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Oścień z powodu ciała (2 Kor 12, 7–10). Kontekst, struktura, miejsce i funkcja w argumentacji Pawła

100%

Stępień A.

nr 1

97-113

The conducted study has shown the validity of interpreting the syntagma σκόλοψ τῇ σαρκί as a dativus cause. It has also undertaken to interpret it in connection with the Pauline theology of the cross, which the Apostle developed in the earlier canonical First Letter to the Corinthians (1:18–2:16). The thorn given because of the flesh accomplishes Paul’s conformation to Christ in suffering. He confirmed his compassion with Christ by giving encouragement to follow Him as he does (1 Cor 4:16; 11:1; 1 Th 1:6). A significant result of the study undertaken has been the indication of the presence of prosapodosis, which logically explains the unnecessary redundancy in the text surrounding the phrase σκόλοψ τῇ σαρκί, which is not reflected in modern translations yielding the synonymous translation of the repetitive syntagma ἵνα μὴ ὑπεραίρωμαι. It has been shown that this construction in the text is not only a vehicle for irony, but also a means of attracting attention, indicating the essence of the message.

Studium retoryczne dwóch stylów przywództwa w "Dyrygencie" Andrzeja Wajdy

51%

Rzymowska L.

tom 6

79 - 101

The author presents a rhetorical analysis of selected scenes from the film Dyrygent (Conductor, 1979), in which Andrzej Wajda painted contrasting portraits of two conductors: Adam Pietrzyk and John Lasocki, showing them in a dialogue with the orchestra and in two different styles of verbal and non-verbal communication. In Wajda’s work the orchestra is a metaphor for society, the nation; the conductor is a type of leader, while conducting is a metaphor for exercising power, exerting influence, gaining obedience and enforcing actions. Like conductors, different leaders have different styles of leading. Having studied the actio of the two conductors, the author has defined their leadership styles as authoritarian and democratic, respectively. In addition, Adam Pietrzyk is described as a formal (institutional) leader, officially designated acting director of the orchestra; John Lasocki is shown as an informal (natural) leader, exerting influence on the ensemble thanks to qualities that are important for the achievement of a common goal. While Adam is a mediocre leader, the Master is a leader who is charismatic, who attracts attention with his style of speech, movement, appearance and his entire personality; he is characterised by high social intelligence and he knows how to treat people on an individual basis, accurately reading people’s reactions. The analysis enables us to recognise the message of Wajda’s Conductor: society may create or do a work together, if the leader acknowledges and respects the community as a collection of different people, whose rights are based on equality, yet do not arise from the equality, but rather from the uniqueness and — in the personalist sense — incommunicability of every participant. Every person in the orchestra — or: in society, nation, in a given time in history — brings to the overall consonance his or her own tone and own interpretation of sound.