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Tytuł:
Szczęśliwa, która uwierzyła (Łk 1,45)
Autorzy:
Adamczewski, Bartosz
Powiązania:
https://bibliotekanauki.pl/articles/1627206.pdf
Data publikacji:
2004
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II
Tematy:
Ewangelia wg św. Łukasza
Łk 1
45
Zwiastowanie
wiara
Abraham
Maryja
Opis:
In the Gospel scene of the Visitation Luke hints at three basie aspects ( or better to say: levels) of Mary's faith. The first one is the "parental" faith ofthe Virgin, believing that she has really become pregnant - the words of Elisabeth are for Mary the first clear evidence of this fact. The second aspect is the "theological" belief that Mary's Son will be the Messiah and the divine Deliverer of all the oppressed God's people. And finally, the "model" faith: all the disciples of Christ should imitate Mary's total and active obedience to the Word ofthe Lord, which can be transmitted somehow or other. All these aspects shape the Lucan picture o f Mary as new Abraham of the new epoch of the history o f salvation.
Źródło:
Verbum Vitae; 2004, 5; 75-87
1644-8561
2451-280X
Pojawia się w:
Verbum Vitae
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Lincoln’s Deadly Hermeneutics
Autorzy:
Ball, Terence
Powiązania:
https://bibliotekanauki.pl/articles/1195275.pdf
Data publikacji:
2020
Wydawca:
Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Tematy:
hermeneutics
interpretation
Abraham Lincoln
Emancipation Proclamation
Opis:
My aim here is to extend and further explore the deeper meaning of a phrase I coined some years ago: “deadly hermeneutics” (Ball, 1987):2 roughly, the idea that hermeneutics – the art of textual interpretation – can be, and often is, a deadly business, inasmuch as peoples’ lives, liberties and well-being hang in the balance. I plan to proceed as follows. By way of introduction and illustration I first consider very briefly three modern examples of deadly hermeneutics. I then go on to provide a brief account of the hermeneutical-political situation in which Abraham Lincoln found himself in the 1850s in the run-up to the Civil War and subsequently during the war itself. This requires that I sketch an overview of the Southern case for secession and, more particularly, their interpretation of the Declaration of Independence and the Constitution to legitimize that radical move. I then attempt to show how Lincoln invoked and used a counter-interpretation of the Declaration in his speeches on the Kansas-Nebraska Act (1854), the Dred Scott decision (1857), and his debates with Senator Stephen A. Douglas (1858). I next look at President Lincoln’s interpretation of the Constitution in the Emancipation Proclamation (1863), his suspension of Habeas Corpus and, finally, his finest, briefest – and at the time highly controversial – Gettysburg Address.
Źródło:
Teoria Polityki; 2020, 4; 197-215
2543-7046
2544-0845
Pojawia się w:
Teoria Polityki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ojcostwo Abrahama w świetle tekstów patrystycznych
The Fatherhood of Abraham in the Light of Patristic Texts
Autorzy:
Basiuk, Maciej
Powiązania:
https://bibliotekanauki.pl/articles/1622862.pdf
Data publikacji:
2015-08-26
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II
Tematy:
Abraham
Ojcowie Kościoła
ojcostwo
Fathers of the Church
paternity/fatherhood
Opis:
Paternity of Abraham was very obvious in the biblical time. Israelites treated him as their father who was chosen by God. They believed next generation would be blessed because of God’s promise for Abraham. Also arising Christianity treated him as a progenitor. But a character of his paternity changed. Christians put an accent of his very strong faith instead of physical aspect of his fatherhood. Fathers’ of the Church teaching came in the same way, although they saw him also as an example of father in the physical aspect.
