Wszystkie pola: symbolism, - Katalog OPAC zbiorów

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Tytuł:: Cтановлення інституту демократичної громадянськості в Україні з урахуванням впливу символічної складової
Kształtowanie się instytucji obywatelskości demokratycznej na Ukrainie z uwzględnieniem wymiaru symbolicznego
Autorzy:: Ярошенко, Віра
Powiązania:: https://bibliotekanauki.pl/articles/489341.pdf
Data publikacji:: 2015
Wydawca:: Polskie Towarzystwo Naukowe w Żytomierzu
Tematy:: civic consciousness,
symbol,
reality,
archetypical,
symbolism,
stereotypes,
identity
Opis:: The conceptual structure of the institute of democratic civic consciousness with the effect of symbolic component influence on the process of formation of the Institute for Democratic Citizenship is determined in this work. In this investigation are used the institutional approach for the understanding of civic consciousness as a political institution and determination of the conceptual framework of the components of citizenship through its social purpose as part of the community which is a bearer of identity as the source of personality and ability to organize themselves in a political context. With the help of the psychological approach the essence of the functioning of the institute of civic consciousness is considered, where an important role is played by symbolic component. The analysis of the survey on the impact of political symbols on the mood of students of the Southern region of Ukraine which were conducted by the author in December 2014 is provided. The influence of internal and external challenges of the Ukrainian society of the end of 2013th and beginning of 2015th on the formation of a collective citizenship i.e. civic consciousness as a political practice is investigated. The study has scientific and practical value and the purpose of determining the strategy of the national policy of political socialization of citizens, taking into account the effect of unifying influence of the state national symbols and national language.
Źródło:: Studia Politologica Ucraino-Polona; 2015, 5; 122-132
2312-8933
Pojawia się w:: Studia Politologica Ucraino-Polona
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Стихотворение Николая Гумилева «Неслышный, мелкий падал дождь…»: мотив двойничества и постижение природы зла
Autorzy:: Чевтаев, Аркадий
Powiązania:: https://bibliotekanauki.pl/articles/2034792.pdf
Data publikacji:: 2021-12-23
Wydawca:: Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:: Н. Гумилев, двойничество
дихотомия добра и зла
лирический герой
лирический нарратив
символизм
Nikolai Gumilyov
the double
dichotomy of good and evil
lyrical subject
lyrical narrative
symbolism
Opis:: В статье рассматривается поэтика малоизвестного стихотворения Н. Гумилева «Неслышный, мелкий падал дождь…» (1907) в аспекте становления мотива двойничества как ключевого параметра гумилевского художественного мира. В основе данного поэтиче- ского текста находится нарративная репрезентация встречи лирического героя с персонажем- убийцей, предстающим в качестве двойнической ипостаси субъектного «я». Анализ стихот- ворения показывает, что ценностное узнавание страдальческого бытия демонического пришельца оказывается актом постижения онтологической природы зла, которое в созна- нии лирического героя обретает статус равновесной добру бытийной константы. Формули- руется вывод о том, что познание инфернальной стороны универсума посредством актуали- зации мотива двойничества в гумилевском творчестве мыслится необходимым процессом обретения духовного опыта, синтезирующего «светлые» (положительные) и «темные» (от- рицательные) аспекта бытия. Соответственно, представленное в данном тексте соприкос- новение лирического «я» с преступно-демоническим двойником демонстрирует принципы формирования окказиональной мифопоэтики Н. Гумилева, основанной на конвергенции онтологических антиномий.
