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Tytuł:
Chrystocentryzm alegorii chrześcijańskiej w starożytnej hermeneutyce biblijnej
Autorzy:
Paciorek, Antoni
Powiązania:
https://bibliotekanauki.pl/articles/1177954.pdf
Data publikacji:
1997
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II
Tematy:
alegoria
hermeneutyka
allegory
hermeneutics
Opis:
Der Aufsatz betrifft die in dem Altertum von christlichen und nichtchristlichen Autoren benutzte Allegorie. Die christliche Allegorie ist aber gar nicht dieselbe wie bei den anderen (heidniche Philosophie, Philo). De Unterschied besteht in Annahme der Historizität der betreffenden Aussagen, vor allem der in der Annahme der entscheidenden Bedeutung Christi für das Verstehen der ganzen alttestamentlichen Geschichte. Im Horizont der Hermeneutikprinzipien von Origenes ist das besonders überzeugend. Eben diese Hermenutikprinzipien lassen verstehen, wie weit die allegorische Interpretation in der Gesamtheit der alexandrinischen Exegese eingebaut ist.
Źródło:
The Biblical Annals; 1997, 44, 1; 29-42
2083-2222
2451-2168
Pojawia się w:
The Biblical Annals
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Canon Missae in Rupert of Deutz O.S.B.’S. Allegorical Interpretation
Autorzy:
Pałęcki, Waldemar
Powiązania:
https://bibliotekanauki.pl/articles/2036375.pdf
Data publikacji:
2018
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
liturgy
allegory
Canon Missae
Eucharist
Opis:
At the heart of the celebration of the Eucharist is the Eucharistic Prayer, during which the mystery of Christ is made present. In the Latin liturgy of the Western Church, for centuries the priest always recited the same Eucharistic Prayer at the Holy Mass from the Roman Canon. This oldest liturgical text was built symmetrically around the words of the institution that Jesus spoke over the bread and wine. The structure of the Canon itself was shaped over several centuries, but the proper arrangement was known already in the 7th and 8th centuries. The Canon of the Mass has been for centuries the basis for the theological interpretation of individual texts, gestures and signs. Particularly since the Middle Ages, they were explained on the basis of their allegorical interpretation. This way of interpreting the Mass was known since the 8th century and consisted of a moralizing, typological, commemorative, eschatic and an anagogical presentation of all liturgical rites. The treatise Liber de divinis officiis by Rupert of Deutz is one of the most important texts dedicated to the liturgy in the Middle Ages. Rupert of Deutz explained the celebrations of the Mass in the second book of his work. In the first place, he points to the Passion’s interpretation in the Canon, from the moment Jesus entered Jerusalem to His body being placed in the grave. The Passion is also emphasized by the sign of the cross made by the priest at the time of the Canon, which symbolizes the wounds of Christ. The allegorical interpretation of the Mass Canon, made by Rupert of Deutz, is part of the theological tradition of the Middle Ages. Although he did not discuss all of the texts in the Canon, he did interpret its essential parts.
Źródło:
Roczniki Teologiczne; 2018, 65, 8 English Online Version; 75-93
2353-7272
Pojawia się w:
Roczniki Teologiczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Styl językowy poezji Zbigniewa Herberta
Language Style of Zbigniew Herberts Poetry
Autorzy:
Skubalanka, Teresa
Powiązania:
https://bibliotekanauki.pl/articles/953665.pdf
Data publikacji:
2008-12-31
Wydawca:
Uniwersytet Opolski
Tematy:
poetry styles
Zbigniew Herbert
allegory
irony
Opis:
The linguistic analysis of Zbigniew Herbert’s style of poetry leads to the conclusion that the poet’s innovativeness relates mainly to semantics and syntax. The basic stylistic category of his works is his allegorisation. Besides, there are found the following as well: antropomorphisation, personification, a symbol (of a particularly flashing meaning), trans-categorial metaphor connecting the spheres of abstract and reality as well as irony. His style connections with the scientific style and colloquial style belong to the very few pieces of evidence for a linguistic stylisation.
