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Theological and liturgical significance of troparia of the Beatitudes (Makarismoi) of the Holy Friday Matins

100%

Karczewski P.

ELPIS

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2022

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nr 24

9-13

PL

Na jutrzni Wielkiego Piątku po śpiewie antyfon, a przed czytaniem kanonu, rozbrzmiewają wersety ewangelicznych błogosławieństw, które w praktyce liturgicznej rozpoczynają się słowami rozsądnego łotra „Remember me, o Lord, in Your Kingdom”. Zwrot łotra wiszącego na krzyżu brzmi w Wielki Piątek wyjątkowo – to dzień, w którym te słowa zostały wypowiedziane oryginalnie. Do wersetów błogosławieństw dodaje się specjalne tropariony mówiące o różnych aspektach męki Chrystusa, głównie przez pryzmat skruchy łotra. W artykule dokonano analizy tekstów z uwzględnieniem greckiego oryginału i wybranych tłumaczeń.

EN

On Good Friday matins, after singing the antiphons and before reading the canon, the verses of the Gospel blessings are read, which in liturgical practice begin with the words of the good thief: “Remember me, o Lord, in Your Kingdom”. The phrase of the thief hanging on the Cross sounds special on Good Friday – it is the day on which these words were spoken originally. Special troparions are added to the verses of the blessings, which talk about various aspects of Christ’s passion, mainly through the prism of the thief’s repentance. In the paper, the texts are analyzed taking into account the Greek original and selected translations.

2

Wielkotygodniowe inspiracje w hymnografii Zaśnięcia Bogurodzicy

100%

Karczewski P.

ELPIS

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2021

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nr 23

19-28

EN

Dormition of the Mother of God is one of the most solemnly celebrated feasts in the Orthodox liturgical year. It has a rich hymnography, including an additional rite of the Funeral of the Mother of God. The texts of the feast are largely inspired by the hymnography of the Holy Week, and especially Holy Saturday. This paper presents, on the example of the feast of the Dormition, a general phenomenon of intertextuality in hymnography. Mutual interpenetration of hymns appears in the context of many feasts and many saints.

PL

Zaśnięcie Bogurodzicy to jedno z najbardziej uroczyście obchodzonych świąt w prawosławnym roku liturgicznym. Ma bogatą hymnografię, w tym dodatkowy obrzęd Pogrzebu Bogurodzicy. Teksty święta są w dużej mierze inspirowane hymnografią Wielkiego Tygodnia, a zwłaszcza Wielkiej Soboty. Niniejszy artykuł prezentuje na przykładzie święta Zaśnięcia Bogurodzicy ogólne zjawisko intertekstualności w hymnografii. Wzajemne przenikanie się tekstologiczne hymnów pojawia się bowiem w kontekście wielu świąt i wielu świętych.

3

Chrystus-Oblubieniec, Chrystus ukrzyżowany i Chrystus w grobie

80%

Karczewski P.

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nr 12

47-60

EN

Holy Week, inseparable from the mystery of Christ’s Resurrection, is the center of the liturgical year. Each of the following days has its own specific meaning and extensive hymnographic material. The graphic representation is also connected with the content of liturgical rites. This article discusses the meaning of iconographic representations that are dynamically present at services – by carrying them from the presbitery to the middle of the church or carrying them around the temple in a procession (the icon of Christ the Bridegroom on Holy Monday, the icon of Christ crucified on Good Friday, the Epitaphios with a representation of Christ lying in the tomb on Good Friday and Holy Saturday). The text also discusses the relationship between the aforementioned icons and liturgical texts sung during the services.

4

„Visitatio Sepulchri” w XV-wiecznej katedrze wawelskiej na podstawie AKKK 47

80%

Przybysz P. , Karcz B. , Tyrała R. , Zając A. , Delimat W. , Janicki J. J. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W. , Karcz B. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W.

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tom 14

EN

“Music in the Cathedral of Wawel in the Middle Ages” is a series of publications showing a rich heritage of music and liturgy stored in the Wawel archive. Transcriptions of old melodies, often written down in letters and notations difficult to decipher, are about re-writhing those melodies into square notation (so called Vatican Notation) and by doing so, to encourage a wider group of performers to base on it.We give you transcriptions of Lamentatione Iheremiae Prophete, being part of Matutinum tenebrarum and a liturgical drama Visitaio sepulcri, playing out on a Easter morning at the empty grave. Each of the presented transcriptions has been preceded with a description of the manuscript and notations used in it, presentation of the problems occurred during transcription, pointing out the liturgical provenance (specific service of the Holy Week) and Polish translations of the texts.

PL

„Muzyka w katedrze na Wawelu w epoce średniowiecza” to cykl publikacji mających na celu ukazanie bogatego dziedzictwa liturgiczno-muzycznego, które przechowywane jest w wawelskim archiwum. Transkrypcje dawnych melodii, które są często zapisane notacją i tekstem mało czytelnym, mają na celu przepisanie tych melodii do notacji kwadratowej (tak zwanej watykańskiej) i w ten sposób zachęcić szersze grono wykonawców do sięgnięcia po ten repertuar. Oddajemy Państwu do rąk transkrypcje Lamentatione Iheremiae Prophete (Lamentacje Jeremiasza), będące częścią Matutinum tenebrarum (Ciemnych jutrzni) oraz dramat liturgiczny Visitaio sepulcri (Nawiedzenie grobu), rozgrywający się w trakcie poranka wielkanocnego przy pustym grobie. Każda z przedstawionych transkrypcji poprzedzona została opisem manuskryptu i zastosowanej w nim notacji, przedstawieniem problemów związanych z transkrypcją, wskazaniem proweniencji liturgicznej (konkretne nabożeństwo Wielkiego Tygodnia) oraz polskim tłumaczeniem tekstów.

5

Świętowanie w chrześcijaństwie w IV–V wieku

36%

Komarnicki K. F.

Studia Redemptorystowskie

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2013

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nr 11

201-229

EN

Human time, no matter to what culture or religion a man belongs, is filled with celebrations that give rhythm to his life and help him capture the essence of his existence. Also Christianity over the centuries worked out various forms of specific celebration. The goal of this text is to look at the character of celebrate in the fourth and fifth centuries and to determine how the Christian writers wrote about the celebration. The first sources that author considered are two ancient texts of Socrates of Constantinople (Socrates Scholasticus) and Sozomen (Salminius Hermias Sozomenus) with the same names: Historia Ecclesiastica. In both works there are little chapters, in which appear the mention of the celebration, the majority of them is associated with Feast of the Passover and The First Council of Nicaea, others occur mainly on the margins of the narrative. This is because the history of the Church is here treated primarily as ‘political’ history, shaped by the decisions of great personages of the Church. The most important conclusion that emerges from these two texts is the observation that the differences in the way of celebration are not a source of division, but most of all divisions for doctrinal reasons manifest themselves in a separate celebration. The second source is The Travels of Egeria, also called The Pilgrimage of Aetheria (Itinerarium Egeriae), a letter describing the author’s travel to the holy places. In her report Egeria devotes much attention to the description of those involved in the celebration of subsequent festivals. The modern reader is struck by the generosity of crowds gathered in prayer and their vivid faith that motivates them to make long prayers going for hours. Celebration of Christians in the fourth and fifth centuries was an expression of a vivid faith. Their religion permeated life in all dimensions, and determined the essence of who they were. It was touching the inexpressible, the main aim was above all communion with Christ and the Church. Originally Christians celebrated entirely in the community of the Church, which gives a more or less clear framework to all that can be considered for celebration.