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Journal articles on the topic 'Christian drama, Polish'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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1

Gogolin, Olimpia, and Eugeniusz Szymik. "DRAMA INTERPRETATION OF THE FAIRY TALE THE SNOW QUEEN BY HANS CHRISTIAN ANDERSEN." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 2 (May 26, 2017): 258. http://dx.doi.org/10.17770/sie2017vol2.2452.

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The theoretical part introduces the most frequently used drama techniques in early school education of Polish language. The practical part presents drama interpretation of the fairy tale The Snow Queen by Hans Christian Andersen. In the article, drama is introduced as a method that triggers students’ creative expression, which helps them understand the literary text better and ask proper questions.
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2

Mazur-Lejman, Katarzyna. "Katabasis as a Category of Maturity Initiation and Nekyia Motifs in Contemporary Drama for Children and Adolescents." Tekstualia 4, no. 71 (2022): 53–66. http://dx.doi.org/10.5604/01.3001.0016.1852.

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The subject of the article is the use of the katabasis, its transformations and resulting meanings in contemporary drama for children and adolescents. There are depictions of the afterlife in Polish and foreign drama that play with the tradition of such representations. One fi nds unusual, child-like heroes who decide to cross the border between the world of the living and the dead. Their wandering through the afterlife can be associated with initiation, which brings to mind both the antiquity and the Christian tradition. The problem of nekia is also discussed in connection with the liminal ch
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3

Kisielewska, Alicja. "Crime and Punishment: The Selected Tenets of the Decalogue in the Polish Television Series Ojciec Mateusz [Fr. Matthew]." Rocznik Teologii Katolickiej 20 (2021): 213–24. http://dx.doi.org/10.15290/rtk.2021.20.13.

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This article considers whether the popular Polish drama-crime television series Ojciec Mateusz [Father Matthew], which is directed by Maciej Dejczer and has been broadcast on TVP1 since 2008, prompts viewers to reflect on Christian moral norms. This research includes the fields of cultural studies and moral theology. From the point of view of moral theology, the theme of Ojciec Mateusz is the battle between good and evil, the basis of which is the tenets of the Decalogue. This study attempts to answer the questions: Is the religiosity hidden in this series, which does not assume the religiosit
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4

Kot, Joanna. "Nostalgia for the “Estate” Myth." Polish Review 67, no. 2 (2022): 33–49. http://dx.doi.org/10.5406/23300841.67.2.02.

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Abstract Masculinity studies are flourishing in Poland. Alongside summaries of Western theories, we have works on the distinctiveness of the Polish development of masculinity, including monographs on various topics, as well as analyses of individual authors and works. Some of these studies cover the Interwar years. Nevertheless, untouched areas remain, one of the largest being drama. Popular, Interwar comedy, written almost exclusively by men, drew large crowds to theaters and reflected the insecurities of a whole generation of men. Some of the biggest theatrical successes came from authors wi
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5

Halkiewicz-Sojak, Grażyna. "ŚREDNIOWIECZNE INSPIRACJE W POEZJI CYPRIANA NORWIDA." Colloquia Litteraria 20, no. 1 (2017): 11. http://dx.doi.org/10.21697/cl.2016.1.2.

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The author begins with underscoring Norwid’s defence of the intellectual achievements of the Middle Ages in part XII of Rzecz o wolności słowa. It prompts her to speculate about the importance and trajectories of reflections on the Middle Ages in Norwid’s poetry in general. Subsequently, Halkiewicz-Sojak casts the topic against the background concerning the romantic fascination with the Medieval tradition and specifically Polish difficulties in adapting the European (northern) variation of that current. On the one hand, Norwid’s considerations upon Godfred’s attitudes in Tasso’s Jersusalem Del
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6

Godziemba-Trytek, Szymon. "The Symbolism of the Caravaca Cross in the Work “Crux Christi Salva Nos” by Szymon Godziemba-Trytek." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 132 (November 29, 2021): 139–51. http://dx.doi.org/10.31318/2522-4190.2021.132.249996.

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Relevance of the study. The author’s commentary of Szymon Godziemba-Trytek concerns the role of sacred symbol in his work “Crux Christi Salva Nos” for mixed choir, soloists, horns, double basses and percussion (2017). This study for the first time acquaints the Ukrainian audience with the creativity of a modern Polish composer, who fruitfully works in the field of symphonic, chamber, and especially vocal and choral music.
 Main Objective of the article is to show the author’s way of interpreting sacred symbols in the composition and drama of his work; to reveal the role of a symbol as a t
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7

Kornii, Lidiia. "Specific Character of Ukrainian-Russian Contacts in the Musical Culture of the 17th – 18th Centuries: A Modern View." Materìali do ukraïnsʹkoï etnologìï 21 (24) (November 30, 2022): 28–32. http://dx.doi.org/10.15407/mue2022.21.028.

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The relevant problem of the significance of the Ukrainian-Russian musical dialogue in the 17th –18th centuries for the future development of Ukrainian and Russian musical cultures is considered in the article. Ukrainian-Russian contacts have taken place in the field of professional music, dominated with religious Christian themes at that time. Significant achievements of Ukrainian musical art of the late 16th - the first half of the 18th century are noted, where Ukrainian Orthodox traditions are combined with the adapted achievements of Polish and Western European art: the reformation of music
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8

Tatarnikova, Anzhelika. "COMPOSITION“KING ROGER” KAROL SHIMANOVSKY IN PRESENTING IDEAS BLESSING OF THE FAITH." Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization: Art Studies, no. 2 (May 23, 2023): 59–65. http://dx.doi.org/10.25128/2411-3271.19.2.8.

