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Tytuł:
Kult św. Wojciecha w księgach brewiarzowych na terenie Pomorza Wschodniego i Prus do końca XVIII wieku
Der Kult des hl. Wojciech (Adalbert) in den Brevieren Ostpommerns und Preußens bis zum Ende des 18. Jahrhunderts
Autorzy:
Wiewióra, Zofia
Powiązania:
https://bibliotekanauki.pl/articles/1039819.pdf
Data publikacji:
2008-12-16
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II
Tematy:
św. Wojciech
liturgia
kult
St. Wojciech
liturgy
cult
Źródło:
Archiwa, Biblioteki i Muzea Kościelne; 2008, 90; 213-231
0518-3766
2545-3491
Pojawia się w:
Archiwa, Biblioteki i Muzea Kościelne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wykorzystanie potencjału seniorów w funkcjonowaniu placówki edukacyjnej na przykładzie Szkoły Podstawowej im. św. Wojciecha we Włodowicach
USING THE POTENTIAL OF SENIORS AT THE EDUCATIONAL INSTITUTION WITH THE EXAMPLE OF ST. WOJCIECH PRIMARY SCHOOL IN WLODOWICE,POLAND
Autorzy:
Malec, Małgorzata
Siemież, Tomasz
Powiązania:
https://bibliotekanauki.pl/articles/417602.pdf
Data publikacji:
2012
Wydawca:
Akademickie Towarzystwo Andragogiczne
Tematy:
USING THE POTENTIAL OF SENIORS AT THE EDUCATIONAL INSTITUTION WITH THE EXAMPLE OF ST. WOJCIECH PRIMARY SCHOOL IN WLODOWICE, POLAND
Opis:
The aim of the article is to present a fragment of social world, good practice, where potential of seniors is/might be used and appreciated. The article is divided into two parts – theoretical and practical ones. The first part consists of theoretical discussion about potential of seniors in the context of lifelong learning (LLL), the map of seniors’ potential and the analysis of University of the Third Age as the example of using the potential of seniors. The other part presents a small local community named Wlodowice, and St. Wojciech Primary School as the main „social actor” of that community in the context of the project. The project is about to involve seniors into activities and development of educational institution.
Źródło:
Rocznik Andragogiczny; 2012, R. 2012; 359-371
1429-186X
2391-7571
Pojawia się w:
Rocznik Andragogiczny
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Święty Wojciech w naszej literaturze, tym razem autorów z Pomorza
Saint Wojciech (Adalbert of Prague) in our literature, this time by authors from Pomerania
Autorzy:
Linkner, Tadeusz
Powiązania:
https://bibliotekanauki.pl/articles/32083712.pdf
Data publikacji:
2022
Wydawca:
Uniwersytet Gdański. Wydział Filologiczny
Tematy:
The Year 997
Cyril Danielewski
Stefania Tuchołkowa
Wielkopolska
Goraj
obese
Rachmany
shrine
wilderness
feast
St. Wojciech
Rok 997
Cyryl Danielewski
objaty
chram
uroczysko
uczta
św. Wojciech
Opis:
Najpierw mówi się tutaj o dramacie Cyryla Danielewskiego Rok 997, a potem o Hymnie na cześć św. Wojciecha. Utwory te są wprowadzeniem do wierszy mało znanej pisarki, Stefanii Tuchołkowej, i jej powieści Goraj, która dla tematu o św. Wojciechu znaczy tu najwięcej. W powieści dużo miejsca poświęcono zmaganiom wiernych dawnym bogom z nową wiarą, a św. Wojciech okazuje się tu zwycięzcą. Gdy przeciwni nowej wierze się nawrócą, powieść się kończy.
First, Cyril Danielewski’s drama The Year 997 is mentioned here, and then the Hymn in honor of St. Wojciech. These works are an introduction to the poems of a little-known writer, Stefania Tuchołkowa, and her novel Goraj, who for the theme of St. Wojciech means the most here. Much space in the novel is devoted to the struggles of the faithful to the old gods with the new faith, and St. Wojciech turns out to be the winner here. When the opponents of the new faith are converted, the novel ends.
