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Copyright of Średniowiecze Polskie i Powszechne is the property of Wydawnictwo Uniwersytetu Slaskiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Annals of Social Sciences / Roczniki Nauk Społecznych is the property of Towarzystwo Naukowe KUL & Katolicki Uniwersytet Lubelski Jana Pawla II and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Sister Julitta meticulously designed the chapel, taking into account both artistic and theological considerations. The subsequent chapel constructed in the early 1990s to replace the original diverged from its predecessor's expressive and joyful blue-and-red colour scheme. It is possible that the profound asceticism evident in this later rendition, conceived by Sister Julitta, was influenced by the political transition and the belief that it demanded distinctive qualities from Church members. The purpose of this article is to analyse the no longer existing chapel of the Pallotine Missionary Sisters of the Catholic Apostolate, dedicated to Our Lady of Divine Love in the context of modern art and its role in post-war Poland. The convent chapel was erected only a year after the arrival of the sisters to Gdańsk. However, its modernist structure was shaped by two subsequent renovations, carried out in 1959 and 1965. Despite its outstanding artistic and historical qualities, this original and unique creation by Sister Julitta Gołębiowska, SAC has not yet gained recognition from researchers. Drawing on the modernist concept of the Gesamtkunstwerk, Sister Julitta created a masterpiece of an immersive character. She was stimulated by vibrant discussions about modern religious art during her studies in Kraków and inspired by the realization of the Chapelle du Rosaire by the Dominican nuns in Vence (1947-1951). The ultimate design of the chapel was additionally influenced by the patriotic element of fostering Polish modernity within Gdańsk's historical German artistic context, alongside the concepts regarding the renewal of religious life outlined in the Second Vatican Council. [ABSTRACT FROM AUTHOR]

Copyright of Social Pedagogy / Pedagogika Społeczna is the property of PEDAGOGIUM Wyzsza Szkola Nauk Spolecznych w Warszawie and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ACTA Scientiarum Polonorum Silvarum Colendarum Ratio et Industria Lignaria is the property of Poznan University of Life Sciences Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article is a case study of Jacek Dehnel’s novel Matka Makryna as an instrument for criticising the traditional model of patriotism. The object of analysis is the self-creation of the main character – a Russian officer’s widow who introduces herself as Mother Macrina, a superior of Basilian nuns in Minsk, oppressed by the Russians. Over time, she becomes “a martyr of Polishness,” a symbol of the suffering of Poles caused by the invader. Jacek Dehnel presents the supposed Macrina not only as a talented fabricator, but also as a personification of an antimodern, xenophobic image of Polishness. Closely linked to this image is the way of understanding patriotism based on an obsession with independence which continues to be cultivated in the present day. It is this traditional model of patriotism that is the main object of criticism in Dehnel’s novel. As a result, Mother Macrina gains a clear connection with contemporary Polish culture that is unique among other novelised biographies. [ABSTRACT FROM AUTHOR]

In 2018 and 2019, the Vatican newspaper “L’Osservatore Romano” published two ground-breaking articles describing the psychological, physical and sexual abuse of nuns by clergymen of the Roman Catholic Church. The aim of this paper is to present the situation of consecrated women and the relationships between priests and nuns. The text will also attempt to discover possible reasons for the clergymen’s inappropriate behaviour towards nuns. To achieve this goal, the author refers to the status of women in the Catholic religion and examines documents issued by the Church that relate to the life and the functioning of women’s religious communities. The second part of the paper presents fragments of Spanish-language poetry and prose whose authors or heroines are nuns. The selected texts address the problem of the clergy’s discrimination against nuns.

The Dominican monastery in Kamianets Podilskyi was the last pre-partition foundation on Polish land established by the nuns of the Order of Preachers. Józef Mocarski, provincial prior of the Dominican Ruthenian province, in 1708 founded the monastery for the nuns of his order in the recently recovered from the Turks (on the strength of the Treaty of Karlowitz) Kamianets Podilskyi. It was the easternmost Catholic monastery. It included nuns only of noble Polish origin; they were daughters of Podolia noblemen. In 1721 the process of setting up the monastery was completed and it was also then that a small convent church was consecrated, whose patron became St Michael the Archangel (patron of Ruthenia and the Dominican Ruthenian province). The Dominican nuns from Kamianets led contemplative life in strict enclosure. The monastery did well until the decline of the Commonwealth of Poland. In 1787 the monastery was threatened with closing as part of the plans to modernize the Kamianets fortress, which was to be strengthened with the buildings of city convents. Eventually, the nuns were not displaced, as the reorganization plans were not carried out. In 1793 Kamianets Podilskyi was taken over by Russians and the partition period started. Although the monastery was wealthy, the Dominican nuns started to struggle with various problems. A crisis of vocations appeared, which in 1822 was overcome through bringing three nuns from the monastery in Novogrudok, but in 1833 the situation repeated itself. However, a monastery school was set up, which gave the nuns some financial support. In 1839 the last vestition of two nuns took place, and in 1842 on the strength of a tsar's decree the novitiate was closed, which was an indication of the monastery's near demise. The monastery obtained a long-range status and existed until the closure of the Kamianets diocese in 1866. Then eight Dominican nuns were sent to the Carmelite nuns of old observance in Dubno, where there was a long-range monastery. That status was lost in 1890 and then the nuns residing there were relocated to the Benedictine nuns monastery in Sandomierz. It was then that three years later the last Dominican nun from Kamianets, Joanna Austutowiczówna, died, closing the history of her convent. [ABSTRACT FROM AUTHOR]

The paper presents the history, primarily the twentieth-century history, of a painting titled Lamentation [Opłakiwanie], at the present moment displayed on the northern wall of the presbytery of the Church of the Visitation Order in Warsaw. The study is based primarily on documents held in the Archives of the Convent of the Visitation Order in Warsaw. The painting, created by Jan Reisner, in 1698 was donated by his wife to the convent of the Sisters of the Visitation in Warsaw. According to the preserved inventories, it decorated the main altar in one of the chapels and was later kept in the sacristy, while in the nineteenth century it hung on the northern wall of the presbytery, opposite the cloister choir. This was its location until the outbreak of the Second World War. Shortly after the fall of the Warsaw Uprising, it was removed from the church and disappeared in unclear circumstances. At the end of 1947 and in early 1948, one of the nuns came across it in the Church of the Holy Saviour in Warsaw. Extant correspondence records how the nuns attempted to recover the painting and reveals the dramatic fortunes of the work in the final months of the war and after its end. The painting, found shortly after the entry of the Red Army to Warsaw on 17 January 1945, was handed over to Father Wacław Majewski, the then parish priest in the arch-cathedral of St. John the Baptist. He commissioned its conservation and decided to place the work in the church. Eventually, the painting returned to the Church of the Visitation Order in October 1948. In 1968, it underwent thorough conservation which not only made it possible to determine the scale of damage, but also revealed the preserved original sections. Shortly after its completion, a paper by Mariusz Karpowicz was published; the author attributed the painting to Jan Reisner, a court painter of King Jan III, who at that time was quite unknown. [ABSTRACT FROM AUTHOR]

Copyright of Acta Baltico-Slavica is the property of Polish Academy of Sciences, Institute of Slavic Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studia Gdańskie is the property of Gdanskie Seminarium Duchowne, Kuria Metropolitalna Gdanska and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)