The article deals with the issue of illness and suffering in Carmelite sermons of the 17th–18th centuries. The question of the origin of suffering is considered along with the role of God’s mercy and justice in the preaching discourse about the rightness and purposefulness of suffering of the human being. In addition, an analysis of the views of preachers about topics related to passing away and the attitude they advocate in the face of death is included.
W niniejszym tekście autorka próbuje rozwikłać paradoks ukryty w stwierdzeniu Bogusława Wolniewicza, który określał się jako „rzymski katolik niewierzący”. Najpierw zostaje ukazane, (1) w jaki sposób Wolniewicz rozumiał źródła religii, następnie (2) jak określał „minimum” chrześcijaństwa. Autorka zastanawia się, (3) czy można pogodzić jego tak wyraziste poglądy na temat eutanazji z nauką Kościoła oraz (4) etyką ewangeliczną. Na koniec (5) autorka szuka zbieżności między racjonalizmem tychicznym Wolniewicza a chrześcijaństwem.
The motif of death and the maiden, so popular in literature and painting, is referred to directly in Samuel Beckett’s All that Fall, when Franz Schubert’s piece of music, under such a title, is heard at the end of this radio drama. When discussing the vision of human existence, as consistently presented in this great Irishman’s oeuvre, it is advisable to become acquainted with the basic concepts of Martin Heidegger’s philosophy, and also with Beckett’s essay Proust in which he discusses human life, characterised by suffering as “the expiation for the eternal sin of having been born.” This article discusses death in the Beckettland of suffering. Death hardly ever comes to young characters, the majority of Beckett’s characters being either old or, at least, middle-aged, are all still longing for their end to come. Despite finding different kinds of pastimes to make their waiting less oppressive, time seems to be, as it were, at a standstill, and, to use Vladimir’s words from Waiting for Godot, they “have time to grow old.”
Buffy The Vampire Slayer was a television series broadcast from 1997 to 2003. The narrative follows the heroine, Buffy Summers, ostensibly a normal teen, however she is also the latest in a long line of Slayers. Death is a gift of the Slayer. The three facets of this gift point to the conclusion that Buffy, the Maiden, is Death.
This article looks at the allusions made by Austrian artists Birgit Jürgenssen and Assunta Abdel Azim Mohamed to the historical genres “Dance of Death” and “Death and the Maiden”. I examine in particular Jürgenssen’s series “Totentanz mit Mädchen” and “Untitled Polaroids” (also known as the “Death and the Maiden” polaroids). I raise the significance of her titles and argue that she is dancing with the genre, in effect with art history itself. Then I consider Mohamed, 43 years Jürgenssen’s junior. I propose her as an heir of Jürgenssen. I argue that one of the reasons both artists allude to the two traditional genres is in order for the work to address the nature of art itself.
Harriet said…, a lesser known, 1972 novel by an acclaimed writer Beryl Bainbridge (1932–2010), is a work about friendship. However, only apparently – as the events in the story unfold, the reader slowly realizes how toxic and corrupting the bond between the eponymous Harriet and her nameless friend (the narrator) is. Bainbridge, inspired by real-life tragedy, presents a haunting vision of friendship marred by violence, both emotional and physical. Two adolescent girls devise a specific life ideology and as they explore the limits of their self-understanding, they transgress social norms, which ultimately leads them to a completely gratuitous crime. Hence, an important questions arises – is it still a friendship or, rather, a form of mutual exploitation? What makes their relationship Gothic? The aim of my analysis will be to respond to these queries.
Ursula K. Le Guin was an American writer, a master of science fiction and fantasy. She was the author of the famous Earthsea trilogy, in which magic remains the pivotal idea. In the novels, Le Guin links immense, yet dangerous, supernatural abilities with the idea of Equlibrium within realms, a principle that governs the universe. The paper is an attempt to elucidate how certain visions of life after death are constellated within Le Guin’s fantasy writings. Visibly inspired by Eastern mythologies and religious doctrines, the author does not steer clear from the vision rooted in Western traditions. The ongoing debate is an attempt at clarifying the universal concept of soul and mankind.
The paper is based on the assumption that the balance of positive and negative, aggression and nurturing, or plus and minus results in the ultimate annihilation of the existence of both. The duality balance results in opposite reaction. The plus becomes minus and the minus becomes a plus. This is presented by the feminine becoming masculine, understood through Hofstede’s (2001) division into masculine and feminine cultures, by taking on the traditional male role, ultimately killing the feminine, being no-one and thus becoming death impersonated contrasted with assigning attributes to concepts fully understood through themselves. This will be based on the female character Arya Stark in J.R.R. Martin’s popular series “A Song of Ice and Fire” and its adaptation in “Game of Thrones.”
Introduction: Clostridium difficile (C. difficile) is a Gram-positive, anaerobic rod-shaped bacteria, widely spread in the human environment. In the last decade, the frequency and severity of Clostridium difficile infection (CDI) have been increasing, making this particular disease one of the most significant nosocomial infections. The aim of our study was an analysis of CDI risk factors, its course and consequences. Materials and Methods: Medical documentation of the patients treated for CDI in the University Hospital in Cracow and St Anne’s Hospital in Miechów has been analysed. The analysis focused on epidemiological data, blood parameters, comorbidities, recurrence rate, and complication rate (deaths included). As part of risk factors analysis, antibiotic use or hospitalisation in a period of 3 months before the episode of infection was considered relevant. Blood tests have been performed using routinely employed, standard methods. Results: We evaluated data of 168 people infected with C. difficile, out of which there were 102 women (61%) and 66 men (39%). Th e median age of the patients was 74 years for the entire population with 76 years for women and 71 years for male patients. One hundred thirteen people (67%) had been previously hospitalised, and 5 person was a pensioner of a nursing home. 99 people (59%) were treated with antibiotics within 3 months before the first episode of infection. An average length of the hospital stay because of CDI was 11 days. One hundred thirty persons (77%) experienced only 1 episode whereas 38 people (23%) had more than 1 episode of infection. The person with the largest number of recurrences had 9 of them. Conclusions: The development of CDI is an increasing problem in a group of hospitalised persons, particularly of an old age. The general use of beta-lactam antibiotics is the cause of a larger number of infections with C. diffi cile. Vast majority of patients have had at least one typical risk factor of CDI development.
The article examines diverse relations between Cynthia Ozick’s The Shawl and the final distich of Paul Celan’s “Deathfugue,” which the American writer chose as an epigraph to her Holocaust prose. An intertextual analysis of both texts (which relate to each other in a midrash-like manner) demonstrates the existence of numerous parallels in the language and imagery used by both authors, as well as their identifiable references to the motif of “Death and the Maiden,” which can be found in German paintings (Grien, Deutsch) and music (Bach, Schubert, Wagner).