Źródło:
Język - Szkoła - Religia; 2022, 17; 135-143
2080-3400
Pojawia się w:
Język - Szkoła - Religia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Misyjne nauczanie Jana Pawła II podczas pielgrzymek do Polski
MISSIONARY TEACHING OF JOHN PAUL II DURING HIS PILGRIMAGE TO POLAND
Autorzy:
Adamiak, Grzegorz
Powiązania:
https://bibliotekanauki.pl/articles/1388550.pdf
Data publikacji:
2020-12-31
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
pilgrimages of John Paul II
St. Wojciech
missions among the Slavs
missions ad gentes
inculturation
Polish missionaries
pielgrzymki Jana Pawła II
św. Wojciech
misje wśród Słowian
misje ad gentes
inkulturacja
polscy misjonarze
Opis:
During his pilgrimages to his homeland, John Paul II was teaching his countrymen about the problems specifi c to the Church in Poland, but also to the whole Church. One of these themes was the missions ad gentes. The Pope noticed and pointed out on the example of the history of his nation that missions built Polish statehood and shaped Polish culture. He called for this process to be recognized in the history of Europe as a whole and to recognize in evangelization the factor that builds and defi nes its true identity. He showed that missions help imbue human culture with a supernatural element. He recalled the truth about the missionary nature of the Church and the missionary vocation of all its members. Responsibility and cooperation in the missionary work was for John Paul II one of the forms of the “imagination of mercy.”  Appealing to his countrymen for missionary generosity and commitment, he also pointed to the fi gures who were involved in the animation of the missionary work in the Polish and universal Church. In his teaching in Poland, he recalled the missionary task of the Church community and of each and every faithful.
Źródło:
Annales Missiologici Posnanienses; 2020, 25; 35-56
1731-6170
Pojawia się w:
Annales Missiologici Posnanienses
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Chrystianizacja Prus według Kroniki Jana Długosza
The chrystianization of Prussia according to the Annals of Jan Długosz
Autorzy:
Bielak, Włodzimierz
Powiązania:
https://bibliotekanauki.pl/articles/1039441.pdf
Data publikacji:
2010-12-17
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II
Tematy:
Kościół katolicki
dokument
św. Wojciech
historia
Catholic Church
document
St. Adalbert
history
Opis:
Since the beginning of its existence, the Polish Church took an active part in the Christianization of the neighbouring pagan peoples. One of its missionary areas was the land inhabited by the Prussians. These missions were conducted in three stages. The first one was the mission undertaken by Saint Wenceslaus under the patronage of duke Boleslaw the Valiant (Polish: Bolesław Chrobry). During this mission St Wenceslaus died a martyr’s death, which was used as a factor promoting the Polish Church while creating metropolitan church organization in 1000. The second stage was the missionary activity at the time of Henryk Kietlicz, the archbishop of Gniezno, at the turn of the 12th and 13th centuries, which was interrupted by the appearance of the Teutonic Order in Prussia. The action of the Teutonic Knights in Prussia was the third stage of Christianization. However, this evangelization was the German method of conducting a mission- that is to say, by the sword. The objective of the Teutonic Knights was to create their own state in Prussia rather than convert pagans to Christianity. The description of these processes was based on the Annals of Jan Dlugosz, which shows how the memories of those events were retained.
Źródło:
Archiwa, Biblioteki i Muzea Kościelne; 2010, 94; 5-28
0518-3766
2545-3491
Pojawia się w:
Archiwa, Biblioteki i Muzea Kościelne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Święty Wojciech, urbs Gyddaanyzc i problem chrystianizacji Pomorza wschodniego. Kilka uwag na marginesie rozważań dotyczących kultury duchowej mieszkańców grodu w widłach Wisły i Motławy
Saint Adalbert, urbs Gyddaanyzc and chrystianisation of Western Pomerania
Autorzy:
Kajkowski, Kamil
Powiązania:
https://bibliotekanauki.pl/articles/1365853.pdf
Data publikacji:
2016
Wydawca:
Instytut Północny im. Wojciecha Kętrzyńskiego w Olsztynie
Tematy:
Pomorze Wschodnie
Gdańsk
święty Wojciech
chrystianizacja
Western Pomerania
Gdansk
St Adalbert
Christianisation
Opis:
The 1050 anniversary of the baptism of Poland provided a good reason to resume the current discussion on the causes and circumstances of the conversion of Mieszko I and his nascent state. The scarcity and ambiguity of available sources has meant that we are far from definitive conclusions in this regard. It would seem that we can have a better understanding regarding the conversion of Pomerania. Two missions connected sequentially with the eastern and western part of that area have had a direct echo in the literature of the early Middle Ages. And while the activity of Otto of Bamberg in Western Pomerania brought visible results (although it seems to have no such consequences as suggested by the sources) it is difficult to find evidence for the 10th century from the eastern part of the region. Recent archaeological discoveries related to the stronghold located between the Vistula and the Motława rivers, undermine not only the possibility of missionary work in this place, but also the presence of St. Adalbert in general. Furthermore, the archaeological sources we have at our disposal suggests that the inhabitants of the Gdansk were not interested in the reception of Christian ideology – even if these were associated with early medieval elites (and the presence of their representatives here is indicated by some discoveries). It seems to be confirmed by a corpus of sources which can indicate that the functioning of the local community was based on a traditional normative system. In other words, common archaeological discoveries do not give any direct evidences concerning the stronghold’s conversion, or even to place a Christian community here. In such circumstances, we must assume, that either the Vita of St Adalbert does not reflect the reality of their time and should be treated as a ‘classic’ example of hagiographic rhetoric, or concerns a different stronghold located at the mouth of the Vistula river.
