Przeglądaj wg Autor "Sprutta, Justyna"

Teraz wyświetlane 1 - 20 z 20

Antropomorfizm świątyni chrześcijańskiej
Sprutta, Justyna (Uniwersytet Opolski. Redakcja Wydawnictw Wydziału Teologicznego, 2008)
Cierpienie zwierząt w kontekście etyki chrześcijańskiej
Sprutta, Justyna (Prymasowski Instytut Kultury Chrześcijańskiej im. Stefana Kard. Wyszyńskiego w Bydgoszczy, 2011)
Nowadays animal torment is considered a sin. Today animals also have their rights, for example the right to respect and right to care. Consent to animal torment had, and often still has, its sources in misinterpreted biblical orders and in the views of certain outstanding thinkers (for example St. Thomas of Aquinas, Descartes and N. de Malebranche). The problem of needless animal suffering requires a reconsideration in the context of Christian ethics. While creating nature, thus animals as well, God provided it with great dignity, which we should respect and not destroy. Therefore every person should be responsible for nature, and thus for animals as well, since nature has also been called to participate in the glory of God.
Czaszka i śmierć jako motyw wanitatywny w rzeźbie i malarstwie XV-XIX wieku
Sprutta, Justyna (Uniwersytet Opolski. Redakcja Wydawnictw Wydziału Teologicznego, 2010)
Edukacja i terapia dorosłych niepełnosprawnych na przykładzie teatru [Sugestia sceny religijnej]
Sprutta, Justyna (Prymasowski Instytut Kultury Chrześcijańskiej im. Stefana Kard. Wyszyńskiego w Bydgoszczy, 2022)
The article first presents the general therapeutic and educational role of theatre in relation to adults with disabilities, and then focuses on the pantomime, chosen from a variety of theatrical genres. The pantomime is seen here as a universal performance that can best integrate people with disabilities (for example, with dysfunctions of mobility) and nondisabled persons on stage. The value of pantomime for disabled adults is also emphasized. The last part of the article, concerning the relation indicated in the title: theatre and disability, concentrates particularly on the stages welcoming disabled actors, as well as on the advantages of the presence of an adult actor with disabilities on those stages, where often his disability becomes an asset in itself.
Fundamentalne płaszczyzny wychowawcze w jezuickich szkolnych Sodalicjach Mariańskich dawnej Rzeczypospolitej i na Śląsku (XVI–XVIII w.)
Sprutta, Justyna (Prymasowski Instytut Kultury Chrześcijańskiej im. Stefana Kard. Wyszyńskiego w Bydgoszczy, 2022)
The history of Jesuit education is also a history of the Sodality (Congregation) of Our Lady, founded by the Belgian Jesuit John Leunis. The Sodality was canonically approved in 1584, that is, twenty years after its inception. The Superior General of the Society of Jesus, Claudio Aquaviva, drew up a statute binding on all congregations, thus initiating the existence of the Sodality as a public and church society. The Jesuit Sodality of Our Lady experienced a great crisis after the dissolution of the Society of Jesus in the eighteenth century. In the modern Jesuit Sodality, the religious and moral education was the most important element. On the religious ground, the important role of prayer and ascetic practices was emphasized, and on the moral ground – virtue, diligence, charitable activities, patriotism and civic formation. A member of Sodality was supposed to be an exemplar of religious, moral and civic attitude. Today, the Christian Life Community continues the traditions of this Sodality.
Hagia Sophia w Konstantynopolu. Od architektonicznego fenomenu do teologicznego symbolu
Sprutta, Justyna (Prymasowski Instytut Kultury Chrześcijańskiej im. Stefana Kard. Wyszyńskiego w Bydgoszczy, 2019)
The Hagia Sophia in Constantinople is the most magnificent sacred foundation of the Byzantine emperor Justinian the Great. Erected at the site of a former temple devastated by fire in 532, the building was conceived by two architects or scholars from Asia Minor: Anthemius and Isidore. As an architectural jewel, the Hagia Sophia delights visitors with its design and structure, whereas as a theological symbol, the building is perceived as a masterpiece of God, permeated with light symbolizing Him. Undoubtedly, the architectural wonder and theological symbol demonstrates great splendour. For centuries the Hagia Sophia was a monumental Christian shrine; after the fall of Byzantium it was converted into a mosque; and in the 1930s the building became a museum.
