurring in Eastern European Orthodoxy after the fall of the Byzantine Empire and in connection with the strengthening of the Moscow state. The key issues developed in the volume relate essentially to: values of the Ruthenian culture, some of which coincide or are identical to those recognized by Western-Polish citizens of the Commonwealth, while depend on the centuries old tradition of Eastern-Christian culture.The articles focuses on the values displayed in the Orthodox and Uniate spheres and around the polemics between them, punching with axiological arguments. The most frequently and basic problems that were raised are: determinants of identity, faith (religion), language (languages), social status, origin; the policy of rulers, the problem of ecclesiastical jurisdiction; tradition and change in culture – biblical studies, patristics, liturgy, theology; printing, translations, education; apologetics and polemics, preaching, iconography; a renewal program for the clergy that was to become the vanguard of the renewal of the entire Eastern Church; Bazylian Uniate ( Greek- Catholic) clergy: the idea of cultural integration, education, translation and publishing.
Źródło:
Poznańskie Studia Slawistyczne; 2019, 16; 341-355
2084-3011
Pojawia się w:
Poznańskie Studia Slawistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Srpska pravoslavna crkva tokom 90-ih
The Serbian Orthodox Church in the 90s
Autorzy:
Radić, Radmila
Powiązania:
https://bibliotekanauki.pl/articles/951764.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Serbian Orthodox Church
Federal Republic of Yugoslavia
wars of the 90s
desecularization
Kosovo
episcopate
interchurches relations
Opis:
This paper is based on the earlier works of the author (incurred mainly on the analysis of the press of state and Church provenance), surveys of sociologists of religion, and findings of other researchers dealing with the issues of the Serbian Orthodox Church. Several characteristic points could be drawn that marked the history of the Church in the late 80s and throughout the 90s: the Church’s return from the margins and its more significant presence in society; accelerated process of desecularization; complicated relationship to authorities, ranged from the first closeness to the complete break and disappointment over unfulfilled expectations of the Church; refusal to admit the divisions and the creation of new states formed into the wars on 90s, which for the Church constituted acts of violent secession to detriment of the Serbian people; negative attitudes to the West, ecumenism, Vatican and interfaith dialogue; efforts to resolve the issue of schism within the Church; and growing internal contradictions in the episcopate. Entering unprepared for transition processes that led from one political system to another, followed by the wars and the collapse of the state, and movements into the Church, the Serbian Orthodox Church has tried to oscillate between maintenance of the traditional role of the national Church, and a gradual adjustment to the changes, in aim to avoid major consequences for ecclesiastical organization.
Źródło:
Poznańskie Studia Slawistyczne; 2016, 10; 257-268
2084-3011
Pojawia się w:
Poznańskie Studia Slawistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Angelina Branković – święta władczyni w hymnografii. Zarys problemu
Angelina Branković: the Holy Ruler in Hymnography. Outline of the Problem
Autorzy:
Gapska, Dominika
Powiązania:
https://bibliotekanauki.pl/articles/635816.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Serbian Orthodox Church
the Serbian hymnography
St. Angelina Branković
divinity of power
Serbian female saints
topos of a ruler
Opis:
The aim of this article is to present the idea of divinity of power on an example of the medieval service, dedicated to the Serbian despotess Angelina Branković. The image of a ruler and a concept of power presented in the text are based on the perception of Angelina as a participant and a heiress of the sacred tradition of Branković dynasty. The service has played an important role in the creation and strengthening of the ruler image in the spiritual culture of the Orthodox Serbs. In addition to strictly liturgical function, it also served as a way of transmission of the elementary set of national religious and political ideas. Hymnography dedicated to St. Angelina was a response to the social and religious needs to canonize the native saints who certify God’s care for Serbia in the period of slavery, strengthen the national spirit, contribute to stabilizing the situation in the country.  
Źródło:
Poznańskie Studia Slawistyczne; 2013, 5
2084-3011
Pojawia się w:
Poznańskie Studia Slawistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
L’argomentazione politica in Antirrēsis di Hipacy Pociej
The Political Argumentation in Hipacy Pociej’s Antirrēsis
Autorzy:
Nosilia, Viviana
Powiązania:
https://bibliotekanauki.pl/articles/635419.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Hipacy Pociej
Orthodox-Uniate polemics
Uniate Church in the 16th–17th centuries
art of argumentation
Polish-Lithuanian Commonwealth
interconfessional relationships
Opis:
The article investigates the interconfessional polemical literature as a valuable source offering an insight into the major values of the society of the Polish-Lithuanian Commonwealth in the 16th–17th centuries. These texts also help understanding phenomena other than the merely religious ones. In the debate, juridical and political arguments were used too. We focus on the case study of Hipacy Pociej’s Antirrēsis (Ruthenian: 1599; Polish: 1600), written in response to Marcin Broniewski’s Apokrisis (1597). Pociej, who had an outstanding political career before becoming a Uniate bishop, mastered these arguments perfectly. His work is imbued with the mentality of the communitas nobilium, which also played a part in his lexical choices.