The article discusses the poetics of a little-known poem, “Neslyshnyi, melkyi padal dozhd’…” [‘It was quiet and drizzling…’] (1907), in terms of the formation of the motif of the double as a key parameter of Nikolai Gumilyov’s artistic world. This text was not published during the poet’s lifetime and is known from an autograph in a letter to Valery Bryusov. Gumilyov’s refraining from publishing this poem could have had various causes, but the author of the paper attributes it to two factors. The first one is that it would have been difficult to embed this text in the conceptual logic of the cross-cutting “plots” of either Romanticheskiye tsvety [‘Romantic Flowers’] (1908) or Zhemchuga [‘Pearls’] (1910), i. e. poetic books the creation of which is chronologically close to the time of writing this poem. The second is the fact that “Neslyshnyi, melkyi padal dozhd’…” explicitly affirms the demonic principle in the human “self ” as an axiological constant, explicating the adherence to the “diabolical” poetics of early Russian symbolism, which Gumilyov had been trying to creatively rethink since 1907. However, despite the author’s neglect, the poem merits close attention, since it shows fundamentally important aspects of Gumilyov’s artistic conception. This poetic text is based on a narrative representation of the meeting between the lyrical subject and the character of a killer, who appears as his double, an alter ego of “the self ”. The analysis of the poem shows that recognizing the value of the painful existence of the demonic stranger is an act of comprehending the ontological nature of evil, which in the consciousness of the lyrical “I” acquires the status of something equivalent to the good of the existential constant. In the structure of this text the motif of the double, which goes back to the poetic practice of the romanticism and of the Russian symbolism, is realised on the story-plot level by dividing the human soul into two hypostases, the “light” and the “dark” one, the meeting of which becomes for the lyrical subject an initiation into the essence of another world. The author formulates the conclusion that getting to know the infernal side of the universe, here through the actualisation of the motif of the double, was in Gumilyov’s writing conceived as a necessary process of gaining spiritual experience that would synthesise the “light” (positive) and the “dark” (negative) aspects of being. Accordingly, the lyrical “I”’s encounter with his criminal- -demonic double presented in the discussed poem reveals the principles of formation of Gumilyov’s occasional mythopoetics based on the convergence of ontological antinomies.
Źródło:: Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2021, 14; 81-95
1427-9681
2353-4834
Pojawia się w:: Acta Universitatis Lodziensis. Folia Litteraria Rossica
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Я. П. Полонский как предшественник русского символизма: поэтика лирического цикла ("Сны" Полонского и "Жизнь моего приятеля" Блока)
Yakov Polonsky as a Predecessor of the Russian Symbolism: the Poetics of the Lyrical Cycle (Polonsky’s "Dreams" and „The Life of my Friend” by Blok)
Autorzy:: Федосеева, Татьяна
Powiązania:: https://bibliotekanauki.pl/articles/651191.pdf
Data publikacji:: 2019
Wydawca:: Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:: лирический цикл
Я. П. Полонский
«младосимволисты»
А. А. Блок
человек и общество
апокалиптический сюжет
lyrical cycle
Yakov Polonsky
young symbolists
Aleksandr Blok
man and the society
an apocalyptic plot
Opis:: The creative heritage of Yakov Polonsky foreruns the Russian modernism on the whole and symbolism in particular in terms of both the worldview and the features of poetics. Vladimir Solovyov explained this connection by pointing to the romantic vein in the personality of the poet and to his striving for the ideal. Polonsky was the forerunner of the Russian symbolism in that he affirmed the ideal in the forms of real life. The convergence between his work and the programme of the young symbolists consisted in the absolute reliance on the image as a “symbol of the religious reality” (Aram Asoyan). The lyrical cycles by Polonsky and Blok that are discussed show a dramatic disunity of a community of people who have lost spiritual values of life. The result of this loss is suffering and death (the motive of Retribution). The moment of the highest tension in the development of the lyric plot in Polonsky’s work is the loneliness of the protagonist in the absolute darkness and emptiness of a lifeless space of a mystery. Blok shows the loneliness of his protagonist in the antithesis between the motionless “perfect order” of an ordinary life and the spontaneous movement of reminiscences, of anticipation and of thoughts, all born from dreams. Polonsky’s Dreams close with the Transfiguration achieved through obtaining a mysterious book. Blok’s cycle, in turn, ends with a sentence of suffering in the afterlife for the apostate. The analysis of the plot and motives in the two cycles makes it possible to ascertain their affinity on the level of the symbolic functioning of the motif complex of the apocalyptic plot.