Źródło:
Stylistyka; 2008, 17; 49-76
1230-2287
2545-1669
Pojawia się w:
Stylistyka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Relation between the Spiritual and the Aesthetic in the Poetry of Daniel Pastirčák
Autorzy:
Andričík, Marián
Powiązania:
https://bibliotekanauki.pl/articles/951929.pdf
Data publikacji:
2013
Wydawca:
Fundacja Naukowa Katolików Eschaton
Tematy:
spiritual poetry
mysticism
allegory
Gospel
reception
Opis:
The aim of the study is to present the poetry of Daniel Pastirčák, one of the most prominent spiritual poets in the contemporary Slovak literature. Through interpretation of his four book of verse, we attempt to name dominant features of his poetry. A thread of spiritual poetry can be seen since Old Slavonic literature, particularly St. Cyril’s foreword to his translation of the Gospels called Proglas. Since then, every period of literary history had active priests engaged in writing poetry, and a short survey of most important names is given in this study. We tackle general problems of writing spiritual poetry, especially the tension between its theological and poetic aspect. A good way to overcome this threatening imbalance is either the use of original imagery or particular human experience with faith as is shown in Pastirčák’s best poems. His philosophical and meditative poetry emphasizes the unity of the world, of man and nature, of earthly and divine. The speaker can see dualism in both: man and the world, combining it with the cyclical conception of time. He proves what is typical of good poetry and literature entirely: that they are able to point to spiritual values indirectly not only by their invocation. The Christian character of Pastirčák’s poetry is supported by his frequent references to the Bible, either direct quotations or paraphrases, or allusions. The diction of many of his poems, mainly in his first book of verse Tehilim, is biblical, too. We try to support our conclusions with quotations of particular poems or their extracts in English translation. The overall ambition of this study is the attempt to offer a relatively complex view upon Daniel Pastirčák as a poet, which, we hope, will contribute to the reception of spiritual poetry in Slovak literature.
Źródło:
Religious and Sacred Poetry: An International Quarterly of Religion, Culture and Education; 2013, 3(3); 91-102
2299-9922
Pojawia się w:
Religious and Sacred Poetry: An International Quarterly of Religion, Culture and Education
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Myśl Orygenesa. Metodologiczne intuicje dla współczesnych teologów
Origen’s thought. Some methodological remarks for contemporary theologians
Autorzy:
Składanowski, Marcin
Powiązania:
https://bibliotekanauki.pl/articles/2165784.pdf
Data publikacji:
2013-12
Wydawca:
Wyższe Seminarium Duchowne Diecezji Elbląskiej w Elblągu
Tematy:
Origen
Bible
exegesis
allegory
theological methodology
Opis:
This article presents some elements of the Alexandrian pre-Nicene theology, and especially Origen’s theological thought. This is not a comprehensive analysis from the perspective of patristics. The article’s aim is to present some significant methodological insights resulting from Origen’s theology. In his way of dealing with theology there are several outdated ideas related to the Hellenistic cultural context and to Platonic philosophy. Origen’s thought, however, also presents many ideas which are relevant to contemporary theological methodology: priority of Holy Scripture, christological reading of the Bible and the recognition of the holiness of Scripture which exceeds all human intellectual capacity.
Źródło:
Studia Elbląskie; 2013, 14; 151-164
1507-9058
Pojawia się w:
Studia Elbląskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Leśmian: Ja i Inny
Leśmian: “I” and the “Other”
Autorzy:
Czabanowska-Wróbel, Anna
Powiązania:
https://bibliotekanauki.pl/articles/1535465.pdf
Data publikacji:
2009-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Leśmian
parable
allegory
philosophy of dialogue
Other
Opis:
Leśmian’s poems, those that can be treated as parables with the thirdperson narrator and a given plot and those written with the lyrical I and straightforward narrative, include a dominant and premeditated anthropological conception. Leśmian is intrigued by the relation between an individual and other people. The relation is conducive, or even essential, in the spiritual survival of the individual, and is often described as a “salvation”. The relevant issues can be interpreted within the language of the philosophy of dialogue, including the philosophy of Emmanuel Lévinas, though the latter cannot be obviously treated in terms of decisive influence. The space where the ethical dimension of the interpersonal relations is revealed is namely love towards the closest pesons, it is followed by the encounter with other people, and finally the encounter with radical otherness, with what is, beyond the very experience of humanity, different — with a suffering animal. In Leśmian’s poetical output, in which the ontological and epistemological dimensions are so important, it is rather the ethical dimension that becomes prominent. This dimension, often neglected by researches of the poet’s rich and versified output, quite unexpectedly seems to come down to some absolutely fundamental ethical imperatives: to love and keep in mind that one should not hurt or kill with words or deeds.
