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Relevant bibliographies by topics / Christian symbolism

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Academic literature on the topic 'Christian symbolism'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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Journal articles on the topic "Christian symbolism"

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Kilku Lee. "Christian Symbolism in Hemingway’s Works." Jungang Journal of English Language and Literature 49, no. 1 (March 2007): 191–203. http://dx.doi.org/10.18853/jjell.2007.49.1.011.

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Mnich, Ludmila. "THE GOSPEL TRADITION OF NUMBER SYMBOLISM IN TWENTIETH-CENTURY RUSSIAN POETRY." Проблемы исторической поэтики 19, no. 1 (February 2021): 328–62. http://dx.doi.org/10.15393/j9.art.2021.9142.

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The article discusses the issues of studying and interpreting number symbolism in a literary work and characteristics of gospel number symbolism in the Christian context. In 20th-century Russian literature, the Christian tradition had a decisive impact on shaping the meaning of number symbolism. An important feature of the Christian symbolism of numbers is the correlation of number symbolism with two spheres, which can be designated as “positive” (sacral) and “negative” (sinful). The author proposes a methodology for interpreting number symbolism, which comprises three stages: 1) a description of the numbers in a literary text, 2) the correlation of these numbers with the tradition of number symbolism, 3) the interpretation of the meaning of number symbolism, which is an integral part of literary work. The article also distinguishes between two concepts — that of the number image and of the image of number, and substantiates the differences in interpretation of such images. Theoretical notions are supported by the interpretation of number symbolism in the poems of Boris Pasternak, Zinaida Gippius and Alexander Blok, where it is presented explicitly. Other images, motifs and concepts presented in the literary works augmented and added complexity to the tradition of gospel number symbolism in the poems of these authors.

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Montgomery, John Warwick. "Christian Concern UK: Evangelicals contra Irreligion in an Increasingly Secular Britain." Evangelical Quarterly 88, no. 1 (April 26, 2016): 89–95. http://dx.doi.org/10.1163/27725472-08801006.

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Christian Concern and its litigation arm have in recent years been the most vocal spokespersons for conservative evangelicalism in Britain’s political and legal arenas. Founded by former practicing barrister Andrea Williams within the Lawyers’ Christian Fellowship (Horace Rumpole’s ‘Lawyers as Christians’), it has actively promoted the evangelical agenda and taken legal cases as far as the European Court of Human Rights in Strasbourg. Among its concerns are: fighting abortion, euthanasia, assisted suicide, and same-sex marriage and parenting; and defending Christian practices in the public square such as personal evangelism, the employment of Christian symbolism, and the distribution of Christian literature. This article briefly evaluates Christian Concern’s biblically-orientated program, degree of success, and future prospects.

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Kolbutova, Irina. "Interrelation of Platonic and Jewish-Christian Aspects of the Symbolism of the Cross in the Apocryphal Acts of the Apostles, Church Fathers and Christian Iconography." Scrinium 13, no. 1 (November 28, 2017): 309–38. http://dx.doi.org/10.1163/18177565-00131p21.

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Considering the symbolism of the cross in the Apocryphal Acts of the Apostles, scholars interpreted it in terms of Platonic and Gnostic influences. In this article I made an attempt to demonstrate a more profound ancient mythological and Jewish-Christian mystical background of this symbolism, which can be traced later in Christian Patristic writings and iconographic patterns.

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Zeddies, Michael. "An Origenian Background for theLetter to Theodore." Harvard Theological Review 112, no. 3 (July 2019): 376–406. http://dx.doi.org/10.1017/s0017816019000178.

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AbstractTheLetter to Theodoremay need to be reattributed to Origen of Alexandria. Many of its features seem demonstrably Origenian, and its language aligns with early Christian and Origenian usage. Two noncanonical gospel fragments in the letter do not betray a modern author, but rather evoke early Christian symbolism and narrative structure. The single garment worn by a character in the first fragment reflects Christian symbolism and resembles the philosopher’s garment, which many early Christians adopted and portrayed in material artifacts. Origen’s intellectual interests can explain the letter’s preparation for philosophical exegesis, and its language reflects his text-critical practice. Nevertheless, Origen’s circumstances indicate the text of the noncanonical gospel fragments is unreliable. The letter also echoes Papias in the manner that Origen does. Morton Smith’s account of its discovery does not betray a forgery or hoax, but plausibly depends on other nonfiction works of manuscript discoveries written during the 1960s. Further work may be needed to secure attribution, but Origenian authorship is a simpler explanation of the evidence than modern forgery.

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Suprianto, Bibi, Andi Alfian, and David Kristanto. "Fish in Faith: Exploring Symbol as Survival Strategies in Christianity." Religious: Jurnal Studi Agama-Agama dan Lintas Budaya 6, no. 3 (December 25, 2022): 293–304. http://dx.doi.org/10.15575/rjsalb.v6i3.15610.

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This study explores the history of one of the important symbols in the Christian tradition, namely the history of the fish symbol. This study argues that the fish symbol is one of the survival strategies for Christians to survive and contest with other groups in the socio-religious context at that time. Thus, this study formulates research questions such as how is the history of fish in the Christian tradition? How does the fish symbol become a medium of survival and resistance? Does the fish symbol have any relevance in the history of Christianity in Indonesia? This research uses literature study, which means relying on written literature discussing fish symbolism in Christianity's history. The results of this study indicate that the symbolization of fish in Christian history can not only be seen from the theological aspect but also from the socio-historical aspect as a survival strategy. Furthermore, the research material is structured with the following framework: the first part discusses the history and meaning of the fish symbol as a savior and unifier in ancient Christianity; the second part discusses the symbolic significance of fish as the spread of Christianity in Indonesia; the third part, symbolism as a strategy to survive both in the form of acculturation and religious-cultural identification in the context of religion and culture. In short, the symbolism of fish in the Christian tradition is very complex, containing theological content and historical-social-cultural. By understanding how symbolization works in religious traditions, we, therefore, can understand how religion in all its aspects developed from the past to the present, and also to the future.