Ikonoklazm bizantyjski. Faza druga
Sprutta, Justyna (Uniwersytet Opolski. Redakcja Wydawnictw Wydziału Teologicznego, 2005)
Ikonoklazm w Bizancjum ‒ do Soboru Nicejskiego II
Sprutta, Justyna (Uniwersytet Opolski. Redakcja Wydawnictw Wydziału Teologicznego, 2004)
Connected abuses of the cult of icons contributed to fighting against icons in Bysantium. The reflection portrays the first stage of the dispute of icons’ enemies with their defenders between 726-787 AD. The beginning of this dispute is connected with an extradition of the decree about the cult of icons by Emperor Leon IH. II Nice Council finishes this period in the year 787 by recognizing officially the cult of icons, but without creating precise theology of icons. Hostility to the cult of icons surrounds aristocracy, higher monks, and serfs. Yet, some priests support and perform the cult of icons. Dogma is the foundation for convincing both enemies and defenders of the cult about Incarnation as well as about the divine and human nature of Jesus. The issue of the presence of holy Prototype in icons also results from this dogma. The prominent defender of icons in this period is St John from Damascus whose apology of the cult of icons will influence theology of icons. Another Bysantine defenders of icons at the first stage are: patriarch German and monk Georges from Cyprus. Bysantine dispute does not end in 787. Animosity will take place from 813 to 843 again.
Kult i ikonografia św. Jerzego Zwycięzcy w tradycji bizantyńskiej i staroruskiej (do XV w.)
Sprutta, Justyna (Prymasowski Instytut Kultury Chrześcijańskiej im. Stefana Kard. Wyszyńskiego w Bydgoszczy, 2014)
In his struggle against the serpent-like dragon, St George reflects the longstanding idea of conflict between good and evil. He is depicted fighting the dragon on horseback or on foot, but also treading on the monster (Latin calcatio) or tying it up. The struggle is sometimes complemented with a coronation of St George; in other cases he is presented on a throne. Defeated by St George, the enemy is most frequently demonstrated as a hybrid personification of Satan, evil, sin, paganism and dark forces of nature, dwelling in a cave or a lake (or a lake inside a cavern). There are also images where the dragon is replaced with a pagan emperor, persecutor of Christians. Iconography also depicts St George rescuing a young boy from Mytilene, or the youth George of Paphlagonia, from imprisonment. The Byzantine and old Slavonic traditions perceive St George, as well as other soldier saints, as the special patron saint of rulers, statehood and armed forces; his victory over the dragon was regarded in those times as the best warranty of the saint’s effective intercession to God. According to hagiographic sources, St George lived in the 2nd – 3rd centuries and the origins of his cult date back to the late 4th century. Nevertheless, it was St Theodore (another soldier saint often depicted in art side by side with St George) who enjoyed more veneration than St George in the Byzantine Empire. Ancient Russia, however, took a special liking to St George as its patron saint.
Motyw kielicha eucharystycznego w ikonie
Sprutta, Justyna (Prymasowski Instytut Kultury Chrześcijańskiej im. Stefana Kard. Wyszyńskiego, 2008)
Motyw węża w bizantyńskiej i staroruskiej ikonografii świętych wojowników (do XV w.)
Sprutta, Justyna (Prymasowski Instytut Kultury Chrześcijańskiej im. Stefana Kard. Wyszyńskiego w Bydgoszczy, 2018)
Until the 15th century the dragon apparently enjoyed greater popularity than the serpent in Byzantine and Old Russian icons of holy warriors. Nevertheless, the snake also found a place it truly “deserved” there. All images of soldiers fighting against the personification of evil always present their triumph. But it is not only them that are victorious. The serpent and its substitutes are also defeated by male and female ascetics, who demonstrate an attitude equally militant towards evil. However, the primary victor here is God – and rightly so.
Nowożytna ikonografia wybranych świętych depczących smoka (z kręgu łacińskiego). Szkic
Sprutta, Justyna (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2022)
Najczęściej występujące w sztuce chrześcijańskiej kręgu łacińskiego przedstawienia zwycięstwa odniesionego nad smokiem jako uosobieniem szatana, grzesznych żądz, pokus czy herezji ukazują pokonanie tego stwora (lub jego substytutu) za pomocą krzyża, miecza, włóczni, natomiast rzadziej – za pomocą gestu calcatio, czyli przez podeptanie. W tradycji katolickiej najczęściej depczą smoka i jego substytut, np. węża, Matka Boża, archanioł Michał i św. Małgorzata. Artykuł szkicuje tę problematykę, ponieważ jej przedmiot jest bardzo obszerny, a przybliża prawdę o zwycięstwie możliwym do odniesienia tylko dzięki mocy Bożej.