Źródło:
Poznańskie Studia Polonistyczne. Seria Literacka; 2009, 16; 11-28
1233-8680
2450-4947
Pojawia się w:
Poznańskie Studia Polonistyczne. Seria Literacka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Podwójny splot. Norwida poetyka myślenia otwartego
Double Weave. Norwid’s Poetics of Open Thinking
Autorzy:
Zwierzyński, Leszek Marian
Powiązania:
https://bibliotekanauki.pl/articles/2129165.pdf
Data publikacji:
2022-06-12
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
Cyprian Norwid
alegoria
symbol
epifania
allegory
epiphany
Opis:
Artykuł jest opisem mechanizmu w poezji Norwida zapewniającego precyzję i charakter otwarty myśleniu w niej rozwijanemu. Służąca temu celowi, skonstruowana przez poetę, podwójna figura poetycka zostaje zbadana zmodyfikowaną metodą krytyki tematycznej. Pierwszą fazę figury stanowi nowoczesna alegoria umożliwiająca, dzięki swym dwóm metonimicznie połączonym poziomom, skuteczne diagnozowanie zjawisk świata nowoczesnego. Wysiłek myślowo-wyobraźniowy wierszy nie zatrzymuje się jednak w granicach przestrzeni nowoczesnego świata; wypracowują one na bazie alegorii symbol otwierający myślenie poetyckie Norwida na niewyrażalne. Nie jest ono tu jednak ujęte w kształt teologiczny, lecz dane jako fenomen bezpośredniego doświadczenia − epifania.
The article describes a mechanism employed in Norwid’s poetry that permits precision and openness in reflecting on his poetry. In order to achieve that, Norwid introduces a double stylistic device which is examined by means of an alternative method of thematic criticism. The first stage of this stylistic device is constituted by a modern allegory which recognises manifestations of the contemporary world; it proves effective due to its two interrelated metonymic levels. However, the entire process of thinking effort that takes place in the poems does not stop within the limits of the contemporary world. The poems develop a symbol on the grounds of this allegory and open Norwid’s poetic thinking to the ‘inexpressible’. This thinking does not bear any theological stamps, it is granted as an absolutely remarkable straightforward experience that is epiphany.
Źródło:
Prace Filologiczne. Literaturoznawstwo; 2022, 12 (15); 317-336
2084-6045
2658-2503
Pojawia się w:
Prace Filologiczne. Literaturoznawstwo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The allegorical sense of Gregory the Great’s commentary on the Song of Songs
Autorzy:
Kasprzak, Dariusz
Powiązania:
https://bibliotekanauki.pl/articles/669529.pdf
Data publikacji:
2012
Wydawca:
Uniwersytet Papieski Jana Pawła II w Krakowie
Tematy:
Allegory
Gregory the Great
Song of Songs
sense
Opis:
Gregory the Great in his Expositio in Canticis Canticorum, created between the years 594 or 595 and 598, ends the patristic tradition of allegorical commentaries on Sg. We are not in the possession of the complete text of Gregory’s commentary, as the text of the Pope’s interpretations finishes at Sg 1 : 8. The text of the commentary as we have it at present shows some signs of a revision made by Gregory I himself and has features characteristic of the original oral version of the text. The comparative study of Origen’s and Gregory’s commentaries shows that Pope Gregory I was familiar with Origen’s homilies and commentary on Sg and used his writings while working on his own text, but only sparingly. Gregory I undoubtedly took from Origen the general approach, some phrases, and at times the way in which exegesis of a certain extract was executed. Gregory discussed the biblical text in accordance with the principles of intellectual, parenetic and pastoral interpretation. The primary interest of the Pope was to extract the spiritual-mystical meaning of the text, and the allegorical interpretation is supposed to help man read the biblical text so that he can love God and follow Him. The allegorical reading of Sg, and actually of the whole Bible as well, should consequently kindle the love of God in man and fill him with thoughts of God. Gregory I recommends a spiritual-ascetic reading of the Bible: the reader is supposed to change his habits for the better, be able to alienate himself ascetically from the surrounding world, and in this way acquire contemplation of Godly matters.