Źródło:
Komunikaty Mazursko-Warmińskie; 2016, 293, 3; 431-455
0023-3196
2719-8979
Pojawia się w:
Komunikaty Mazursko-Warmińskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Stemple monet czeskich z X–XI wieku źródłem do historii Czech
Dies of the Czech tenth-eleventh-century coinage as a source for the history of the Czech lands
Autorzy:
Suchodolski, Stanisław
Powiązania:
https://bibliotekanauki.pl/articles/2164640.pdf
Data publikacji:
2015-06-30
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
coin
Emma
St. Adalbert
Bohemia
Boleslaus II
moneta
św. Wojciech
Czechy
Bolesław II
Opis:
The paper first adumbrates the issue of coins as a source of information from which historian and other researchers can study the past. The Czech coinage of the tenth and eleventh century is shown as a very complex issue. The paper seeks to explore two of them. One is the origin of Emma Regina, whose coins were supposedly minted in Mielnik. Having presented and briefl y analysed medievalists’ hypotheses concerning the origin of Emma, the author concurred with the hypothesis of her French origin. Next, the article examines a coin referred to as denarius episcopi, i.e., minted by an unnamed bishop. Having emended the coins’ inscription, S. Suchodolski has resolved the problems the source hitherto posed in historiography.
Źródło:
Historia Slavorum Occidentis; 2015, 1(8); 34-56
2084-1213
Pojawia się w:
Historia Slavorum Occidentis
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Miłosierdzie Boże jako źródło inspiracji twórczej
Autorzy:
Michałek, Krzysztof
Powiązania:
https://bibliotekanauki.pl/articles/668955.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Papieski Jana Pawła II w Krakowie
Tematy:
Divine Mercy
Magnificat
Gregorian chant
Saint Faustina
Johann Rudolph Ahle
Durante
Wolfgang Amadeus Mozart
Henryk Jan Botor
Wojciech Widłak
Wojciech Kilar
the Magnificat
St. Faustina
Opis:
When analysing the works by outstanding composers, one may come to the conclusion that this topic was not exploited too often in the history of music. The issue of Misericordias Domini was not as popular as, for example, Stabat Mater or Te Deum. Even a broader look at this topic area does not allow for noticing too many compositions. Does it mean that the great masters of the past epochs were not interested in Divine Mercy?The answer to this question should be sought in theology, especially that of the Middle Ages. The then teaching of the Church exposed the Creator more in the role of a stern Judge than Merciful Father. In later times, this topic was tackled by composers more bravely and it thrived in the 20th century. Thanks to Helena Kowalska, later Saint Faustina, the cult of Divine Mercy accelerated and quickly spread all over the world. Its climax was the pontificate of Blessed Pope John Paul II who established the Feast of Mercy celebrated on the first Sunday after Easter. One of his last acts in this respect was the dedication of the Basilica of Divine Mercy in Krakow-Łagiewniki and forming the World Centre of Divine Mercy here. This site has become inspiration for our recording and PhD thesis.Gregorian chant is the oldest traditional chant in the liturgy of the Roman Catholic Church. The church has prayed with this chant since the 6th century. Misericordias Domini chant presented on the record is a typical example of a responsorial psalm in which prayer with the text of Psalm 103 is combined with the chant of the chorus Misericordias Domini in aeternum cantabo.Passacaglia is a form of composition characteristic for Baroque music, especially organ music. On the basis of the bass-ostinato, composers have built subtle polyphonic constructions. Misericordias Domini, the composition by Johann Rudolph Ahle (1625–1673), is constructed on this scheme. Ahle built a four-voice polyphonic construction on a diatonic, falling, half-note procession of sounds, by giving two voices to the violin duo and two to soloists: soprano and tenor. The multi-layer character of this piece relates not only to the sound matter but also to text, as the composer uses both Latin and German simultaneously.In the Renaissance and Baroque, the polychoral technique experienced the peak of its development. It was used in Misericordias Domini composed by Francesco Durante (1684–1755), representative of the Neapolitan School. Two choirs are involved in a dialogue to meet at the end of the composition, in the climax moments, when chanting Divine Mercy in eight voices.Wolfgang Amadeus Mozart’s (1756–1791) offertory of 1775, Misericordias Domini KV 222, belongs to rarely performed pieces. Its compact, through-composed