Źródło:
Poznańskie Studia Slawistyczne; 2016, 10
2084-3011
Pojawia się w:
Poznańskie Studia Slawistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Paralela Emmanuel–lew i jej znaczenie w programie malarskim serbskich ikonostasów
The Emmanuel-Lion Parallel and its Importance in the Painting Scheme of Serbian Iconostases
Autorzy:
Gronek, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/2046616.pdf
Data publikacji:
2021-11-27
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
The Unsleeping Eye
lion symbolism
Orthodox painting
Serbian art
18th century
Czuwający Emmanuel
symbolika lwa
malarstwo prawosławne
serbska sztuka
XVIII wiek
Opis:
Jedną z wyjątkowych cech programów malarskich nowożytnych serbskich ikonostasów jest obecność w nich tematu Czuwającego Emmanuela, ilustrującego intelektualną paralelę Emanuel - lew. Ideowym źródłem tego obrazu są teksty biblijne i ich interpretacje Orygenesa, Cyryla Aleksandryjskiego, Teodora z Cirrhus, Epifaniusza z Salaminy oraz anonimowego autora Fizjologusa, greckiego bestiariusza z II-IV wieku. Ikona ta znajduje się w samym środku ikonostasu, najczęściej bezpośrednio nad wrotami królewskimi. W niniejszym artykule podjęto próbę odczytania treści tego przedstawienia. Studia ikonograficzne, ikonologiczne, porównawcze oraz analiza treści tekstów biblijnych i inskrypcji na ikonach doprowadziły do przekonania, że obraz Czuwającego Emmanuela w tym miejscu ikonostasu pełni przede wszystkim funkcje apotropaiczne, tj. opiekuńcze i ochronne. Przestrzeń świątynna podzielona jest na dwie części: sanktuarium i nawę, co oznacza symboliczny podział na świat widzialny i niewidzialny, ziemski i niebiański, cielesny i duchowy. Ikonostas stanowi granicę między tymi dwiema sferami, a królewskie wrota je łączą. Przejścia strzeże obraz "Czuwającego Emmanuela”. Choć w wieku XVIII w serbskim malarstwie cerkiewnym nastąpiły radykalne zmiany formalne, a tradycyjne wzorce zostały zastąpione przez nowe, zachodniego pochodzenia, to oryginalne treści apotropaiczne pozostały.    
One of the unique features in the schemes of painting of modern Serbian iconostasis is the icon of The Unsleeping Eye, illustrating the intellectual parallel of Emanuel–lion. The ideological source for this image is biblical texts and their interpretations by Origen, Cyril, patriarch of Alexandria, Theodore of Cirrhus, Epiphanius, bishop of Salamis, and the explanation of role of the lion in Physiologos, Greek bestiary from 2nd–4th century. This icon is located in the very center of the screen, most often directly above the royal gates. This article attempts to read the sense of this presentation. Iconographic, iconological, comparative studies, and analysis of the content of biblical texts and inscriptions on icons led to the belief that the image of The Unsleeping Eye in this place of iconostasis primarily performs apotropaic functions. The Christian church is divided into two parts, sanctuary and nave, which means symbolic division into a visible and invisible world, earthly and heavenly, bodily and spiritual. The iconostasis is the border between these two spheres, and royal doors connect them. The passage is guarded by image The Unsleeping Eye. Although in the 18th century there were radical formal changes in Serbian Orthodox painting, and traditional patterns were replaced by new Western origins, their eschatological and apotropaic senses were remained.
Źródło:
Poznańskie Studia Slawistyczne; 2021, 21; 209-225
2084-3011
Pojawia się w:
Poznańskie Studia Slawistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Symbolika barw w „sakralnym” kinie Kantemira Bałagowa
The symbolism of colors in the ‘sacred’ cinema of Kantemir Balagov
Autorzy:
Machaj, Justyna
Powiązania:
https://bibliotekanauki.pl/articles/2135401.pdf
Data publikacji:
2021-12-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Kantemir Balagov
Closeness
Beanpole
contemporary Russian cinema
feminism
Orthodox iconography
color in film
Alexander Sokurov
Svetlana Alexievich
The Unwomanly Face of War
Kantemir Bałagow
Bliskość
Wysoka dziewczyna
współczesne kino rosyjskie
feminizm
ikonografia prawosławna
kolor w filmie
Aleksander Sokurow
Swietlana Aleksijewicz
Wojna nie ma w sobie nic z kobiety
Opis:
Celem pracy jest analiza twórczości filmowej rosyjskiego reżysera i scenarzysty Kantemira Bałagowa. Na podstawie dwóch pełnometrażowych produkcji – Bliskości (2017) oraz Wysokiej dziewczyny (2019) zwrócono uwagę na formalny aspekt wymienionych filmów, rolę feminizacji narracji historycznej, a także złożoną sieć inspiracji (kinowe klasyki i rosyjska literatura). Istotnym dla twórczości Bałagowa jest kontekst społeczno-polityczny Rosji, który służy omawianemu twórcy jako narzędzie rewizji narodowych mitów. Uzupełnieniem rozległego portretu reżysera jest charakterystyka twórczości Aleksandra Sokurowa, wprowadzająca istotny dla badań aspekt prawosławnego ikonopisarstwa. Autorka wskazuje, że kluczy interpretacyjnych dla twórczości Sokurowa i Bałagowa należy poszukać właśnie w symbolice prawosławnych ikon. Ambicją niniejszej pracy jest poszerzenie aktualnego stanu badań nad filmografią Kantemira Bałagowa, który obecnie ogranicza się do premierowych recenzji oraz festiwalowych wywiadów.
The aim of the work is to analyse the artistic legacy of the Russian director and screenwriter Kantemir Balagov. Attention was drawn to the formal aspect, the role of feminisation of historical narration, and the complex network of inspirations (cinema classics and Russian literature) on the basis of two full-length productions – Closeness (2017) and Beanpole (2019). The social and political context of Russia is important for the Balagov’s work, which serves the artist in question as a tool for revising national myths. The extensive portrait of the director is complemented by the characteristics of Alexander Sokurov's work, which introduces an aspect of Orthodox iconocratic writing that is important for research. The author of this work indicates that the interpretation keys for Sokurov's and Balagov's films should be sought directly in the symbolism of Orthodox icons. This work therefore aspires to expand the present state of research on Kantemir Balagov's filmography, which is currently limited to premiere reviews and festival interviews.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2021, 30, 39; 217-236
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-11 z 11

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