Gregory the Great in his Expositio in Canticis Canticorum, created between the years 594 or 595 and 598, ends the patristic tradition of allegorical commentaries on Sg. We are not in the possession of the complete text of Gregory’s commentary, as the text of the Pope’s interpretations finishes at Sg 1 : 8. The text of the commentary as we have it at present shows some signs of a revision made by Gregory I himself and has features characteristic of the original oral version of the text. The comparative study of Origen’s and Gregory’s commentaries shows that Pope Gregory I was familiar with Origen’s homilies and commentary on Sg and used his writings while working on his own text, but only sparingly. Gregory I undoubtedly took from Origen the general approach, some phrases, and at times the way in which exegesis of a certain extract was executed. Gregory discussed the biblical text in accordance with the principles of intellectual, parenetic and pastoral interpretation. The primary interest of the Pope was to extract the spiritual-mystical meaning of the text, and the allegorical interpretation is supposed to help man read the biblical text so that he can love God and follow Him. The allegorical reading of Sg, and actually of the whole Bible as well, should consequently kindle the love of God in man and fill him with thoughts of God. Gregory I recommends a spiritual-ascetic reading of the Bible: the reader is supposed to change his habits for the better, be able to alienate himself ascetically from the surrounding world, and in this way acquire contemplation of Godly matters.
Źródło:
Analecta Cracoviensia; 2012, 44
2391-6842
0209-0864
Pojawia się w:
Analecta Cracoviensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Z horroru w horror. Alegoryczność literackich narracji zom-biecentrycznych w perspektywie politycznej, społecznej i ekonomicznej
From horror to horror. Allegorical nature of zombie-centred literary narratives in political, economic, and social perspective
Autorzy:
Olkusz, Ksenia
Powiązania:
https://bibliotekanauki.pl/articles/2012644.pdf
Data publikacji:
2016-06-01
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
zombie
alegoria
literatura
ekonomia
horror
allegory
literature
economy
Opis:
The current vogue for zombie is spreading. The zombie pandemic has affected various dimensions of human life manifesting itself in the sphere of entertainment as well as in economic and social discourse. The epidemic character of this term can be noticed in the language usage, in which it has become a catch-all which signifies a person whose appearance, lack of physical coordination and emotional numbness constitute an opportunity to be compared to a walking dead. Anthropophagy, which has become a part of the zombie topos, seems to have many different meanings that refer not only to a cultural taboo, but also to some external aspects which can be defined as a prefiguration of corporations craving for profits, banks devouring borrowers or immigrants rushing at the gates of alleged European paradise. The theme of zombie may also appear in a psychological and sociological perspective. It can be related to such phobias of civilization as economic collapse, disintegration of human relationships and state structures, or global development of corporation-based system. All these elements make up an allegoric meaning of zombie characters and provoke reflection on how the artistic potential of this theme can be exploited.