Творческое наследие Я. П. Полонского мировоззренчески и чертами поэтики предшествовало русскому модернизму в целом и символизму в частности. В. С. Соловьев обосновывал эту общность романтической направленностью личности поэта и ее устремленностью к идеалу. Полонский предварил русский символизм тем, что, утверждал идеальное начало в формах действительной жизни. Органичность его творчества программе младших символистов состояла в абсолютном доверии художественному образу как «символу религиозной реальности» (А. А. Асоян). В лирических циклах Полонского и Блока показана драматическая разобщенность сообщества людей, утративших духовные смыслы бытия. Следствием этой утраты становится страдание и смерть (мотив Возмездия). Наиболее напряженным моментом в развитии лирического сюжета у Полонского является одиночество героя в абсолютной темноте и пустоте безжизненного мистериального пространства. У Блока одиночество героя показано в антитезе неподвижного «отменного порядка» обыденности стихийному движению порожденных сном воспоминаний, предчувствий, мыслей. Сны Полонского завершаются мотивом Преображения через обретение тайной книги. Цикл Блока – утверждением посмертного страдания богоотступника. Сюжетно-мотивный анализ двух циклов позволяет установить их родственность на уровне символического функционирования мотивного комплекса апокалиптического сюжета.
Źródło:: Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2019, 12; 65-79
1427-9681
2353-4834
Pojawia się w:: Acta Universitatis Lodziensis. Folia Litteraria Rossica
Dostawca treści:: Biblioteka Nauki

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Tytuł:: New issue of the Dictionary of folk stereotypes and symbols
Новый выпуск Словаря народных стереотипов и символов
Autorzy:: Толстая, Светлана М.
Powiązania:: https://bibliotekanauki.pl/articles/2084495.pdf
Data publikacji:: 2020
Wydawca:: Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:: Polish folk culture
cultural stereotypes
ethnolinguistics
dictionary
semantics
symbolism
flowers
Opis:: The next issue of the Dictionary of folk stereotypes and symbols, published in Lublin under the editorship of Prof. E. Bartminski, is dedicated to the theme Flowers. Unlike many types of plants, whose cultural semantics "superimpose" on their practical significance in human life, flowers have an almost exclusively symbolic function – they serve as a decoration of the home space and a means of marking persons and objects that perform special ceremonial roles.
Źródło:: Rocznik Slawistyczny; 2020, 69; 237-244
0080-3588
Pojawia się w:: Rocznik Slawistyczny
Dostawca treści:: Biblioteka Nauki

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Tytuł:: The next issues of the “Dictionary of Folk Stereotypes and Symbols”
Очередные выпуски «Словаря народных стереотипов и символов»
Autorzy:: Толстая, Светлана М.
Powiązania:: https://bibliotekanauki.pl/articles/2084462.pdf
Data publikacji:: 2021
Wydawca:: Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:: Polish folk culture
cultural stereotypes
ethnolinguistics
ethnobotany
semantics
lexicography
symbolism
herbs
trees
Opis:: The next three issues of the second volume “Plants” of the “Dictionary of Folk Stereotypes and Symbols”, published in Lublin under the editorship of prof. E. Bartminsky, are devoted to the topics"Herbs","Fruit and coniferous trees",-"Deciduous trees". Like the previous issues, they are a valuable contribution to the study of Polish and Slavic folk culture, as well as to the development of such a complex discipline as ethnobotany. They also provide rich material for linguistic studies of Polish and Slavic phytonymy, since they contain a rich dialect corpus of plant names and related ethnographic and folklore contexts. But the important thing is that the Lublin dictionary gives researchers a new method of ethnolinguistic lexicography, which can be successfully applied to the study of other Slavic and non‑Slavic languages and cultural traditions.