form shows the masterly skill of the composer and his original approach to the topic of Divine Mercy. The dramatic narration, change of key which was not typical of classicism, e.g. from d-moll to c-moll, create an impression that the great composer might have been afraid whether he would experience Divine Mercy himself.Divine Mercy Song by Henryk Jan Botor (born in 1960), which was dedicated to Holy Father John Paul II, is composed well with other works inspired by the personality of the great Pope. It was composed in the jubilee year of 2000. The text borrowed from Saint Sister Faustina’s Diary was given to a soprano signer and also to the choir – in climax and text culmination moments. By using Neo-Romanticism musical language, Botor achieved the message readable to the listener, grasping pathetic and figurative music in words. Rich instrumentation, involving a string orchestra, a harp, an extended percussion section, a choir and solo voice, enabled the composer to create an almost unlimited pallet of colours and moods.Misericordias Domini composed by Wojciech Widłak (born in 1971) dated 19 April 2012 is the latest perspective on the described text. The composer created a subtly planned form, exploring the natural rhythm of the word Misericordias. Voices are treated here as instruments with the rhythm playing the leading role. The piece also uses modern means, such as glissando or recitals of texts in many languages, which affects the great power of the piece’s artistic expression. When it comes to texts, the author took them from memorial booklets in which pilgrims from all over the world entered their thank-you words and requests to Merciful Jesus at the Sanctuary of Divine Mercy in Krakow-Łagiewniki.Misericordia, the composition by Wojciech Kilar (born in 1932), is the piece that crowned the film Faustina (1994) directed by Jerzy Łukaszewicz. It is the meditation on Divine Mercy in the “form of crescendo” for a mixed choir of eight voices, string orchestra and piano. By using the minimum of means, the composer achieved maximum expression.The record is crowned with the organ improvisation based on the melody of the Polish church song: Jesus, I Trust in You.
When analysing the works by outstanding composers, one may come to the conclusion that this topic was not exploited too often in the history of music. The issue of Misericordias Domini was not as popular as, for example, Stabat Mater or Te Deum. Even a broader look at this topic area does not allow for noticing too many compositions. Does it mean that the great masters of the past epochs were not interested in Divine Mercy?The answer to this question should be sought in theology, especially that of the Middle Ages. The then teaching of the Church exposed the Creator more in the role of a stern Judge than Merciful Father. In later times, this topic was tackled by composers more bravely and it thrived in the 20th century. Thanks to Helena Kowalska, later Saint Faustina, the cult of Divine Mercy accelerated and quickly spread all over the world. Its climax was the pontificate of Blessed Pope John Paul II who established the Feast of Mercy celebrated on the first Sunday after Easter. One of his last acts in this respect was the dedication of the Basilica of Divine Mercy in Krakow-Łagiewniki and forming the World Centre of Divine Mercy here. This site has become inspiration for our recording and PhD thesis.Gregorian chant is the oldest traditional chant in the liturgy of the Roman Catholic Church. The church has prayed with this chant since the 6th century. Misericordias Domini chant presented on the record is a typical example of a responsorial psalm in which prayer with the text of Psalm 103 is combined with the chant of the chorus Misericordias Domini in aeternum cantabo.Passacaglia is a form of composition characteristic for Baroque music, especially organ music. On the basis of the bass-ostinato, composers have built subtle polyphonic constructions. Misericordias Domini, the composition by Johann Rudolph Ahle (1625–1673), is constructed on this scheme. Ahle built a four-voice polyphonic construction on a diatonic, falling, half-note procession of sounds, by giving two voices to the violin duo and two to soloists: soprano and tenor. The multi-layer character of this piece relates not only to the sound matter but also to text, as the composer uses both Latin and German simultaneously.In the Renaissance and Baroque, the polychoral technique experienced the peak of its development. It was used in Misericordias Domini composed by Francesco Durante (1684–1755), representative of the