Źródło:
Verbum Vitae; 2011, 20; 207-221
1644-8561
2451-280X
Pojawia się w:
Verbum Vitae
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Die Apokalyptik als „Mutter aller christlichen Theologie“ – die Apokalyptik im Alten und Neuen Testament
Apocalypticism as the “Mother of Christianity” – Apocalypticism in the Old and New Testament
Autorzy:
Bayerle, Stefan
Powiązania:
https://bibliotekanauki.pl/articles/494506.pdf
Data publikacji:
2015
Wydawca:
Wydawnictwo Naukowe Chrześcijańskiej Akademii Teologicznej w Warszawie
Tematy:
Apocalypticism
Biblical Theology of the Old and New Testament
Book of Amos
Testament of Abraham
Eschatology
Prophetic and Apocalyptic Concepts of Judgment
Ernst Käsemann
Apokalyptik
Biblische Theologie
Amosbuch
Testament Abrahams
Eschatologie
Gerichtsvorstellungen
Opis:
Ancient Jewish Apocalypticism plays a major role within concepts of Biblical Theology. The way to consider apocalypticism within the debate on Biblical Theology requires an “open canon” that takes into account writings and data from outside the Old and New Testament. Both, apocalypticism and Biblical Theology, refer to a certain “structure,” inversion, that is closely related to the apocalyptic concept of “transcendence.” All in all, Käsemann’s famous sentence that “apocalypticism is the mother of all Christian theology” goes too far, but, nevertheless, reminds us on the importance of apocalypticism within the discussion on Biblical Theology.
Źródło:
Rocznik Teologiczny; 2015, 57, 4; 491-506
0239-2550
Pojawia się w:
Rocznik Teologiczny
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Architekt Abraham Würtzner (?). Przyczynek do dziejów wileńskiego baroku
Architect Abraham (Würtzner?). Contribution to the History of Vilnius Baroque
Autorzy:
Boberski, Wojciech
Powiązania:
https://bibliotekanauki.pl/articles/24567385.pdf
Data publikacji:
2021
Wydawca:
Polska Akademia Nauk. Instytut Sztuki PAN
Tematy:
Wilno
architektura
późny barok
wileńska odmiana architektury
Johann Christoph Glaubitz
Abraham Würtzner
Abraham Genu
dzwonnica kościoła Wszystkich Świętych w Wilnie
kościół karmelitów w Głębokiem
kościół pijarów w Łużkach
Vilnius
architecture
late Baroque
Vilnius architecture variant
bell tower of the Church of All Saints in Vilnius
Carmelite Church in Głębokie
Piarist Church at Łużki
Opis:
Artykuł jest próbą nakreślenia sylwetki architekta Abrahama, noszącego zapewne nazwisko Würtzner (przed 1700–1758).  Źródła archiwalne zaświadczają, że pochodził z „Krajów Cesarskich”. Prawdopodobnie miał syna Ignacego, również architekta, a także krewnego, złotnika Johanna, który przybył do Wilna z Lidzbarka Warmińskiego. Potwierdzają one ponadto udział architekta Abrahama w powstaniu większości dzieł krzewiących idee Borrominiego i Guariniego, a wiązanych ostatnio z Glaubitzem lub z „anonimowym włoskim architektem”. Był on zatem autorem niezwykłych karmelickich budowli w Wilnie i w Głębokiem, wybudował wieże kościoła dominikanów na Łukiszkach, a także oryginalny kościół kolegium pijarów w Łużkach nieopodal Głębokiego (1742). Budował również w Mińsku oraz w Nowogródku. Jakkolwiek nie ma bezpośrednich odniesień do konkretnych realizacji, indywidualny styl architekta Abrahama pozwala rozważać jego autorstwo wobec szeregu budowli zarówno na terenie Wilna (fasady kościoła wizytek i kościoła franciszkanów, kościół augustianów), Mińska (fasady kościoła dominikanów i kościoła bernardynów, wieża przed kolegium jezuitów) i Nowogródka (cerkiew zamkowa?), jak i na prowincji, np. kościół farny w Iwieńcu czy pałac Radziwiłłów w Zdzięciole (1729–1731?). 