Źródło:
Prace Filologiczne. Literaturoznawstwo; 2016, 6(9); 171-186
2084-6045
2658-2503
Pojawia się w:
Prace Filologiczne. Literaturoznawstwo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Sull’allegoresi simbolica del primo pitagorismo
On Symbolic Allegoresis of the First Pythagoreans
Autorzy:
Domaradzki, Mikołaj
Powiązania:
https://bibliotekanauki.pl/articles/938307.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Pythagoras
the Pythagoreans
symbol
allegory
allegoresis
mythology
poetry
Opis:
The present paper argues that the early Pythagoreans contributed significantly to the development of ancient hermeneutics. The article builds on the assumption that even if the thinkers did not deal with allegoresis directly, the very manner of articulating their thought was, nevertheless, quite conducive to the growth of allegorical interpretation. Thus, at least indirectly, Pythagoreanism must have played an important role in the development of allegoresis. The paper identifies two crucial aspects of Pythagorean influence on the allegorical tradition. Firstly, the Pythagoreans made a very specific use of the poetry of Homer and Hesiod as well as of the traditional mythology in general. Secondly, the teachings of Pythagoras were expressed in terms of various ambiguous symbols that required special exegesis. Both these factors must have contributed considerably to the development of allegoresis: the idiosyncratic use of conventional mythology, on the one hand, and the enigmatic nature of the Pythagorean symbols, on the other, must have provoked extensive search for the latent (i.e., “allegorical”) meaning of the “messages” in question.
Źródło:
Peitho. Examina Antiqua; 2013, 4, 1; 93-104
2082-7539
Pojawia się w:
Peitho. Examina Antiqua
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Барокові проповіді Іоаникія Галятовського
Baroque Sermons by Ioаniki Galytovsky
Autorzy:
Savenko, Oksana
Powiązania:
https://bibliotekanauki.pl/articles/2154615.pdf
Data publikacji:
2019-12-10
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
sermon
Baroque
allegory
symbol
antithesis
style
gospel plots
Opis:
The article deals with some of the sermons of a Ukrainian writer, preacher, and cultural figure, Ioаnikii Galytovsky, as characteristic Baroque works. The sermon belongs to traditional genres of ancient Ukrainian literature with a set of predominantly medieval style topoi and stereotypes. However, in Galytovsky’s creative practice, the transformation of the genre under the influence of Baroque is noticeable. Belonging to this style has provided not only a change of narrative strategy but above all of stylistic means. Galytovsky creates distinctive allegories, symbols, comparisons, and antitheses which characterise his Baroque style. He resorted to characteristic Baroque amplifications and emblematic images. The writer was able to revive the old form of traditional sermon with the Baroque stylistic technique, as a result of which he managed to dramatise the gospel plots, thus being able to exert the expected impact on recipients with the help of a suggestion.
Źródło:
Studia Polsko-Ukraińskie; 2019, 6; 147-158
2353-5644
2451-2958
Pojawia się w:
Studia Polsko-Ukraińskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Библейские образы в апокрифической литературе (на примере апокрифа „Хождение Агапия в рай”)
Biblical images in the apocryphal literature – a case study of the Apocrypha The Journey of Agapius to Paradise
Biblejskie obrazy v apokrifičeskoj literature (na primere apokrifa „Hoždenie Agapiâ v raj”)
Autorzy:
Vorobʹeva, Svetlana N.
Selezneva, Larisa V.
Powiązania:
https://bibliotekanauki.pl/articles/1203030.pdf
Data publikacji:
2020-12-19
Wydawca:
Uniwersytet Opolski
Tematy:
Apocrypha
allegory
biblical image
discourse
symbol
God
chronotope
Opis:
The authors analyze the biblical images that are used in the Apocrypha The Journey of Agapius to Paradise. Apocrypha is a genre that is, as it were, on the periphery of religious discourse. This is due to the fact that they do not perform the actual liturgical functions, and, despite their religious content, belong to non-canonical works that the Church does not recognize as Sacred. Therefore, the Apocrypha is not included in the register and is not considered a rule of faith and piety for believers, like the texts of the Old and New Testaments. The authors use an allegorical way of interpreting the text. It allows revealing the symbolic meaning of the biblical images in the Apocrypha. Biblical images are an important component of religious discourse. Religious values, values of faith are transmitted through them in a direct or veiled form. The main idea of the gospel transmitted through the imagery and specific language-understanding life’s journey as the path to the Kingdom of heaven, which lies over either the monastery or through the desert, through many feats of restraint of the flesh. This formed the idea of asceticism as a form of rejection of earthly reality with its orders, temptations and delusions. The architectonics of the work is formed by the chronotope of the road. On the road the paths of different characters cross. The motive of the meeting plays a leading role in religious discourse.  The Apocrypha The Journey of Agapius to Paradise is based on the seven meetings of Agapius, which are the organizational centers of the main events. The motive of the meeting intersects with the motive of the Epiphany in different guises: during the journey Agapius encounters on his way an eagle, a child, 12 Apostles, the Lord, prophet Elijah. Due to these images, the metaphorization of the way-road is filled with a new meaning (“the road to God”, “the road to Paradise”, “the path of spiritual transformation”) and its chronotopic value is expanded.