Neapolitan School. Two choirs are involved in a dialogue to meet at the end of the composition, in the climax moments, when chanting Divine Mercy in eight voices.Wolfgang Amadeus Mozart’s (1756–1791) offertory of 1775, Misericordias Domini KV 222, belongs to rarely performed pieces. Its compact, through-composed form shows the masterly skill of the composer and his original approach to the topic of Divine Mercy. The dramatic narration, change of key which was not typical of classicism, e.g. from d-moll to c-moll, create an impression that the great composer might have been afraid whether he would experience Divine Mercy himself.Divine Mercy Song by Henryk Jan Botor (born in 1960), which was dedicated to Holy Father John Paul II, is composed well with other works inspired by the personality of the great Pope. It was composed in the jubilee year of 2000. The text borrowed from Saint Sister Faustina’s Diary was given to a soprano signer and also to the choir – in climax and text culmination moments. By using Neo-Romanticism musical language, Botor achieved the message readable to the listener, grasping pathetic and figurative music in words. Rich instrumentation, involving a string orchestra, a harp, an extended percussion section, a choir and solo voice, enabled the composer to create an almost unlimited pallet of colours and moods.Misericordias Domini composed by Wojciech Widłak (born in 1971) dated 19 April 2012 is the latest perspective on the described text. The composer created a subtly planned form, exploring the natural rhythm of the word Misericordias. Voices are treated here as instruments with the rhythm playing the leading role. The piece also uses modern means, such as glissando or recitals of texts in many languages, which affects the great power of the piece’s artistic expression. When it comes to texts, the author took them from memorial booklets in which pilgrims from all over the world entered their thank-you words and requests to Merciful Jesus at the Sanctuary of Divine Mercy in Krakow-Łagiewniki.Misericordia, the composition by Wojciech Kilar (born in 1932), is the piece that crowned the film Faustina (1994) directed by Jerzy Łukaszewicz. It is the meditation on Divine Mercy in the “form of crescendo” for a mixed choir of eight voices, string orchestra and piano. By using the minimum of means, the composer achieved maximum expression.The record is crowned with the organ improvisation based on the melody of the Polish church song: Jesus, I Trust in You.
Źródło:
Pro Musica Sacra; 2013, 11
2083-4039
Pojawia się w:
Pro Musica Sacra
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Idea ładu moralnego okresu średniowiecza. Z dziejów kształtowania się wzoru osobowego duchowych patronów Polski Św. Wojciecha i Św. Stanisława
The Idea of the moral order in Middle Ages. Rom the history of forming the personal pattern of moral patrons of Poland
Autorzy:
Makiłła, Dariusz
Powiązania:
https://bibliotekanauki.pl/articles/2148040.pdf
Data publikacji:
2019-12
Wydawca:
Wyższe Seminarium Duchowne Diecezji Elbląskiej w Elblągu
Tematy:
ład moralny
prawo
średniowiecze
wzorce osobowe
św. Wojciech
św. Stanisław
Polska
Europa
Moral Order
Law
Middle Ages
Personal Patterns
St. Adalbert
St. Stanislaus
Polska
Europe
Opis:
W artykule podjęte zostało pytanie o rozumienie pojęcia ładu moralnego, w szczególności jego odniesienie do prawa. Ład moralny, jego wielostronne rozumienie może być powodem dylematów, których źródłem jest z reguły rozbieżność podejścia do jego wyznaczników, co związane jest z pytaniem o drogi wiodące do jego osiągnięcia. Pytania te stawiane są z reguły w kontekście konstrukcji pojęcia ładu moralnego, a zarazem sposobu do jego dochodzenia, gdy niezbędne staje się odwołanie do określonych osobowych wzorców ideowych, wskazujących swoim przykładem na podstawy, zasady funkcjonowania ładu, określające jego wyznaczniki, ale także wyznaczające granice, tworzące dla jego istnienia niezbędne odniesienia. W tym przypadku postacie obu świętych Kościoła, Wojciecha i Stanisława, były – i nadal można przyjąć, że są – wyjątkowo znamienne zarówno w odniesieniu do czasów im współczesnych, jak i również jako wzorce uniwersalnie, a zarazem ponadczasowe. Wzorce moralne, które obaj święci wyznawali, zderzyły się z racjami prawa. Powstanie wzorców obu świętych i tego, co reprezentowali było położeniem fundamentów pod ideowy rozwój państwa i narodu. Pokazywały one ich wpływ na świadomość ludzką, na strukturę państwa i Kościoła, wpływając na kształtowanie wspólnoty narodu, ale będąc zarazem systemem wartości, łączącym i scalającym wymiar naszej cywilizacji.
