FAQ

Studia Religiologica

Wyniki wyszukiwania

wyszukiwarka prosta

szukaj np. “cognitive architectures” AND 1993-200 NOT Urban
wyszukiwanie zaawansowane
np. 1234-6789
np. 10.4467/16890027AP.16.022.6009
np. Uniwersytet Jagielloński

Tom 51, Numer 2

Udostępnij udostępnij __T_ARROW_DOWN

2018 Następne

Data publikacji: 2018

Opis

Publikacja dofinansowana przez Uniwersytet Jagielloński ze środków Instytutu Religioznawstwa 

Licencja: CC BY-NC-ND ikona licencji

Redakcja

Redaktor numeru Piotr Zwierzchowski

Zawartość numeru

Marek Lis

Studia Religiologica, Tom 51, Numer 2, 2018, s. 83 - 92

https://doi.org/10.4467/20844077SR.18.005.9503
In the Soviet Union, even after perestroika, explicitly biblical films have practically not been produced; nevertheless the Bible, despite acute censorship, has been present in a symbolic way in films directed by Andrei Tarkovsky and Larissa Shepitko. A certain revival of biblical themes is evident in recent works of Russian directors Pavel Lungin (Island, 2006; The Conductor, 2012), and Andrei Zvyagintsev (The Return, 2003; Leviathan, 2014). The paper analyzes the meaning of the Bible in these films: biblical texts are quoted in dialogues, and evoked in the titles and the protagonists’ names; biblical motifs are present in images, in contemporary events, and in the narrative structures. The Bible is recognizable in the experiences of the protagonists (Christ figures), and it influences their lives, or is refused and denied. Lungin and Zvyagintsev show the importance of the Bible in challenging personal, social, religious and political contexts and situations. 
Pobierz PDF PDF
Czytaj więcej Następne

Natalia Różalska

Studia Religiologica, Tom 51, Numer 2, 2018, s. 93 - 102

https://doi.org/10.4467/20844077SR.18.006.9504
This paper is dedicated to an analysis of the figure of the trickster in the work of Andrei Tarkovsky from the perspective of William J. Hynes’s theory. The paper discusses three films directed by Andrei Tarkovsky: Nostalghia (1983), The Sacrifice (1986) and Stalker (1979). The trickster is one of the oldest and most widespread mythical figures. It is characterized by a paradoxicality which serves to manifest the trickster’s liminality and transformative powers resulting from the absence of divisions. Examining the selected protagonists from Tarkovsky’s films, it may be seen that many of the features of the trickster are also constitutive for them. The paper works to understand why Tarkovsky chose to use the trickster figures to promote his own ideas, as well as how changes in the contemporary culture and society influence how the trickster archetype is presented in his movies.
Pobierz PDF PDF
Czytaj więcej Następne

Daria Mazur

Studia Religiologica, Tom 51, Numer 2, 2018, s. 103 - 113

https://doi.org/10.4467/20844077SR.18.007.9505
The paper aims at a scrutiny of traces showing that Małgorzata Szumowska, in several of her movies (33 sceny z życia [33 Scenes from Life]; Body/Ciało [Body]; W imię... [In the Name of]; Twarz [Mug]), plays with the models of metaphysical cinema, at the same time juxtaposing them with phenomena and processes connected with the shaping of the so-called “new spirituality.” Szumowska creates her movies along the lines of the thinking of postmodern philosophers who build on the differences between religiosity and spirituality. Films that at first glance seem secular and avoid straightforward questions about faith (questions that would be strictly theological), make manifest the traits of human existence in the postmodern world, an existence marked with insatiability, loneliness, despair, disorientation, doubt, and emptiness, and attempt to find a cinematic language that would visualize the reality and the phenomenon of the struggle between what is carnal and what is spiritual. 
Pobierz PDF PDF
Czytaj więcej Następne