As much as it is widely acknowledged that the Vilnius variant of late-Baroque architecture did not result as a slow development of the local tradition, but appeared suddenly after 1730, evolving stylistically for the next 40 years, two opposite views regarding its genesis have been clashing for almost a century. The first, and the still domineering one, represented in the publications by Stanisław Lorentz and Vladas Drema, saw the most important, possibly the only initiator and creator of the ‘school’ in Johann Christoph Glaubitz. Both scholars attributed to that unquestionably appreciated architect an impressive output containing over 60 pieces, including all the most outstanding works created both within his confirmed activity (1738–1767), before it, and even after his death. The sources of Glaubitz’s art have been sought after within the circle of architecture of the Imperial Countries, Bohemia, Austria, yet first and foremost in Silesia from where he most likely came. It was Marian Morelowski who promoted a contradictory view: he tried to diversify ‘Glaubitz’s’ hegemony, belittling the role of the artists with German-sounding names, and exposing that of the supposed Italians, Flemish, and native artists instead. When pointing to the Italian inspirations of Vilnius architecture of late Baroque, he emphasized the direct impact of the models by Borromini, Guarini, and Juvarra, as well as Pozzo and the Bibbienas working for the Habsburgs. Under the influence of Piotr Bohdziewicz’s suggestions at the time he seriously considered the possibility that the Vilnius style revolution may have been initiated by the architect Francesco Placidi active in Lesser Poland and his supposed disciples. The major premise for that attribution was the erroneous view which made Bohdziewicz attribute the unusual church in Kobyłka near Warsaw (1740–1746) to Placidi;  in its forms essential analogies with the early works of late-Baroque Vilnius ‘school’ of architecture were spotted. The Kobyłka Church also served as the key to the explanation of the genesis of the ‘school’ by Mariusz Karpowicz: he claimed that the groundworks for late Baroque in Vilnius were laid by Guido Antonio Longhi, later confirmed to have been the author of the church near Warsaw, while the work which played the role of the model was his design of the Uniate Cathedral of St Sophia in Połock from 1738, which actually anticipated the known activity of the architect. Since Longhi left the Polish-Lithuanian Commonwealth in 1749, Karpowicz attributed the most illustrious works of the Vilnius Baroque created after the mid-18th century to his supposed disciple Antonio Paracca of Castello, an architect affiliated to the Platers’ court in Krasław in Livonia. And thus, similarly as in the case of Glaubitz, a coherent and suggestive image was created, although obviously outlined only intuitively. Despite the fact that preliminary researches into archival materials conducted by Polish and Lithuanian scholars have allowed to bring forth profiles of other architects (Joannes Valentinus Tobias de Dyderszteyn, Józef Fontana ‘of Witebsk’, Johann Wilhelm Frezer, Tomasz Żebrowski SJ), while Jerzy Kowalczyk thoroughly  studied Guarini’s roots of late-Baroque architecture of Vilnius, the question of its initiators remains unclear. Still before the outbreak of WW II, Piotr Bohdziewicz and Marian Morelowski had distinguished three buildings whose dynamically undulating cornices  and protruding elevations were supposed to herald stylistic changes which occurred in Vilnius following the city’s fire in June 1737. The first was the Church of the Visitation Nuns whose construction launched in 1720 lasted for at least 20 years; the second was the belfry of the Calced Carmelites of All Saints dated from 1733–1743; the third being the Głębokie church of the Discalced Carmelites located 250 km south of Vilnius whose late-Baroque extension was to be completed with its consecration in 1735. When searching for the authors of those outstanding genuine pieces of architecture, focus was put on above-mentioned Francesco Placidi and his ‘school’, while in the case of the Głębokie towers the hypothesis was accepted that even a direct participation of his master may have taken place, namely that of Gaetano Chiaveri, designer of the Dresden Hofkirche. Having moved the dating, Stanisław Lorentz finally included all the three buildings in Glaubitz’s output, while Jerzy Kowalczyk created the concept of an ‘anonymous Italian architect’ (gently suggesting that Józef Fontatna, active within the Grand Duchy of Lithuania could have played that role), and extended the