Początki Sodalicji Mariańskich w jezuickich kolegiach dawnej Rzeczypospolitej
Sprutta, Justyna (Prymasowski Instytut Kultury Chrześcijańskiej im. Stefana Kard. Wyszyńskiego w Bydgoszczy, 2016)
The Sodalities of Our Lady formed part of the apostolic activities of the Jesuits. Of those, particularly outstanding were school sodalities, as they were the most numerous and actively operating. Those associations were established in all Jesuit colleges around the world. Their first founder was the Jesuit John Leunis. In Poland, the first school Sodality of Our Lady launched operations in the Jesuit college in Braniewo. Currently, the activities of the Sodality of Our Lady are continued by the Christian Life Community, which is based on Ignatian spirituality.
Polityka Piotra I Wielkiego wobec rosyjskiej Cerkwi i jej sztuki
Sprutta, Justyna (Uniwersytet Opolski. Redakcja Wydawnictw Wydziału Teologicznego, 2009)
Przedstawienia ciał niebieskich w ikonie
Sprutta, Justyna (Prymasowski Instytut Kultury Chrześcijańskiej im. Stefana Kard. Wyszyńskiego, 2009)
The sun, the moon, the stars and the sky are variously depicted in icons, for example the sun may have a human face. The moon is also frequently presented with a human countenance. However, there are icons where the sun and the moon are just two circles without human facial features. The sun and the moon in the Crucifixion icons symbolize the universe participating in the fruits of the Redemption. The sky itself may be depicted as clouds or a blue arch supported by angels, like in the Last Judgment icons. The sky is sometimes presented as a semicircular segment containing God the Father, Christ or Manus Dei. Stars adorn the maphorion of the Mother of God, who herself is referred to as the “Star”. A star can also be found in The Birth of Christ or Transfiguration icons. Moreover, the number of star rays has its important theological meaning. Equally interesting is the personification of Cosmos in the Pentecost icons, which has an ancient origin. The image is derived from the motif of Old King trapped in a cave and awaiting salvation.
Relacja Lex credendi – Lex orandi w ikonie
Sprutta, Justyna (Prymasowski Instytut Kultury Chrześcijańskiej im. Stefana Kard. Wyszyńskiego, 2007)
Św. Demetriusz jako pogromca zła w tradycji bizantyńskiej i słowiańskiej (do XV w.)
Sprutta, Justyna (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2018)
W każdej tradycji zło jest zwyciężane przed dobro, ciemność przez światłość, profanum przez sacrum. Analogiczne zwycięstwo odnoszą święci, a wśród nich św. Demetriusz z Tesaloniki. Mimo iż był diakonem, w sztuce najczęściej przedstawiany jest jako żołnierz. Legenda mówi, że w więzieniu pokonał znakiem krzyża skorpiona personifikującego zło. Zamiast skorpiona może także zwyciężać gladiatora Lieusa, cesarza Maksymiana, cara Kałojana lub Turka, a czyni to konno lub pieszo, za pomocą oręża lub poprzez gest calcatio. Nie tylko mówią o św. Demetriuszu źródła historyczne, teksty liturgiczne czy literatura piękna, ale także sztuka i folklor.
Vanitas w sztuce nowożytnej
Sprutta, Justyna (Prymasowski Instytut Kultury Chrześcijańskiej im. Stefana Kard. Wyszyńskiego w Bydgoszczy, 2010)
The motifs of vanitas were already used in ancient art, but they gained the greatest popularity only in the 17th and 18th centuries. Secular and sepulchral art abounds in various motifs of this kind, for example in the shape of human skulls, dying candles, musical instruments, soap-bubbles, damaged books, ruins, dead trees, shells or official emblems like the papal tiara, the episcopal or ducal mitre, the crown or the turban. All those motifs of vanitas symbolise vanity and the passage of time as well as convey the message memento mori – remember your mortality.
Wizja chrześcijańskiej sztuki religijnej w „Księgach Karolińskich”
Sprutta, Justyna (Uniwersytet Opolski. Redakcja Wydawnictw Wydziału Teologicznego, 2007)
Wokół „Dawida” Michała Anioła Buonarrotiego
Sprutta, Justyna (Prymasowski Instytut Kultury Chrześcijańskiej im. Stefana Kard. Wyszyńskiego w Bydgoszczy, 2012)
The marble statue of David by Michelangelo is one of the most outstanding masterpieces of his artistic genius. Originally designed to be placed in Florence’s Duomo, the statue gave rise to much controversy the moment it was created. Completed in 1504 and much admired for its strength and beauty, the statue finally stood in front of the Palazzo della Signoria in Florence. Also known as Il Gigante, it presents David, an Old Testament hero and future king of Israel, just before his fight against Goliath. At present, the original of the statue is displayed in the Academy of Fine Arts in Florence.