Ślady produkcyjne na cegłach profilowanych z placu Kolegiackiego w Poznaniu – próba rekonstrukcji dawnej wytwórczości strycharskiej

Medieval profiled bricks from the remains of the city parish church of St. Mary Magdalene in Poznań are a very important source of information about the brickmaking craftsmanship. The study attempts to identify production traces with specific stages of brick production (the process of forming and drying bricks), along with an attempt to reconstruct these operations that were used by the Poznań brickmakers. In addition to the analyzes related to the number of occurrences, the type of research material was defined, the criteria for isolating individual traces were described, the state of knowledge about brickmaking and analogies of fittings found in medieval buildings, mainly in the city of Poznań, were taken into account.

LEXICAL AND PHRASEOLOGICAL PARADIGMATICS OF THE FRENCH LANGUAGE: MADELEINE DE PROUST

The article is devoted to the linguocultural analysis of the idiom madeleine de Proust in modern French. The analysis is based on lexicographic data, component analysis method and text semantic analysis. Using the method of linguocultural decoding they find out emotional and sensual, ethical, aesthetic informations; archetypal, mythological, religious, philosophical and scientific informations, which are the deep foundations of the meaning of a phraseological unit. In the unit madeleine de Proust , the basic types of information are religious and philosophical. The first is associated with the polysemantic inner form of the word Madeleine. It is a nominative name - it means the name of a flour product and a proper name - Madeleine was the name of the girl who invented this culinary dish; this word is associated with the images of Magdalen-sinner and St. Mary-Magdalene, which is reflected in the phraseological system of the French language; with proper name Saint-Jacques, which is used to describe the subject of the material world, and accompanies the writer’s life, the hero in the novel. The philosophical type of information is associated with Proust’s reflections, signs, philosophy, with the concepts of the voluntary and involuntary memory. And all these were pushed by the sensual-emotional information. The polysemous word madeleine in the semantic space of the literary text thanks to the talent of the writer, his emotional and sensual experiences, his stream of consciousness, expanded its meaning and became one of the components of the new language unit madeleine de Proust .

Poetic Reflection by Kazimierz Wójtowicz on the Biblical Pericope Lk (24:13–55): On the Series Emaus — werset po wersecie (Emmaus — Verse by Verse)

This article deals with Kazimierz Wójtowicz's series Emaus – werset po wersecie (Emmaus - verse by verse), unique in Polish poetry and included in the volume Po prostu Emaus. Wybór wierszy z lat 1978–2016 (Just Emaus. A selection of poems from 1978–2016) (Kraków 2016). The discussed reflection is divided into four segments. The first is an introduction. It shows the priest-poet's fascination with the biblical theme of Emmaus, as evidenced by his numerous ekphrastic and non- ekphrastic poems, classified by the author as Emaus w słowie (Emmaus in the word) and Emaus w obrazie (Emmaus in the image). The second part is an attempt to systematize biblical commentaries on the pericope of St. Luke (24, 13–35). Three main directions of interpretation are discussed, namely, liturgical, symbolic, and the contrapuntal nature of the pericope on Emmaus in relation to the passage about the meeting of the Risen Jesus with Mary Magdalene. The third most extensive segment includes the analysis of 15 poems within the series of our interest that paraphrases most of the verses from the pericope of St. Luke. The description of the following poems is not extensive due to the modest size of this article. In the last segment, it is emphasized that Wójtowicz's poetic reflection on the pericope of St. Luke has artistic values and is also kerygmatic in nature. Commenting on biblical verses using the language of poetry, we primarily refer to the symbolism of the pericope. We use liturgical interpretation to a lesser extent. In the end, our attempt is made to juxtapose the series with other poems by Wójtowicz about Emmaus.

Eve, Magdalina, Samaritian... (To the Typology of Female Images in the Novel of L. M. Leonov “Thief”)

Purpose. The article presents the results of the analysis of key female images in the novel by L. M. Leonov “Thief”: Masha Dolomanova, Tatiana Vekshina, Zinaida Balueva, Ksenia Babkina – whose fates are united by a typological commonality. The relevance of the study is due to the rethinking of the role of women in the modern world and art, and the formation of heroines, unhappy men in the world of men, in the literature of the 20th century developed, including under the influence of post-revolutionary, post-war reality, under the influence of urbanization. Methodology. The study based on the works devoted to the poetics of motif, image. To achieve the goal, the following tasks were set: determination of artistically significant motives; comparison of plot lines with precedent texts (mostly biblical); explanation of details that clarify the essence of female images. Using the method of motif analysis, identified the main motives involved in creating the storylines of each heroine, and their variants. Results. The motif of violence is highlighted, which is presented in the following allomotives: sexual violence (including deprivation of innocence) – for all heroines, except for Zinaida Balueva; physical violence (beating) – images of Masha Dolomanova, Zinaida Balueva – and suicide (Ksenia Babkina); psychological abuse (like suppression of will, lack of care) – all heroines. Within the framework of the method of structural-typological analysis, female characters were correlated with the poles of the binary opposition between the evil wife and the good wife, ascending to the Holy Scriptures. It was found that, in addition to the motive of violence, which is present in the storyline of each heroine, but conditioned not by the will of the person, but by chance, Leonov’s female characters are united by the motive of temptation, temptation, which allows one to assess their individual position and explain the tragic outcome of life. Conclusion. The female images in the novel “Thief” are comparable with such biblical personalities as Eve, Mary Magdalene, an unnamed Samaritan woman, Tatiana the Martyr. Their fates are determined by the actions or desires of other heroes, which, given the fact that they have not found their own God, ultimately leads to despair and irrevocable death.