Mariola Marczak

Studia Religiologica, Tom 51, Numer 2, 2018, s. 115 - 128

https://doi.org/10.4467/20844077SR.18.008.9506
The author analyses audio-visual productions from recent years referring to hagiographic narrative structures, with a main focus on the construction of characters typical of literary and film hagiographies. The presented study shows that hagiographic structures infiltrated film narratives about soldiers of the Polish underground fighting for independence after World War II and fulfil communicative functions analogous to their literary versions. The undertaken research leads to the conclusion that what dominates are persuasive functions aimed at shaping patriotic attitudes and promoting values which influenced the characters modelled on historical figures of the so-called indomitable soldiers (or “cursed soldiers”) who opposed the communist power in Poland. 
Pobierz PDF PDF
Czytaj więcej Następne

Piotr Zwierzchowski

Studia Religiologica, Tom 51, Numer 2, 2018, s. 129 - 138

https://doi.org/10.4467/20844077SR.18.009.9749
The present paper discusses two Polish film documentaries taking up the subject of First Communion: Pamiętaj abyś dzień święty święcił (Remember to Keep Holy the Lord’s Day, 2008) by Maciej Cuske, and Komunia (Communion, 2016) by Anna Zamecka. Both films reflect on contemporary Polish religiosity and on the social functioning and perception of the sacrament and ritual of First Communion. They also address the issues of the social and mental maturity of the child receiving the sacrament, and the ceremony’s significance for the life of the family. The paper analyses and 
interprets the films as the directors’ personal commentaries, as chronicles of individual stories, 
and as attempts at social diagnoses. 
Pobierz PDF PDF
Czytaj więcej Następne

Łucja Demby

Studia Religiologica, Tom 51, Numer 2, 2018, s. 139 - 148

https://doi.org/10.4467/20844077SR.18.010.9750
The paper by Łucja Demby discusses the television series Siła wyższa [Higher Power], first broadcast on Polish TVP1 public television in 2012. The series was directed by Wojciech Adamczyk, familiar to viewers as the creator of the extremely popular TV series Ranczo [The Ranch]. Higher Power, in a comedic convention, depicts the confrontation between Franciscan monks and the residents of a nearby Buddhist centre. Łucja Demby points to Wojciech Adamczyk’s trademarks present in the series (notable also in The Ranch and the director’s other work), such as including a message of tolerance and understanding between people of different persuasions. The author also points out how the series draws on religious stereotypes functioning in Polish society, concerning both the dominating Catholicism and other religions. In terms of composition, the paper is based around two quotes: a statement by Lama Rinchen regarding the possibility of dialogue between Catholicism and Buddhism, and a fragment from a book by Pope John Paul II, emphasizing the differences between these two religions.
Pobierz PDF PDF
Czytaj więcej Następne

Pliki do pobrania

Pobierz PDF Spis treści PDF

Słowa kluczowe: s. Keywords: Russian film, Bible, cinema, Lungin, Zvyagintsev Słowa kluczowe: ; Russian film, Zvyagintsev, Trickster, Andrei Tarkovsky, Russian film, William J. Hynes ; trickster, Andriej Tarkowski, film rosyjski, William J. Hynes, nowa duchowość, dyskurs postsekularny, kino metafizyczne, współczesne polskie kino ; new spirituality, post-secular discourse, metaphysical cinema, modern Polish cinema, film hagiograficzny, struktura narracyjna, hagiografia literacka, żołnierze wyklęci, żołnierze niezłomni, sakralizacja bohatera, symbolika religijna ; hagiographic film, narrative structure, literary hagiography, cursed soldiers, indomitable soldiers, sacralisation of film characters, religious symbols, Polish cinema, documentary films, Polish customs, First Communion, contemporary Polish religiosity; kino polskie, kino dokumentalne, obyczaje polskie, pierwsza komunia święta, współczesna religijność Polaków, Buddhism, Catholicism, TV series, Wojciech Adamczyk ; buddyzm, katolicyzm, serial telewizyjny, Wojciech Adamczyk