Źródło:
Stylistyka; 2020, 29; 179-197
1230-2287
2545-1669
Pojawia się w:
Stylistyka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Canon Missae w alegorycznej interpretacji Ruperta z Deutz OSB
Allegorical Interpretation of Canon Missae by Rupert from Deutz, O.S.B
Autorzy:
Pałęcki, Waldemar
Powiązania:
https://bibliotekanauki.pl/articles/2036492.pdf
Data publikacji:
2018
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
liturgia
alegoria
Canon Missae
Eucharystia
liturgy
allegory
Eucharist
Opis:
W centrum celebracji Eucharystii znajduje się Modlitwa eucharystyczna, w czasie której dokonuje się uobecnienie misterium Chrystusa. W liturgii łacińskiej Kościoła zachodniego przez wieki kapłan odmawiał we Mszy św. zawsze tę samą Modlitwę eucharystyczną – Kanon Rzymski. Ten najstarszy tekst liturgiczny został zbudowany symetrycznie wokół słów ustanowienia, które wypowiedział Jezus nad chlebem i winem. Sama struktura Kanonu kształtowała się przez kilka wieków, ale właściwy układ znany był już w VII/VIII wieku. Kanon Mszy św. stanowił od wieków podstawę do interpretacji teologicznej poszczególnych tekstów, gestów i znaków. Zwłaszcza od średniowiecza wyjaśniano je w oparciu o ich alegoryczną interpretację. Ta forma wykładni Mszy św. była znana od VIII wieku i polegała na ukazywaniu moralizującym, typologicznym, rememoratywnym, eschatycznym i anagogicznym wszystkich obrzędów liturgicznych. Traktat Liber de divinis officiis Ruperta z Deutz stanowi jeden z ważniejszych tekstów poświęconych liturgii w dobie średniowiecza. W księdze drugiej swego dzieła wyjaśnił on celebracje Mszy św. Na pierwszym miejscu Rupert wskazuje na interpretację pasyjną Kanonu od momentu wjazdu Jezusa do Jerozolimy aż do złożenia Jego ciała do grobu. Pasyjny charakter podkreślają również znaki krzyża, kreślone przez kapłana w czasie Kanonu, które mają symbolizować rany Chrystusa. Interpretacja alegoryczna Kanonu mszalnego, dokonana przez Ruperta z Deutz, wpisuje się w tradycję teologiczną epoki średniowiecza. Chociaż nie omówił on wszystkich tekstów występujących w Kanonie, to jednak dokonał interpretacji istotnych jego części.
At the heart of the celebration of the Eucharist is the Eucharistic Prayer, during which the mystery of Christ is made present. In the Latin liturgy of the Western Church, for centuries the priest has always said the same Eucharistic Prayer at the Holy Mass—the Roman Canon. This oldest liturgical text was built symmetrically around the words of the institution that Jesus spoke over bread and wine. The structure of the Canon itself was shaped for several centuries, but the proper arrangement was known already in the 7th/8th century. The Canon of the Mass has been for centuries the basis for theological interpretation of individual texts, gestures and signs. Especially since the Middle Ages, they were explained on the basis of their allegorical interpretation. This form of interpretation of the Mass it was known since the 8th century and consisted in a moralizing, typological, rememorative, eschatic and anagogical showing all liturgical rites. The Treaty Liber de divinis officiis by Rupert from Deutz is one of the most important texts dedicated to liturgy in the Middle Ages. Rupert Deutz explained the celebrations of the Mass in the second book of his work. In the first place, he points to the Passion interpretation of the Canon from the moment Jesus entered Jerusalem to put His body in the grave. The Passion is also emphasized by the signs of the cross, drawn by the priest at the time of the Canon—they are to symbolize the wounds of Christ. The allegorical interpretation of the Mass Canon, made by Rupert from Deutz, is part of the theological tradition of the Middle Ages. Although he did not discuss all of the texts in the Canon, he did interpret his essential parts.