In the delivered paper is given a question concerning the notion of moral order with a special reference to law. The moral order – as we can notice – is existing in various forms of understanding. This view can be at the same time a cause of different dilemmas that source is usually a divergence in treatment of his determinants, what is connected with the question of ways leading to his achievement. These questions are set generally at the context of the construction of the notion of moral order. This is also a way to its fulfilment especially then when necessary is to appeal to special personal ideological samples which indicatingus with their personal examples for the grounds, principles of functioning of the order but also showing us their borders. In this case the figures of both saints of the Church, Adalbertand Stanislaus were – and it can be considered – that they still are – important not only towards the times contemorary to them, but also being the universal timeless norms. The moral norms, the both saints professed, had been crashed with reasons of law. The creation the patterns of both saints and this, what they represented, was a grounding the foundations for the ideological development of state and nation. They have been expressed their influence on human consciousness, for the structure of state and church, to exert an influence for the forming of nation commonwealth and being also a system of values binding and uniting the size of our civilization.
Źródło:
Studia Elbląskie; 2019, 20; 475-483
1507-9058
Pojawia się w:
Studia Elbląskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Atanas Kameszew – prawosławny ikonograf w katolickiej katedrze
Atanas Kameshev – Orthodox Iconographer in the Catholic Cathedral
Autorzy:
Walczak-Mikołajczakowa, Mariola
Mikołajczak, Aleksander
Powiązania:
https://bibliotekanauki.pl/articles/2170002.pdf
Data publikacji:
2021
Wydawca:
Akademia Supraska
Tematy:
ikona
św. Wojciech
Gniezno
kościół San Bartolomeo w Rzymie
icon
St. Adalbert
San Bartolomeo church in Rome
Opis:
The authors describe the history of two images of St. Adalbert created in the technique and canon of writing Orthodox icons. Atanas Kameshev, a Bulgarian Orthodox iconographer, created both images. The first of them, asso ciated with the Gniezno Synods-Reunions tradition, which began in 2000, was hung in the local cathedral. The second, made several years later on the Mayor of Gniezno’s request, was to be presented to Pope John Paul II. It eventually found a home on the altar of Rome’s San Bartolomeo church.
Źródło:
Latopisy Akademii Supraskiej; 2021, Obraz - Słowo - Litera, 12; 137-146
2082-9299
Pojawia się w:
Latopisy Akademii Supraskiej
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Sanktuarium diecezjalne Świętego Wojciecha, biskupa i męczennika w Świętym Gaju
Diocesan Sanctuary of Saint Adalbert, Bishop and Martyr in Święty Gaj
Autorzy:
Starczewski, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/2146983.pdf
Data publikacji:
2021-12
Wydawca:
Wyższe Seminarium Duchowne Diecezji Elbląskiej w Elblągu
Tematy:
Święty Gaj
św. Wojciech
sanktuarium
kościół
architektura
wyposażenie
diecezja elbląska
St Adalbert
sanctuary
church
architecture
equipment
Elbląg diocese
Opis:
W 997 r. grupa misjonarzy na czele z pochodzącym z Czech bp. Wojciechem udała się do Prusów z misją ewangelizacyjną. Misja ta zakończyła się męczeńską śmiercią Wojciecha (23 kwietnia 997). Stało się to w okolicach Świętego Gaju, w miejscu pruskiego grodu Cholin. Wieś Święty Gaj otrzymała lokację 17 kwietnia 1324 r. od krzyżackiego komtura dzierzgońskiego Luthera von Braunschweig. Pierwsza kaplica została zbudowana w tym miejscu latach 1299 – 1324, a pod koniec XIV w. podjęto jej przebudowę. W XVI w. w wyniku Reformacji kościół przejęli protestanci. W 1861 r. świątynia spłonęła w wyniku uderzenia pioruna. Zachowały się dolne partie muru oraz granitowa chrzcielnica. W latach 1864 – 1865 kościół odbudowano na starych fundamentach, nadając mu styl neogotycki. Postawiono też murowaną wieżę, dobudowano trójboczne prezbiterium, przebudowano szczyt zachodni oraz szczyt zakrystii. Pracami tymi kierował pastor z Kwietniewa Edward Anderson (†1872). Nowa świątynia została poświęcona 29 października 1865 roku. Po II wojnie światowej kościół przejęła wspólnota katolicka, która należała wówczas do diecezji warmińskiej, a od 1992 roku do diecezji elbląskiej. Artykuł opisuje dzieje kościoła i sanktuarium w Świętym Gaju, jego architekturę, wyposażenie, a także obiekty, które powstały w ostatnim czasie w jego obrębie: ołtarz polowy i dom pielgrzyma. W 2021 r. mija 35 lat od ustanowienia Sanktuarium Diecezjalnego św. Wojciecha Biskupa i Męczennika w Świętym Gaju.