above-mentioned group by incorporating the undulating façade of the Dominican Church into it. The view on the activity of the anonymous Italian who ‘shyly’ promoted the ideas of Borromini and Guarini in Vilnius was shared by Mariusz Karpowicz, although he considered the façade of the Church of the Visitation Nuns to have been the work of Guido Antonio Longhi. Amidst that vivid academic debate, although not grounded in the sources, an exceptional view had been voiced still before WW II. Namely, owing to the similarity of ornamental motifs, Piotr Bohdziewicz pointed to the two towers of the façade of the Dominican Church of SS James and Philip at the Vilnius Łukiszki, concluding, however, that their author was less courageous in his artistic imagination than the authors of the three structures mentioned earlier. When Euzebiusz Łopaciński found among the invoices of the Łukiszki Dominicans the name of the architect Abraham who raised the towers of the Church of SS James and Philip in 1743–1746, Marian Morelowski, although not avoiding a question mark, attributed to this newly-discovered ‘representative of Placidi’s school’ all the works from the above-mentioned group (and several new ones as well), but also for some incomprehensible reasons (since not grounded in the mentioned invoices) he named him ‘Genu’, suggesting his descent from the Republic of Venice. The latter was, by no means, a fictitious personage, since at least as of 1727 until his death in 1769, there lived in Vilnius Abraham Antoni Genu (Żena, Genou). Finally, he turned out to have been a Frenchman. He participated in numerous celebrations of the Brotherhood of St Martin, which grouped German artists, craftsmen, and merchants living in Vilnius around the Church of the Jesuit Novitiate.  An affluent individual, he was buried in the Carmelite Church: his two tenement houses were located nearby. However, the only unknown is his profession. There are no such doubts with regard to another member of that Brotherhood Abraham Würtzner (Werthner), present in it from 1728, who died 30 years later. It is known that in 1741, an architect and a Vilnius citizen as well, he designed (unpreserved) brick stucco altars and the music gallery in the Corpus Christi Chapel in the Jesuit Church of St John. For the moment it is the only architect’s name recorded in the course of creating an impressive set of stucco altars inside the Church: a breakthrough artistic project in the art of the Vilnius of the day. Although Glaubitz, employed to renovate the Chapel of St Barbara (of the goldsmiths) and of the Annunciation of Our Lady had appeared there earlier (1739–1740), he was merely a ‘magister murarius’, working under architect’s supervision, and a stuccoist. The paper attempts at outlining the profile of the architect Abraham, possibly bearing the name of Würtzner (before 1700–1758).  Archival sources testify that he came from ‘Imperial Countries’. He most likely had a son Ignacy, an architect as well, but also a relative Johann, a goldsmith, who came to Vilnius from Lidzbark Warmiński  and died in 1757. Furthermore, the sources confirm the participation of the architect Abraham in the creation of the majority of works promoting the ideas of Borromini and Guarini,  previously attributed to Placidi, Glaubitz, or the ‘anonymous Italian architect’. Abraham thus authored  the unusual belfry of the Calced Carmelite Church of all Saints in Vilnius, the extension of the Carmelite Church in Głębokie; he raised the towers of the Łukiszki Dominican Church, and the genuine church of the Piarist College at Łużki near Głębokie (1742). Furthermore, he raised some edifices in Minsk and Nowogródek. Despite any direct references lacking with respect to definite projects, his genuine style allows to attribute to him the authorship of a number  of structures in Vilnius itself (façades of the Churches of the Visitation Nuns, the Franciscans, and of the Augustines), in Minsk (façades of the Dominican and Bernardine Churches, the tower in front of the Jesuit College), and Nowogródek (Uniate Church at the Castle?), as well as in the provinces, e.g., the Iwieniec Parish Church or the Zdzięcioł Palace of the Radziwiłłs (1729–1731?).  The assumed chronology of several of the above architectural works requires verification and specification, however, the collected material justifies the conclusion that next to Johann Christoph Glaubitz it was Abraham (Würtzner?) who played a leading role in the early period of the formation of ‘Vilnius Baroque’ in which the caesura was formed by the next fire in the city in 1749, and the inflow of new artists following it.