The Transit of Mary Magdalene’s Soul in Catalan Artistic Production in the 15th Century

There are a great many studies on the figure of Mary Magdalene in different areas of knowledge. Nevertheless, there is a gap as regards the image of this character in Catalonia, and specifically regarding the visual representation of her soul at the moment when she died. This text aims to analyze this matter based on two Catalan altarpieces: the Altarpiece of Saint Mary Magdalene from Perella (Bernat Martorell, 1437–1453) and The Death of Mary Magdalene (Jaume Huguet, 1465–1480). The analysis has been carried out based on the postulates from the tradition of studies on iconography and iconology: the relationships between image and text, the history of the iconographic types and the magnetic power of images. The basic hypothesis is that the representation of Mary Magdalene’s soul in the 15th Century in Catalonia is visually borrowed from the iconographic type of the Dormition of the Mother of God. To test this, comparative analyses have been made of the visual representation of the two women and also of the textual sources, such as the canonical and extracanonical gospels, a variety of medieval legends and different hagiographies or vitas and sermons from the period.

A Likely Story: The Da Vinci Code as Work on Myth

<p>Theory of myth is used as an explanatory framework within which to explore the enormous and controversial popular appeal of the novel The Da Vinci Code, first published in 2003. The Da Vinci Code is a site of contestation between truth and falsity. Modernity has used the category of myth to contain and control false stories that claim to be true. Myth is characterised here as story-with-significance but also as story believed by people other than scholars and the guardians of legitimate culture. The novel reinserts story into religious history, finding 'natural' significances to replace those progressively exposed and expunged by scholarship and liberal theology. Code's major themes, the sacred feminine and the bloodline of Jesus and Mary Magdalene, endorse popular knowledge about religion, inheritance, identity, community and gender, knowledge that is threatened by detraditionalisation, feminism, and modernity's emphasis on the autonomous individual. The bloodline myth's move into the category of fiction further blurs the boundaries between the legitimately true and the mythically false.</p>

A Likely Story: The Da Vinci Code as Work on Myth

<p>Theory of myth is used as an explanatory framework within which to explore the enormous and controversial popular appeal of the novel The Da Vinci Code, first published in 2003. The Da Vinci Code is a site of contestation between truth and falsity. Modernity has used the category of myth to contain and control false stories that claim to be true. Myth is characterised here as story-with-significance but also as story believed by people other than scholars and the guardians of legitimate culture. The novel reinserts story into religious history, finding 'natural' significances to replace those progressively exposed and expunged by scholarship and liberal theology. Code's major themes, the sacred feminine and the bloodline of Jesus and Mary Magdalene, endorse popular knowledge about religion, inheritance, identity, community and gender, knowledge that is threatened by detraditionalisation, feminism, and modernity's emphasis on the autonomous individual. The bloodline myth's move into the category of fiction further blurs the boundaries between the legitimately true and the mythically false.</p>

Titian, Colonna, and the Gender of Pictorial Devotion

Titian made a painting of Mary Magdalene for Vittoria Colonna, perhaps identifiable with a painting in the Pitti Palace. Despite considerable scholarly attention over the last thirty years, scholars have not reached a consensus about most aspects of this exchange. Central to the debate has been the question of nudity: was it possible to have a devotional image that so knowingly exhibits female flesh? Can a painting gleefully subvert the rules of decorum and still discharge its function as a devotional image? Recent scholarship on the visual culture of female spirituality at this time helps illuminate how the picture operated within contemporary devotional culture, as does attention to Colonna’s own religious verse.

A Critical Investigation into the Role of Widows in Early Church Life

A critical question to be asked in the modern world is whether or not women should have leadership roles in churches. Saint Paul teaches us that we should have a vision of a church that is unified and which embraces diversity. When he discusses the various gifts of grace within the church in Ephesians (4:11), he is by no means suggesting that the roles of the gifted are linked to gender. It is however also clear from the holy scriptures that no woman was selected to be an apostle. Nonetheless, the Eastern Orthodox Church recognizes that there were a number of woman who were equal in status to the apostles, inter-alia, Saint Helena and Saint Mary Magdalene. In the Graeco-Roman world of New Testament Palestine, religion operated in a highly paternalistic and patriarchal society in which there was often much debate on issues of sexuality and the belief that women per se were not suitable to serve in ecclesial roles was commonplace. When it came to widows however, they enjoyed somewhat of a special status and were able to serve in a particular manner which was deemed to be acceptable. The widows in the early Church provide a thought-provoking Christian character, which springs from their innate desire to do good deeds and from their austere practices that point to solid Christian discipleship even though they functioned honorifically. This article investigates what the Didascalia Apostolorum has to say concerning the status and function of widows in early church life. The Order of Widows which existed in the early Church decayed in importance at the advent of the fourth century, as numerous of its functions were adopted by deaconesses. If we accept that human beings have natures which are created in the imageo Dei, then women are invariably equal in their humanity to men. Why is it then that they are precluded from serving as priests or other ecclesial orders in various denominations? A historical-critical methodology was employed in this brief study making use of literature emanating from academic journals, theological books, early church documents and a range of online sources. This article hopefully enables the reader to develop a great understanding of early Christian widows as consecrated women, serving the Church and God.