In 997, a group of missionaries led by the Czech bishop Adalbert set out on an evangelising journey to Prussia. This mission ended with Adalbert’s martyrdom (23 April 997). It happened near Heiligenwalde (Święty Gaj), on the site of the Prussian fortress of Cholinum. The village of Heiligenwalde was founded on 17 April 1324 by Luther of Brunswick, the Teutonic Order Comtur of Christburg (Dzierzgon). The first chapel was built on this site between 1299 and 1324 and rebuilt at the end of the 14th century. In the 16th century, the church was taken over by the Protestants in the course of the Reformation. In 1861, the church burned down as a result of a lightning strike. The lower parts of the wall and thegranite baptismal font have been preserved. In 1864 – 1865, the church was rebuilt on the old foundations and given a neo-Gothic style. A brick tower was erected, a three-sided presbytery was added and the west gable and the gable of the vestry were rebuilt. These works were directed by Edward Anderson (†1872), a pastor from Königlich Blumenau (Kwietniewo). The new church was consecrated on 29 October 1865. After the Second World War thechurch was taken over by the Catholic parish, which then belonged to the Diocese of Warmia (Ermland) and since 1992 to the Diocese of Elbląg. The article describes the history of the church and the sanctuary in Heiligenwalde, its architecture, its furnishings, and the buildings recently erected on its grounds: the field altar and the pilgrims’ house. The year 2021 marks the 35th anniversary of the establishment of the diocesan shrine of the Holy Bishop and Martyr Adalbert in Heiligenwalde.
Źródło:
Studia Elbląskie; 2021, 22; 181-206
1507-9058
Pojawia się w:
Studia Elbląskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Co może oznaczać herb Lublina?
What can the Lublin coat of arms mean?
Autorzy:
Plisiecki, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/1891966.pdf
Data publikacji:
2013
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
heraldyka
Lublin
sztuka romańska
kult Eucharystii
św. Wojciech
heraldry
Romanesque art
worship of the Eucharist
St Adalbert of Prague
Opis:
In the first part of the article a summary of the present state of research on the Lublin coat of arms is presented. On the basis of a discussion of the preserved impresses of a seal with this coat of arms the conclusion may be reached that in the whole Old Polish period until the end of the 18th century simultaneously two seals were used: ones that showed a goat only and ones showing a goat jumping on a vine. There is no basis then to think that the oldest preserved impress of a seal dating back to the beginning of the 15th century and showing only a goat was at the same time the oldest complete image of the Lublin coat of arms. In also must be stressed that the representation of the very goat should be considered a simplified version of the Lublin coat of arms, which from the very beginning could have presented a goat jumping on a vine. In the next part of the article a discussion is presented of the meaning of the Lublin coat of arms. Taking into consideration the Biblical (and also theological) meaning of the goat as well as that of the vine it may be recognized that the Lublin coat of arms means the Eucharist, Jesus Christ’s voluntary sacrifice, or a sacrifice of his life made by a martyr (the use of the motif of the goat and vine on the Gniezno Doors may suggest the person of St Adalbert here).
Źródło:
Roczniki Humanistyczne; 2013, 61, 2; 13-24
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
W świetle świętych patronów nowotarskich w dobie średniowiecza
In the sphere of saint patrons of Nowy Targ in middle ages
Autorzy:
Kazienko, Ewelina
Powiązania:
https://bibliotekanauki.pl/articles/1218326.pdf
Data publikacji:
2016
Wydawca:
Instytut Wydawniczy Księży Misjonarzy Redakcja "Nasza Przeszłość"
Tematy:
parafia
sieć parafialna
cystersi
Teodor Gryfita wojewoda krakowski
św. Katarzyna Aleksandyjska
św. Wojciech
św. Stanisław
Nowy Targ
Ludzimierz
nowotarszczyzna
Podhale
parish
parish network
the Cysterian
Teodor Gryfita province governor of Cracow
St Katharina of Aleksandria
St Stanislaus
St Adalbert
Opis:
Rozwój sieci parafialnej na terenie nowotarszczyzny, a zarazem szerzenie kultu świętych, swój rozkwit przeżywało w XIV stuleciu. Jednak możemy na bazie zachowanych źródeł również dostrzec pierwsze zręby zarówno osadnictwa, jak i pierwszych parafii jeszcze w XIII wieku. Co związane było z działalnością mnichów cysterskich, którzy otrzymali w 1234 r. przywilej zagospodarowania wymienionego regionu od wojewody krakowskiego Teodora Gryfity. Część fundacji parafialnych utworzona została z inicjatywy królów polskich, którzy wspierali rozwój organizacji kościelnych na Podhalu. Pisząc o oddawaniu czci świętym nie można pominąć o ważnej roli wśród mieszkańców przede wszystkim wstawiennictwa św. Katarzyny Aleksandryjskiej, która do dziś patronuje nowotarskiej farze oraz miastu. Powierzając swe codzienne troski i prośby, mieszkańcy podhalańskiej ziemi zwracali się także do patronów Polski: śś. Wojciecha i Stanisława, biskupów męczenników, jak i do innych świętych pańskich, którzy ponieśli śmierć za wiarę w Chrystusa. Ważnym elementem pobożności ludowej stało się pielęgnowanie kultu Matki Bożej. Celebrowano w kościołach święta maryjne, które zakorzeniły się w tradycji lokalnej. Ponadto w Ludźmierzu funkcjonowało sanktuarium maryjne, do którego pielgrzymowali licznie mieszkańcy zarówno okolicznych wsi, jak i odleglejszych regionów.