Źródło:
Biuletyn Historii Sztuki; 2021, 83, 3; 645-682
0006-3967
2719-4612
Pojawia się w:
Biuletyn Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Teatr żydowski w świetle «Izraelity» w latach 1883–1905
Yiddish Theater in the Light of «Izraelita» in the Years 1883–1905
Autorzy:
Bułat, Mirosława
Powiązania:
https://bibliotekanauki.pl/articles/30146920.pdf
Data publikacji:
1992-12-30
Wydawca:
Polska Akademia Nauk. Instytut Sztuki PAN
Tematy:
prasa żydowska
żargon
tygodnik Izraelita
Abraham Goldfaden
Jakub Adler
teatr żydowski w Polsce
Jewish press
jargon
Izraelita weekly
Yiddish theater in Poland
Opis:
W artykule omówione zostały wszystkie artykuły i wzmianki o teatrze żydowskim, które ukazywały się w polskojęzycznym czasopiśmie żydowskim „Izraelita” po zakazie wystawiania spektakli w jidysz. Autorka dzieli materiał tematycznie, pisze o konsekwencjach zakazu wystawiania spektakli w języku jidysz wydanym w 1883 roku, o roli języka jidysz w społeczności żydowskiej, o dyskusjach nad racją bytu teatru w tym języku i o propozycjach zastąpienia go różnymi formami działalności edukacyjnej. Omawia występy zespołów teatralnych jidysz według ich lokalizacji: w Warszawie, Lublinie, Łodzi oraz w podróżach poza granicami Polski. Na koniec przedstawia bardziej ogólne, biograficzne lub analityczne artykuły publikowane w „Izraelicie”. Analiza przeprowadzona w artykule potwierdza, że materiały publikowane w „Izraelicie” poszerzają naszą wiedzę o teatrze jidysz w latach1883–1905, a także o przeważnie przyjaznych relacjach między ówczesnymi wędrownymi teatrami żydowskimi i polskimi.
This article concerns all references to Yiddish theater in the Polish-language Jewish periodical Izraelita which had been printed after the banning of performances in Yiddish. The author divides the material according to subject: the consequences of the ban on Yiddish performances issued in 1883, the role of the Yiddish language in the Jewish community, discussions on the raison d'etre of theater in this language and proposals of replacing it with other forms of educational activity. The performances of Yiddish theater troupes are discussed according to their location: Warsaw, Lublin, Łodź and their voyages outside Poland. Finally the author discusses more general, biographical or analytical articles published in Izraelita. The analysis presented in the article confirms that the materials printed in Izraelita contribute much to our knowledge about Yiddish theaters of the period 1883–1905, and also about their often friendly coexistence with travelling Polish troupes.
Źródło:
Pamiętnik Teatralny; 1992, 41, 1/4; 77-126
0031-0522
2658-2899
Pojawia się w:
Pamiętnik Teatralny
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Barokowy twórca średniowiecznej przeszłości miast Germanii Słowiańskiej (nieco o społecznych funkcjach historii regionalnej i potrzebie jej modyfikacji)
The Baroque author of the medieval past of Slavic Germanic cities (a piece on the social functions of regional history and the need of modification thereof)
Autorzy:
Cetwiński, Marek
Powiązania:
https://bibliotekanauki.pl/articles/28409719.pdf
Data publikacji:
2024-03-31
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
Slavic Germania
historical writing
regional history
Abraham Hosemann
history of cities and towns in Lusatia and Silesia
Germania Słowiańska
pisarstwo historyczne
dziejopisarstwo regionalne
historia miast i miasteczek Łużyc i Śląska
Opis:
Historical writing often borders on non-fiction and novelistic fiction. The sparse source base is sometimes supplemented by the imagination of the historian him/herself. The critical scholar confines him/herself to demonstrating that an impressive mixture of legendary themes, folk tales and popular beliefs make up a „mythologised or falsified picture of the past”. The goal is simply to decide who is writing, for whom and for what purpose?
Źródło:
Historia Slavorum Occidentis; 2024, 1(40); 154-163
2084-1213
Pojawia się w:
Historia Slavorum Occidentis
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kontrakt z Henrykiem (Heinrichem) Küntzowem z 1634 roku na ołtarz główny do katedry wileńskiej – cenne źródło z rozproszonego Archiwum Katedralnego do jej barokowego wystroju
Autorzy:
Czyż, Anna Sylwia
Powiązania:
https://bibliotekanauki.pl/articles/33339224.pdf
Data publikacji:
2023
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II
Tematy:
Vilnius
cathedral
Henryk Küntzow
Bishop Abraham Voina
canons of Vilnius
Wilno
katedra
bp Abraham Woyna
kanonicy wileńscy
Opis:
Artykuł przytacza cenne źródło do wczesnobarokowego, niezachowanego wystroju katedry wileńskiej, które zostało zniszczone w 1655 roku, kiedy rozpoczęła się pięcioletnia okupacja Wilna przez wojska moskiewskie. Twórcą ołtarza, który został ściśle dopasowany do gotyckiego prezbiterium, był snycerz z Nieświeża Henryk Küntzow. Wykonał on ołtarz wukondygnacyjny i pozłacany, zapewne oparty o schemat łuku triumfalnego. Powstanie takiej struktury z jednej strony wiązało się z przemianami we wnętrzach świątyń w duchu kontrreformacji, a z drugiej strony wpisywało się w doposażanie katedry wileńskiej przed uroczystościami przeniesienia relikwii św. Kazimierza do nowo wzniesionej kaplicy – sanktuarium (1636).