Źródło:
Roczniki Teologiczne; 2018, 65, 8; 107-124
2353-7272
Pojawia się w:
Roczniki Teologiczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Alegoria Melancholii w rondach Karola Orleańskiego (XV wiek)
Allegory of Melancholy in rondeaux of Charles dOrléans (15th century)
Autorzy:
Gęsicka, Anna
Powiązania:
https://bibliotekanauki.pl/articles/2012654.pdf
Data publikacji:
2016-06-01
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
allegory
melancholy
Karol Orleański
rondo
Charles d’Orléans
rondeau
Opis:
In the Middle Ages, allegory is a way of perceiving the world.  Allegory is also an important figure of speech in late medieval lyric poetry. The subject of the analysis is the psychological aspect of the use of allegory of Melancholy in rondeaux by French poet of the fifteenth century, Charles d'Orléans. In the allegorical descriptions of depression, one may extract five types of reaction of persona: 1. Revolt – decision not to give up, 2. Search for consolation, 3. Total submission to melancholy, 4. Complaint, 5. Specification of an objective impact of Melancholy on human beings.
Źródło:
Prace Filologiczne. Literaturoznawstwo; 2016, 6(9); 365-375
2084-6045
2658-2503
Pojawia się w:
Prace Filologiczne. Literaturoznawstwo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Romantyzm jenajski, Cyprian Norwid, Walter Benjamin i Friedrich Creuzer: symbol i alegoria
Romanticism of Jena, Cyprian Norwid, Walter Benjamin and Fiedrich Creuzer: symbol and allegory
Autorzy:
Van Nieukerken, Arent
Powiązania:
https://bibliotekanauki.pl/articles/2012726.pdf
Data publikacji:
2017-06-01
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
miasto
ruiny
symbol
alegoria
romantyzm
town
ruins
allegory
romanticism
Opis:
Comparative studies have established that Cyprian Norwid knew about Friedrich Creuzer’s famous work on the symbol and mythology. He must at least have read its first volume, particularly the theoretical part (albeit in a French translation). Reading Creuzer aided him in reinterpreting his own concept of the symbol, presented in his early theoretical writings. His point of departure were Creuzer’s remarks about “mystical” and “divine” symbols. Norwid’s reinterpretation did not remain without consequences for his poetry. Recently several Norwid scholars have drawn attention to a fresh interpretative context: the concept of allegory elaborated by Walter Benjamin. They considered the context to be related to Benjamin’s and Norwid’s perception of the modern city (Paris from the “Passagenwerk”) and also to the motive of ruins. Benjamin presented his concept of the allegory in his famous book Origin of German Tragic Drama. He developed it on the basis of the same considerations about the symbol (focusing in a “totalizing” and “necessary” way on the “mystical now”) and allegory as Norwid once did. Here their paths converge. A precondition, however, for understanding Benjamin’s remarks about the symbol is his PhD thesis The Concept of Art Criticism in German Romanticism that devotes much attention to reflexivity in the oeuvre of Novalis and Fr. Schlegel.This “Romanticism of Jena” and its philosophy of consciousness had also impact on Norwid (though mediated by Mickiewicz’s “Parisian Lectures”). Comparing Norwid and Benjamin in these contexts contributes to defining their (differing) attitude towards the temporality of Being and the Holy.
Źródło:
Prace Filologiczne. Literaturoznawstwo; 2017, 7(10); 259-278
2084-6045
2658-2503
Pojawia się w:
Prace Filologiczne. Literaturoznawstwo
Dostawca treści:
Biblioteka Nauki
Artykuł
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