The development of a network of parishes in the region of Nowy Targ, as well as the dissemination of the cult of saints bloomed in the 14th century. However, on the basis of the remaining sources, we can observe the first foundations of both settlement and first parishes already in the 13th century. This was connected with the activity of the Cistercian Friars, who in 1234 received a privilege of administering the region from the voivode of Cracow Teodor Gryfita. Some of the parish foundations were created at the initiative of Polish kings, who supported the development of church organisations in the Podhale region. When writing about saint worship one cannot ignore the important role of the intercession of Catherine of Alexandria, until these days the saint patron of Nowy Targ and its parish church. The inhabitants of the Podhale region entrusted their everyday concerns and pleas also to saint Adalbert and saint Stanislaus, the patrons of Poland, bishop martyrs and other saints who died for their faith in Jesus Christ. An important element of people’s faith was the worship of the Virgin Mary. Marian festivities rooted in local tradition were celebrated in churches. Marian sanctuary in Ludmierz was visited by numerous pilgrims both from surrounding villages and farther regions.
Źródło:
Nasza Przeszłość. Studia z dziejów Kościoła i kultury katolickiej w Polsce; 2016, 126; 59-87
0137-3218
2720-0590
Pojawia się w:
Nasza Przeszłość. Studia z dziejów Kościoła i kultury katolickiej w Polsce
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Spójność terytorialna państwa polskiego w kronikach polskich Marcina Kromera oraz Marcina i Joachima Bielskich
Territorial Integrity of the Polish State in Polish Chronicles by Marcin Kromer and by Marcin and Joachim Bielskis
Autorzy:
Krajewska, Monika
Powiązania:
https://bibliotekanauki.pl/articles/1934200.pdf
Data publikacji:
2010
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
Marcin Kromer
Marcin i Joachim Bielscy
św. Wojciech
organizacja Kościoła
Piastowie
Marcin and Joachim Bielskis
St Adalbert
organization of the Church
the Piasts
Opis:
The article is concerned with the legend of St Adalbert and his role in the history of the Polish state. The Saint's stay in Poland and his martyr's death are presented on the basis of two Polish chronicles from the 16th century. Their authors are Marcin Kromer and Marcin and Joachim Bielskis. They show a close connection between the person of St Adalbert and his death on the one hand, and the beginnings of building the structures of the Church in the first Piasts' Poland. The two works present the most important events in the development of the Church in Poland after accepting baptism in 966.
Źródło:
Roczniki Humanistyczne; 2010, 58, 2; 57-77
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Legenda świętego Wojciecha i początki budowy struktur kościelnych w oczach Marcina Kromera oraz Marcina i Joachima Bielskich
The Legend of St Adalbert and the Beginnings of Building the Church Structures As Seen by Marcin Kromer as well as by Marcin and Joachim Bielskis
Autorzy:
Krajewska, Monika
Powiązania:
https://bibliotekanauki.pl/articles/1944819.pdf
Data publikacji:
2009
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
Marcin Kromer
Marcin i Joachim Bielscy
św. Wojciech
organizacja Kościoła
Piastowie
Marcin and Joachim Bielskis
St Adalbert
organization of the Church
Piast dynasty
Opis:
The article discusses the legend of St Adalbert and his role in the history of the Polish state. The saint's stay in the Polish lands and his death is presented on the basis of two Polish chronicles from the 16th century written by Marcin Kromer and by Marcin and Joachim Bielskis. They show a close relation between the person of St Adalbert and his death on the one hand and the beginnings of building the Church structures in the first Piasts' Poland on the other. The above mentioned works present the most significant events in the development of the Church in Poland after the country accepted Christianity in 966.
Źródło:
Roczniki Humanistyczne; 2009, 57, 2; 69-98
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
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