The article cites a valuable source for the early-Baroque, unpreserved decoration of Vilnius Cathedral, which was destroyed in 1655, when the five-year occupation of Vilnius by Moscow troops began. The creator of the altarpiece, which was visually matched to the Gothic chancel, was a woodcarver from Nyasvizh, Henryk Küntzow. He made a two-tiered, gilded altarpiece, probably based on the scheme of a triumphal arch. The creation of such a structure, on the one hand, was associated with changes in the interiors of churches in the spirit of the Counter-Reformation, and on the other hand, was part of the retrofitting of the Vilnius Cathedral prior to the celebration of the transfer of the relics of St Casimir to the newly erected chapel-sanctuary (1636).
Źródło:
Archiwa, Biblioteki i Muzea Kościelne; 2023, 121; 57-68
0518-3766
2545-3491
Pojawia się w:
Archiwa, Biblioteki i Muzea Kościelne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
A Critical Acclaim of Lewis’s Sociological Theory of Ecstasy. Towards an Integrative
Autorzy:
Deecke, Moritz
Powiązania:
https://bibliotekanauki.pl/articles/641045.pdf
Data publikacji:
2012
Wydawca:
Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Tematy:
ecstasy
trance
comparative religion
mysticism
shamanism
integrative model
Abraham Maslow
Ioan Myrddin Lewis
Opis:
This article provides the first step of a threefold argument on why an integrative model for theorizing ecstasy is necessary and how this could be accomplished. This article sets out with some preliminary epistemological remarks on normativity and religious experience as a legitimate object of inquiry that have to be made in order to prepare the larger argument. Afterwards I.M. Lewis’s sociological theory of ecstasy will be outlined and its numerous advantages pointed out. The strength of the theory lies mainly in explaining ecstasy in highly hierarchical societies and in those cases where it occurs in connection with material gain. It fails however to be applicable in situations when the subjects do not achieve or aim at achieving improvement of their material or societal statuses, but quite contrarily (and gladly) give up possessions and positions. The same applies for social structures where a high degree of equality has been achieved and ecstasy or ecstatic spiritpossession does not have to function as a releasing remedy for social tensions. These cases of ecstasy can better be explained by theories that could be called “psychological”, or even “psychotheological”, that will be discussed in the next paper.
Źródło:
Studia Religiologica; 2012, 45, 4; 283-292
0137-2432
2084-4077
Pojawia się w:
Studia Religiologica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
A Critical Assessment of Psychological Theories of Ecstasy. Towards an Integrative Model for Theorising Ecstasy
Autorzy:
Deecke, Moritz
Powiązania:
https://bibliotekanauki.pl/articles/641037.pdf
Data publikacji:
2013-06-20
Wydawca:
Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Tematy:
Martin Buber
Abraham Maslow
Teresa of Avila
ecstasy
trance
spirit-possession
integral theory
integrative model
psychology of religion
Opis:
In this article a number of approaches toward ecstasy or ecstatic spirit possession are explored that take a decisively non-sociological approach to the subject. They stress the importance of acknowledging ecstasy and related phenomena not as by-products of social struggle but as actual experiences that are events with meaning and importance in the biographies of those who experience them. Some of these are psychological theories (exemplified by Abraham Maslow), some are theological (Teresa of Ávila), and some stand in between (Martin Buber). These psycho-theological theories contribute to understanding ecstasy and have to be taken into account. Emphasised at the end of the article is the need to reconcile these views with the seemingly contradictory theories of ecstasy such as that of Lewis.
Źródło:
Studia Religiologica; 2013, 46, 1; 45-53
0137-2432
2084-4077
Pojawia się w:
Studia Religiologica
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 132

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