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Three Theses about the Passion

100%

Mikolejko Z.

2004

tom 13

nr 2(50)

91-100

It is not generally clear if this controversial movie has a specifically new philosophical message for the viewers. Is it about Christianity, or about religion in general, or about sacrifice and redemption? The author has three things to say in this query. First, the movie represents the characteristically fundamentalist version of Christianity, in which the suffering of crucified God is placed side by side with the suffering of true believers who witness its re-enactment. Second Mel Gibson has crated an 'idolatric' image of Jesus Christ rather than an 'iconic' vision. By such rendering of his topic he has deprived the story of one important aspect. The sacrifice of Christ is not presented as an act of love but rather as an act of endurance and dedication. Thirdly, Jesus is shown as a figure that can transgress all rules of nature and all historical conditions. By making his choices Gibson produced a picture that revives the old tenets of heretical doketism.

Związki pomiędzy ikoną, teologią i liturgią

88%

Paprocki H.

ELPIS

2011

tom 13

nr 23-24

39-58

Contribution is devoted to the issue of the icon and his spot in the worship of the Church and its aspects, which is linked with the Greek word eikon, which marks all of the two statues and the Emperor, and table Christian worship them. The image in this event each event represent another reality. This word means and the image of God in man and Christ as the image of the Father. Majority report of the meaning of the icon to take a reality stain and understanding the role and place of the icon in the Church. In this context the author approach the relationship between the icon and theology and liturgy.

Ikonostas

75%

Misijuk T.

ELPIS

2011

tom 13

nr 23-24

193-202

The paper indicates a complex meaning of the iconostasis both in sacred art and liturgics of the Orthodox Church. Selected examples illustrate a process of historical development of the iconostasis, contemporary variety of forms and its influence on worship celebrated in the Orthodox church.

MADONNA WSPÓŁCZESNOŚCI – MIGRANT MOTHER, CZYLI MATKA TUŁACZKA. ANALIZA IKONOGRAFICZNA

63%

Wolak U.

2013

tom 39

nr 2(148)

71-84

In this article I would like to present an iconographic analysis of the Migrant Mother, a photograph by Dorothea Lange, in the context of social change in the United States of the 1930s. For this purpose I use appropriate tools and the theories of Klaus Rieser, Charles Sanders Peirce, and Roland Barthes. I also read and interpret Lange’s photograph from the feminist perspective. In this article the Migrant Mother thus constitutes a fascinating object of academic inquiry, as well as a starting point for the deliberations on the harsh words of Jean Baudrillard who said: “You assume you are photographing a given thing for your own pleasure, but in fact it wants its picture taken and you are only a figure in its staging, secretly moved by the self-advertising perversion of the surrounding world (...) All metaphysics is swept away by this reversal of situation in which the subject is no longer master of the representation, but merely a function of the world's objective irony”. I try to polemicize with the words of Baudrillard, “the high priest of postmodernism” analyzing the Migrant Mother.