Źródło:: Rocznik Slawistyczny; 2021, 70; 241-250
0080-3588
Pojawia się w:: Rocznik Slawistyczny
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Сакралізацыя вобразу Радзімы ў творчасці беларускіх пісьменнікаў Польшчы
Sakralizacja obrazu ojczyzny w twórczości pisarzy białoruskich w Polsce
The sacralization of the image of homeland in works of Belarusian writers in Poland
Autorzy:: Тарасава, Святлана
Powiązania:: https://bibliotekanauki.pl/articles/944469.pdf
Data publikacji:: 2014
Wydawca:: Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
Tematy:: Belarusian writers in Poland
homeland
sacralization
paradise
symbolism
forest
trees
moral values
pisarze białoruscy w polsce
ojczyzna
sakralizacja
raj
symbolika
las
drzewa
wartości moralne
Opis:: W artykule omówiono problem sakralizacji obrazu ojczyzny w twórczości pisarzy białoruskich w Polsce. Obserwacja obiektów sakralnych, które składają się na pojęcie ojczyzny, pozwala sformułować wniosek, że ojczyna jest dla członków Białoruskiego stowarzyszenia „Białowieża” wartością najwyższą, pozostającą w zgodzie z wartościami chrześcijańskimi.
The article considers the problem of sacralization of the image of homeland in works of Belarusian writers in Poland. In the process of the examination of sacred objects which constitute the notion of homeland, the idea that homeland being their highest value is consistent with basic Christian values has been confirmed.
Źródło:: Białorutenistyka Białostocka; 2014, 6; 224-232
2081-2515
Pojawia się w:: Białorutenistyka Białostocka
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Сакралізацыя вобразу Радзімы ў творчасці беларускіх пісьменнікаў Польшчы
Sakralizacja obrazu ojczyzny w twórczości pisarzy białoruskich w Polsce
The sacralization of the image of homeland in works of Belarusian writers in Poland
Autorzy:: Тарасава, Святлана
Powiązania:: https://bibliotekanauki.pl/articles/2106791.pdf
Data publikacji:: 2014
Wydawca:: Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
Tematy:: pisarze białoruscy w Polsce
ojczyzna
sakralizacja
raj
symbolika
las
drzewa
wartości moralne
Belarusian writers in Poland
homeland
sacralization
paradise
symbolism
forest
trees
moral values
Opis:: W artykule omówiono problem sakralizacji obrazu ojczyzny w twórczości pisarzy białoruskich w Polsce. Obserwacja obiektów sakralnych, które składają się na pojęcie ojczyzny, pozwala sformułować wniosek, że ojczyna jest dla członków Białoruskiego stowarzyszenia „Białowieża” wartością najwyższą, pozostającą w zgodzie z wartościami chrześcijańskimi.
The article considers the problem of sacralization of the image of homeland in works of Belarusian writers in Poland. In the process of the examination of sacred objects which constitute the notion of homeland, the idea that homeland being their highest value is consistent with basic Christian values has been confirmed.
