Wyniki wyszukiwania - Biblioteka Nauki

1

DECLARATIO BREVIS CORONE IMMACULATE VIRGINIS: A SOURCE FOR LATE MEDIEVAL POPULAR PIETY

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Kalous A.

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nr 1

40-44

EN

A set of four incunabula is deposited in the Research Library of Olomouc. One of them contains a handwritten page with the text Declaratio brevis Corone immaculate Virginis. In terms of its content, this text conforms to general religious trends in the 15th century in Central Europe. The late Middle Ages were characterised by a heightened spirituality and an emphasis on traditional objects of popular piety - first and foremost the Virgin Mary and the life of Christ. To a considerable degree, these trends were also supported by the mendicant orders. Marian piety and its expression in the rosary were spread through the influence of the Dominicans and the Minorites (and later the Franciscan-Observants). The Dominican rosary, which included 150 'Hail Marys', was the most widespread, but other versions were also popular. Among the Franciscans of the 15th century, the most popular version was the one that was allegedly promoted by St Bernardino of Siena and St Giovanni of Capistrano. In this version, the number of angelic salutations referred to the lifespan of the Virgin Mary on earth: this rosary included 63 (or 70, 72, 73) 'Hail Marys'. After the end of the Hussite revolution, the Franciscans also introduced the latest European trends to the Czech lands, in particular Moravia and Silesia. In these lands, the Utraquist influence was less pronounced than in Bohemia. Moravia, Silesia and Lusatia extricated themselves from international isolation much sooner than did Bohemia. European influences increased on account of the Catholic cities, as well as the conquest of Matthias Corvinus and the joining of these lands to his Hungarian Kingdom. In 1468, Corvinus visited Olomouc and on that occasion the Church of the Immaculate Conception of the Virgin Mary at the Franciscan monastery was consecrated. The wall painting from 1500 in this church depicts the Coronation of the Virgin Mary, along with two rows of depictions on the theme of the seven joys of the Virgin Mary and the seven effusions of the blood of Christ. A similar painting has been preserved in the Franciscan church in Wroclaw, which includes a further five rows with other depictions. Nonetheless, these paintings are typologically similar. The fact that the paintings were widespread recalls the general trends of piety at the end of the Middle Ages, although one can find specific points in common between the Franciscans in Olomouc and in Wroclaw (the Bishop and Franciscan Jan Filipec). The text, which is published as an addendum, describes a painting, which corresponds in detail to the depiction in Olomouc (except that in the painting there are 73 beads, whereas in the text there is mention of the 63 years of the Virgin Mary). This text explains how the painting should be perceived and interpreted from the perspective of popular piety. It demonstrates that such paintings were clearly even more widespread and in use, as one can see from the attached list of indulgences offered to the faithful who prayed the prayer of 'the crown of the Virgin Mary'.

2

THE ANCIENT ANONYMOUS WORK 'PRESLAVNA GORA POCHAIVSKA'

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Sobol W.

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2007

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tom 56

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nr 3

387-398

EN

The article describes an anonymous Polish baroque print 'Przeslawna Gora Poczajowska' (The Most Famous Pochaiv Mountain') and presents excerpts from this book preserved in the Special Collections Division of Polish National Library in Warsaw. The authoress presents an analysis of miraculous events: the phenomena, which began to happen on the Mountain after the revelation of Virgin Mary, whose footprint left on the rock filled up with healing water. The analysis focuses on the subject of light in the text.

3

MANIFESTATIONS OF MARIAN DEVOTION IN THE CZECH REPUBLIC - PAST AND PRESENT (Projevy marianske religiozity v Ceske republice - vcera a dnes)

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Holubova M.

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2008

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tom 56

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nr 4

361-373

EN

The Czech society is considered, together with the society of the former East Germany, to be one of the most secularized in the world. The aim of the present paper is to sketch in a large outline not only the historical preconditions of this opinion, but also to resume the existing partial results of ethnological research focused on the contemporary changes of religiousness and manifestations of Marian devotion in the Czech Republic after the year 1989. The years 1989 a 1990 brought innumerable forms of religiousness. From the variants of classical Chriastianity through its rather deformed forms up to the spiritual schools of the Far East. At presents there are two Marian movements in Czec Republic: Marian Movements of Priests and Apostolate of Fatima (Blue Army).

4

THEOTOKOS IN POREC. PUBLIC, OFFICIAL AND PRIVATE IN THE SIXTH-CENTURY DEVOTION TO MARY

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Vicelja-Matijašiċ M.

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2013

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tom 46

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nr 1

3 -15

EN

The mosaics in the central apse of the episcopal church of Eufrasius in Porec, built in the sixth century, present an inexhaustible source for research of iconography of the visual arts in time of Justinian. Given the fact that a large part of the corpus of early Byzantine art was not preserved, especially the one in Constantinople, mosaics in Porec are the key to understanding the role of visual arts in reference to theology, contemporary philosophical disputes, aesthetic canons and role of visual display as a communication means.

5

Les putes et les soumises: la dualité de l’image de la femme dans l’œuvre d’Andreï Makine

63%

Duffy H.

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2011

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tom 58

43-57

EN

The present article addresses the duality of female protagonists created by Andreï Makine, a contemporary Russian-born, French-language author. Focusing on the writer’s four early novels and using psychoanalysis and sociology as analytical tools, I place the whores and the saintly mothers populating Makine’s works in the Russian cultural context, at the same time arguing that such polarised and unavoidably stereotypical representation of women stems from the author’s desire to accommodate his work to his prospective reader’s necessarily limited horizon of expectations. I also postulate that the inherent ambiguity of some heroines who oscillate between vice and virtue or, to use Freudian terminology, between the heimlich and the unheimlich, reflects the problematic identity of Makine’s male protagonists who ceaselessly hesitate between loyalty to Mother Russia and admiration for the West. Thus, the woman’s wavering between a homely and an uncanny figure undoubtedly mirrors Russia’s perennial struggle for self-definition as illustrated by the conflict between Westernisers and Slavophiles, recently revived as that between the advocates of Russia’s opening to the West and the Eurasianists who are nostalgic for their country’s isolation imposed by Communism.