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The idea of worshiping Orthodoxy may have long hindered the recognition of the work in Poland itself, where Catholic religion became a component of national emblematics, although it premiered in Poland at the Warsaw Bolshoi Theater in 1926. But in the reference literature it is noted that “much greater success than in Warsaw was “King Roger” in musical Prague (1932) and later in Palermo in Sicily in 1949, where he was staged at the local Teatro Massimo with the participation of the famous Italian artists, in a re-enactment of Bronislaw Horowicz and under the direction of Mieczyslaw Mezheevsky”
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9

Zajączkowski, Ryszard. "The Franciscan Undercurrent in Polish Literature as Exemplified by the Works of Józef Wittlin and Roman Brandstaetter." Religions 15, no. 10 (2024): 1226. http://dx.doi.org/10.3390/rel15101226.

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This article discusses the Franciscan theme in Polish literature, which was apparent from the 19th century onwards, and especially towards the end of that century. This trend involves the works of many authors and an enormous variety of texts. Therefore, this article focuses on two writers—Józef Wittlin and Roman Brandstaetter—who clearly inherited the broad Franciscan tradition, and also developed and popularised the Franciscan message. The Franciscan revival in Polish literature was initiated by Protestants, which often meant a departure from the figure of St. Francis established by the Chur
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10

Lejman, Beata. "O niebezpiecznych związkach sztuki i polityki na przykładzie „żywotów równoległych” Michaela Willmanna i Philipa Bentuma." Porta Aurea, no. 19 (December 22, 2020): 114–34. http://dx.doi.org/10.26881/porta.2020.19.05.

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Michael Lucas Leopold Willmann (1630–1706) was born in Königsberg (now Kalinin grad in Russia), where his first teacher was Christian Peter, a well -off guild painter. After years of journeys of apprenticeship and learning in the Netherlands, the young artist returned to his homeland, after Matthias Czwiczek’s death in 1654 probably hoping for the position of the painter at the court of Great Elector Frederick William (1620–1688).What served to draw the ruler’s attention to himself was probably the lost painting, described by Johann Joachim von Sandrart as follows: ‘the Vulcan with his cyclops
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11

Adam, Anton. "Miejsce filozofii w teologii Wincentego Granata." Rocznik Tomistyczny 12, no. 1 (2023): 171–89. https://doi.org/10.5281/zenodo.10520215.

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Wincenty Granat (1900–1979) is considered to be one of the Polish precursors of personalism. His personalism is based on a Biblical vision of human being, his approach is realist and comprehensive, and at the same time he takes into consideration the internal and external conditions of human’s development. In his thought Granat followed two major currents of the Christian thought: Thomism and Augustinianism. From St. Thomas he adopted the synthetic- comprehensive conception of the world and human being, while in the Augustinian thought he admired the approach toward human being fro
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12

Agata, Pławecka. "Czy łatwo ukryć wzajemną niezgodę? O językowych manifestacjach sprzeciwu w Weselu Stanisława Wyspiańskiego." December 19, 2020. https://doi.org/10.5281/zenodo.4362265.

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Abstract Is it easy to hide mutual disagreement? – linguistic demonstrations of opposition in Stanisław Wyspiański's "Wesele" In Polish dictionaries, opposition is defined primarily as disagreement, no agreement. In the article Is it easy to hide mutual disagreement? – about linguistic manifestations of opposition in Stanisław Wyspiański's "The Wedding" Agata Pławecka examines opposition as an act of speech which emerges from disagreement and at the same time reveals it, constituting one of the stages of an argumentative dialogue. The purpose o
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13

Larsson, Chari. "Suspicious Images: Iconophobia and the Ethical Gaze." M/C Journal 15, no. 1 (2011). http://dx.doi.org/10.5204/mcj.393.

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If iconophobia is defined as the suspicion and anxiety towards the power exerted by images, its history is an ancient one in all of its Platonic, Christian, and Judaic forms. At its most radical, iconophobia results in an act of iconoclasm, or the total destruction of the image. At the other end of the spectrum, contemporary iconophobia may be more subtle. Images are simply withdrawn from circulation with the aim of eliminating their visibility. In his book Images in Spite of All, French art historian Georges Didi-Huberman questions the tradition of suspicion and denigration governing visual r
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14

Green, Lelia, Debra Dudek, Cohen Lynne, et al. "Tox and Detox." M/C Journal 25, no. 2 (2022). http://dx.doi.org/10.5204/mcj.2888.

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Introduction The public sphere includes a range of credible discourses asserting that a proportion of teenagers (“teens”) has an unhealthy dependence upon continuous connection with media devices, and especially smartphones. A review of media discourse (Jaunzems et al.) in Australia, and a critical review of public discourse in Australia and Belgium (Zaman et al.), reveal both positive and negative commentary around screentime. Despite the “emotionally laden, opposing views” expressed in the media, there appears to be a groundswell of concern around young people’s dependence upon digital devic
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15

Green, Lelia, Debra Dudek, Cohen Lynne, et al. "Tox and Detox." M/C Journal 25, no. 2 (2022). http://dx.doi.org/10.5204/mcj.2888.

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Introduction The public sphere includes a range of credible discourses asserting that a proportion of teenagers (“teens”) has an unhealthy dependence upon continuous connection with media devices, and especially smartphones. A review of media discourse (Jaunzems et al.) in Australia, and a critical review of public discourse in Australia and Belgium (Zaman et al.), reveal both positive and negative commentary around screentime. Despite the “emotionally laden, opposing views” expressed in the media, there appears to be a groundswell of concern around young people’s dependence upon digital devic
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