Źródło:: Białorutenistyka Białostocka; 2014; 223-232
2081-2515
Pojawia się w:: Białorutenistyka Białostocka
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Гранатовый браслет в „Гранатовом браслете” Александра Куприна: символика образа
Garnet Bracelet in 'The Garnet bracelet' by Aleksandr Kuprin: Symbolics of the Image
Autorzy:: Ранчин, Андрей
Powiązania:: https://bibliotekanauki.pl/articles/2031468.pdf
Data publikacji:: 2020
Wydawca:: Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:: Aleksandr Kuprin
symbolics
semantic of colours
mythopoetics
Aleksandr Blok
Russian Symbolism
Źródło:: Slavia Orientalis; 2020, LXIX, 1; 33-46
0037-6744
Pojawia się w:: Slavia Orientalis
Dostawca treści:: Biblioteka Nauki

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Tytuł:: ПОРІВНЯННЯ З ФАУНОНАЗВОЮ, ПОЗНАЧЕНОЮ БІБЛІЙНОЮ СИМВОЛІКОЮ, В УКРАЇНСЬКІЙ ТА АНГЛІЙСЬКІЙ МОВАХ: ПЕРЕКЛАДОЗНАВЧИЙ ПІДХІД
SIMILES WITH A FAUNA CONSTITUENT, MARKED BY BIBLICAL SYMBOLISM, IN UKRAINIAN AND ENGLISH: TRANSLATION STUDIES APPROACH
Autorzy:: Молчко, Оксана
Powiązania:: https://bibliotekanauki.pl/articles/1042257.pdf
Data publikacji:: 2016-05-20
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Opis:: The article conducts a Translation Studies analysis of simile constructions with a fauna constituent marked by Biblical symbolism. Both in Ukrainian and English such similes show isomorphic and allomorphic features, which exist between the denotative meaning of the lexemes and their connotative specifi cities. The above-mentioned similes are reproduced in a number of ways. It is of great importance to preserve the cultural-and-specifi c senses of the images and symbols in the process of translation.
W artykule przeprowadzono analizę porównań artystycznych zawierających nazwy zwierząt o symbolice biblijnej. Zarówno w ukraińskiej, jak i angielskiej kulturze lingwistycznej takie porównania powstały na bazie izomorfi cznych oraz alomorfi cznych związków asocjacyjnych, istniejących między znaczeniem denotatywnym leksemów a ich związkami konotacyjnymi. Odtwarzanie porównań odbywa się w różny sposób. Istotne jest przy tym, aby zachować specyficzne kulturowe znaczenia powyższych obrazów i symboli.
Źródło:: Studia Ukrainica Posnaniensia; 2016, 4; 95-102
2300-4754
Pojawia się w:: Studia Ukrainica Posnaniensia
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Слова-символи у творах Григорія Сковороди як ознака художнього мислення
Words-symbols in the works of Grigoriy Skovorody as a sign of artistic thinking
Autorzy:: Лисенко (Lysenko), Наталія (Natalya)
Тендітна (Tenditna), Надія (Nadiya)
Powiązania:: https://bibliotekanauki.pl/articles/2177833.pdf
Data publikacji:: 2022-03-31
Wydawca:: Wydawnictwo Adam Marszałek
Tematy:: класифікація символів
архетип
біблійні
символи
космогонічні імена
істоти
явища природи
classification of symbolism
archetype
biblical
symbols
cosmogonic names
creatures
natural phenomena
Opis:: The article analyzes the words-symbols in the artistic and philosophical world of Gryhoriy Skovoroda. Based on the classification of D. Chizhevsky, in the symbolism of the Ukrainian Baroque poet considered concepts-symbols by the following meanings: biblical words-symbols, archetypal symbols, cosmogonic words-symbols, symbols-names of creatures, natural phenomena, to denote the peculiarities of the environment. The poet-philosopher in his works uses such biblical words-symbols as God, Christ, the Bible, the heart, the angel, the prophet, the cross. In the works of G. Skovoroda there are archetypal images-symbols of fire, light, water, blood, circles. In the works analyzed by us, G. Skovoroda uses such cosmogonic words-symbols as: sun, moon, star, star. The word-symbol of the wing in the poet’s works is closely connected with biblical symbols, creates a positive characteristic and means «take-off». In the works of G. Skovoroda the main function of symbolic names of birds, such as: crow, dove, nightingale, eagle and hawk, characterological, it carries an emotional load. In the collection «Fairy Tales of Kharkiv» words-symbols to denote the names of animals represent certain human qualities. Gryhoriy Skovoroda also used symbols-names of natural phenomena in his work, in particular, such as: thunder, lightning, clouds, rainbow. Quite often in the works of G.S. Skovoroda there are such words-symbols to denote the features of the natural environment, such as forest, sea, roads. According to research, Christian symbols were of great importance to Gryhoriy Skovoroda, but a significant part of the symbols came to his worldview from the ideas of the ancient Slavs.
У статті проаналізовано слова-символи в художньо-філософському світі Григорія Сковороди. Спираючись на класифікацію Д.Чижевського, в символіці українського барокового поета розглянуто поняття-символи за такими значеннями: біблійні слова-символи, архетипні символи, космогонічні слова-символи, символи-назви істот, явищ природи, на позначення особливостей природного середовища. Поет-філософ у своїх творах вживає такі біблійні слова-символи, як Бог, Христос, Біблія, серце, ангел, пророк, хрест. У творах Г. Сковороди виділяють архетипні образи-символи вогню, світла, води, крові, кола. У проаналізованих нами творах Г. Сковорода вживає такі космогонічні слова-символи, як: сонце, місяць, зірка, зоря. Слово-символ крила у творах поета тісно пов’язаний із біблійними символами, створює позитивну характеристику і означає «злет». У творах Г. Сковороди основна функція символічних назв птахів, як-от: ворон, голуб, соловей, орел і яструб, характерологічна, вона несе емоційне навантаження. У збірці «Байки Харківські» слова-символи на позначення назв тварин уособлюють певні людські якості. Також у своїй творчості Григорій Сковорода використовував символи-назви явищ природи, зокрема такі, як-от: грім, блискавка, хмари, веселка. Доволі часто у творах Г. С. Сковороди зустрічаються такі слова-символи на позначення особливостей природного середовища, як ліс, море, дороги. Як показало дослідження, для Григорія Сковороди велике значення мали християнські символи, проте значна частина символів прийшла в його світоглядну модель від уявлень древніх слов’ян.
Źródło:: Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe; 2022, 4(1); 15-22
2543-9227
Pojawia się w:: Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Porównanie symboliki wierzby i lilii w chińskiej i polskiej kulturze na tle teorii językowego obrazu świata
Comparison of the symbolism of the willow and the lily in Chinese and Polish cultures in the context of the theory of a linguistic worldview
Autorzy:: Zou, Jiahao
Powiązania:: https://bibliotekanauki.pl/articles/31340109.pdf
Data publikacji:: 2023
Wydawca:: Uniwersytet Gdański. Wydawnictwo Uniwersytetu Gdańskiego
Opis:: The article introduces the symbolism of the willow and the lily, which have played an important role in the lives of Chinese and Poles over many years. The research issue of this article is the question: What are the differences and similarities in terms of willow and lily symbolism in Chinese and Polish culture? The article is based on an analysis of literature. It aims to indicate the symbolism of the willow and the lily and to find the roots of their differences and similarities in Chinese and Polish cultures. The first part of the article is devoted to the theory of a linguistic worldview, which is the theoretical basis of the research. The second part of the article focuses on the most important and widespread symbolisms of the willow. The third part presents the most important connotations of the lily in both cultures. I It turns out that there are many similar symbolisms of the willow in Chinese and Polish culture, such as homesickness and vitality, etc. Nevertheless, the willow is an attribute of the noble hermit in Chinese culture, while in Polish culture it symbolizes susceptibility because of its pliancy. There are also many analogies in the associations of the lily in Polish and Chinese cultures, such as purity and holiness. Contrary to appearances, in the two civilizations the differences in lily symbolism are not readily apparent.
Źródło:: Gdańskie Studia Azji Wschodniej; 2023, 23; 84-103
2353-8724
Pojawia się w:: Gdańskie Studia Azji Wschodniej
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Symbolika księżyca w Enarrationes in psalmos św. Augustyna
Symbolism of the Moon in The enarrationes in psalmos by st. Augustine
Autorzy:: Zgraja, Brunon
Powiązania:: https://bibliotekanauki.pl/articles/611967.pdf
Data publikacji:: 2018
Wydawca:: Katolicki Uniwersytet Lubelski Jana Pawła II
Tematy:: Św. Augustyn
Enarrationes in Psalmos
księżyc
symbolika
St. Augustine
moon
symbolism
Opis:: The present article proves that Augustine, explaining in Enarrationes in Psalmos the texts of Psalms, does not treat references occurig in them, to the moon merely as a part of the descriptions of beauty of the created world, but tries to perceive in it a hidden meaning, the disclosure of which serves the interpreation of different theological questions. For the bishop of Hippo, the moon is a metaphor of God the Creator, of Christ, of the Church and of the human being. With reference to God the Creator, the moon is to remind Christians, that God creating everything as being good and beautiful, He himself is the Good and the Beauty. Furthermore, the motive of the moon is to point to God’s self-sufficiency, his freedom and independence. The moon as metaphor of Christ, in turn, allows to perceive in Him the true God who, through the event of Incarnation, revealed to the human being the eternal plan of salvation. The ecclesiological dimension of the symbolism of the moon, however, introduces the concept of the beginnings of the Church, points out to its persecutions and to the presence of sinful people in it. What’s more, the moon-Church is the mystical Body of Christ and Christi s its Head. It is, furthermore, a Glorious Church that will be reigning with Christ for ever. Through the antropological dimension of the figure of the moon, Augustine exposes to the listeners of his sermons the truth about human fragility, corporality and mortality, moral inconstancy and a necessity for gaining more and more perfection with the suport of the Holy Spirit. The moon is salso to direct the human thinking at the truth of resurrection.
Źródło:: Vox Patrum; 2018, 69; 735-753
0860-9411
2719-3586
Pojawia się w:: Vox Patrum
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Symbolika bohaterów w powieści Wałerija Szewczuka "Dom na wzgórzu (Дiм на горi)"
Symbolism of the protagonists of Valery Shevchuk’s book "Hause on the hill"
Autorzy:: Zambrzycka, Marta
Powiązania:: https://bibliotekanauki.pl/articles/951201.pdf
Data publikacji:: 2014
Wydawca:: Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
Tematy:: folklor
symbolika
antropologia kultury
żywioł
sacrum
Opis:: The subject of the text is an analyze of symbolism of the protagonists of Valery Shevchuk’s book House on the hill. Protagonists were personified with certain cosmic forces (the cosmic elements) and they are part of a large, time-space novel’s structure. The space in the novel is divided by the opposition running on the line up – down. The example of that novel shows, how the cultural categories are reflected in the literature and how they determine the structure of literary narrative. The symbolism of the elements connected to mythological and folkloric thinking, and describe reality in terms of sacrum.
Źródło:: Studia Wschodniosłowiańskie; 2014, 14; 133-140
1642-557X
Pojawia się w:: Studia Wschodniosłowiańskie
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Ogrody Maryi − kompozycje miejsca i roślinne wypełnienia. Zarys ikonografii motywu Madonny na tle ogrodu
The Gardens of Mary – Compositions of the Place and Plant Filler. An Outline of the Iconography of the Motif of Madonna Against the Backdrop of the Garden
Autorzy:: Żak, Małgorzata
Powiązania:: https://bibliotekanauki.pl/articles/1953468.pdf
Data publikacji:: 2006
Wydawca:: Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:: ogród
altana różana
ikonografia
Maryja
rośliny
róża
symbolizm
przedmioty symboliczne
garden
rose bower (garden house)
iconography
Mary
plants
rose
symbolism
symbolical elements
Opis:: The garden as a space related and ascribed to woman has almost always been, in each culture and religion, linked with nature, and in medieval art belonged to Mary. It was identified with Madonna and ascribed to Mary, and thus became a picture equivalent of Her features. In medieval chants, hymns, and prayers Mary was compared to a garden, extolled as the most beautiful flower and the most precious rose of the garden. In painting, She became “Mary in the garden,” the Bride in hortus conclusus. The exegeses of the Song of Songs have affected the semantic and plastic dimensions of Marian gardens. The issues connected with the formal layer allow us to notice the genesis of this motif in the Italian, Siennaean representations of Madonna dell'Umiltà painted ca. mid-14th century, and in the motif of Mary Lactans. A modest meadow in Umiltà was preceded by a decorative structure of marbles, in hortus conclusus it was transformed into a garden and was gradually enriched. The formal element, combining the two trends, aside to the motif of nature, is the stature of Mary. Madonna sitting on an ornamented pillow, lying straight on the ground, we encounter in the iconography of northern hortuses. Moreover, the semantic layer, referring to the symbols of the concept of humbleness, pictured in the stature of Mary's humility, touches the profound etymological relations, related to the meaning of the word ground – humus, the Italian term umiltà and the Latin humilitas. In the compositional questions of Marian gardens we observe their extreme varieties and their complex development process, which does not always can be straightway derived from the Italian umiltà. The iconographic trends are separate for particular artistic milieus and they depend on geography. Therefore we cannot speak generally about Marian gardens, but about several motifs, Madonna's themes in hortus conclusus: in front of a hedge, or on a turf hedge, things we find in German or Netherlandish art, or in the rose garden house. The German names single Mary out of the rose hedge (niem. Rosenhecke) that is different from the turf hedge (niem. Rosenbank) and from the rose bower (garden house) (niem. Rosenlaube). This thematic division is condition by a kind of space in which Mary is placed. One should also take into account the semantic context that accompanies Mary and the role it plays in aconcrete representation. Therefore one may speak about the so-called elevated Umiltà, where we encounter humble Mary in the scene of coronation, about Mary as the Apocalyptic Woman, sitting in front of a turf hedge, with a half-moon at Her feet, or Mary as the earthly mother, feeding or taking care of the Baby in a home loggia with a garden at the background. In Italian art the icons of Mary against the garden, presented as the elevated Queen, the Mother of God, depict the then mores. They are connected with the liturgical dimension of holidays, the garlands with flowers and fruits, decorations we find in the later Italian tables. Another kind of iconography is presented by the images of the Woman with a unicorn. Interpreting the icons of Mary in the garden, the complex problem how the two dimensions of the presented world interpenetrated is many times omitted; in this space only the inconographic equivalent of the mystic hortus conclusus was perceived. The symbolical layer of the garden dominated over the real, realistic surface which was particularly strongly encoded and combined by the Netherlandish artists, defined – following Panofsky – as “hidden symbolism.” In the case of the Italian artists or the Germans from the first half of the 15th century representing Madonna in the Garden we easily feel and notice the superior symbolic element, noticed against the golden background, in almost bodiless, immaterial figures, floating angels or the Persons of the Holy Trinity, popular in the Nadrenia tables, then in the Netherlandish artists the reality and symbol become concepts and transparent qualities. In Stefan Lochner's or the anonymous masters' tables from Cologne and the Rhineland, the painter of the Frankfurt Paradise Gardener the elements in which the real world existed were accumulated plants. In their species and morphological variety the earthly world was reflected, nevertheless as a complete juxtaposition of real and at the same time ideal forms, the gardens acquired an extreme and supernatural dimension. It is otherwise with the Netherlandish masters. In their wooden flower beds and ceramic pots typical plants grow, and the paintings are not specially selected. Their symbolical character has almost imperceptibly been emphasised, Mary is placed near to whiter lilies and rose ascribed to Her.
Źródło:: Roczniki Humanistyczne; 2006, 54, 4; 99-146
0035-7707
Pojawia się w:: Roczniki Humanistyczne
Dostawca treści:: Biblioteka Nauki