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Paczkowski, Mieczysław Celestyn. "Wczesnochrześcijańska symbolika o charakterze ponerologicznym. Wybrane przykłady." Vox Patrum 59 (January 25, 2013): 39–65. http://dx.doi.org/10.31743/vp.4014.

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Ponerology is devoted to the study of evil in its different aspects. Indeed, also in the early Church it was created a kind of ponerological symbolism. This short study analyses some of these significant traditionally interpreted symbols. In the Christian symbolism holiness is full of fragrance, however the demons and sins emit a terrible odor. The symbolic value of darkness covers the negative aspects of human ignorance, evil, disbelief, danger and death. The fire represents not only illumination and light, but it has the punitive value. The serpent is first mentioned in connection with the history of the temptation and fall of the humanity. In the Christian tradition the serpent or the „dragon” represents Satan, the malicious enemy. Babylon symbolizes all that is worldly and fell away from God. St. Augustine sees the world in which he lives as a mixture of the city of confusion and the city of heaven (Jerusalem). In the ponerological symbolism appears Amalek. The Fathers equated them with passion or evil. The faithful of Christ always fights against him. In Origen this approach is much more clearly defined in his explicitly spiritualizing reading. The ponerological symbolism of the ancient Christian literature contained a moral or religious lessons or allegories.

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Lyubov’ O., Sviridova. "The Twin Myth in the East Christian manuscripts." Vestnik of Saint Petersburg State University of Culture, no. 1 (50) (2022): 81–86. http://dx.doi.org/10.30725/2619-0303-2022-1-81-86.

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The article reveals a layer of archaic images and representations associated with the mythological motif of twinning in the East Christian post-Canonical manuscripts. The Christian interpretation of the mythologem of twinning is investigated based on the analysis of the semantic structure of Eastern Christian texts, in the first place - the texts devoted to the hagiography of St. Thomas, and other Old Russian manuscripts. А number of the sources under consideration have the status of liturgical texts. Such mythopoetic paradigms as similarity in the biography of twins, bodily markers of twinhood, the motif of the confrontation of twins: the hero and the trickster, the female hypostasis of the twin, the mythopoetic of the name and numerical symbolism are revealed. The Eucharistic symbolism of the touch gesture, which has become key in Eastern Christian imagery, is considered.

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Mamiev, M. E. "Solar symbolism of Christian crosses of medieval Alanya." Vestnik of North-Ossetian State University, no. 4 (December 25, 2019): 60–65. http://dx.doi.org/10.29025/1994-7720-2019-4-60-65.

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Brandt, Olof. "The Symbolism of Water in Early Christian Baptisteries." Current Swedish Archaeology 11, no. 1 (June 10, 2021): 11–24. http://dx.doi.org/10.37718/csa.2003.01.

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The symbolism of water in the Early Christian baptisteries was not expressed in the architecture of the building but rather in its decoration. This article illustrates the references to water in the sculptures and inscriptions of the fourth and fifth-century phases of the Lateran baptistery in Rome. This decoration shows that the water was a symbol ofboth li fe and death: the death of the sinner and the life of God, to which baptism gave access.

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Dissertations / Theses on the topic "Christian symbolism"

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Waltz, Connie Lou. "Sources and iconography of the figural sculpture of the Church of the Holy Cross at Aght'amar." Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228504313.

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Snyder, Cara L. "The Christ child as Salvator Mundi a reexamination of the devotional image in Germany, 1450-1550 /." Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=1957.

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Thesis (M.A.)--West Virginia University, 2001.
Title from document title page. Document formatted into pages; contains vii, 41, [24] p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 37-41).

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Munk, Ana. "Pallid corpses in golden coffins : relics, reliquaries, and the art of relic cults in the Adriatic Rim /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/6213.

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Wallace, Jan. "Humanizing the Abyss : the use of Christian and non-Christian symbolism in the work of William Blake." Thesis, University of Ulster, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432847.

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Schaik, Marinus Jan Hendrikus van. "De harp in de Middeleeuwen studies naar de symboliek van een muziekinstrument = Die Harfe im Mittelalter : Studien zur Symbolik eines Musikinstruments /." Utrecht : M.J.H. van Schaik, 1988. http://books.google.com/books?id=oo9GAAAAMAAJ.

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Morgan, David. "The origin and use of compositional geometry in Christian painting /." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68125.

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Painters of Christian subjects in the late Middle Ages and early Renaissance developed a complex system of geometry which they used to order the various elements in the image. They did this because they were convinced that the aesthetic dimension of their work resided in the structure of the work. More specifically, the artists of the late Middle Ages and the Renaissance believed that the particular aesthetic experience which geometric compositional structure provides corresponded to Christian mystical experience. Thus a work of art that combined geometric structure, naturalistic style, and Christian imagery could provide an experience analogous to that of Christian revelation. This paper traces the development of this idea from its origin in the Old Testament tradition, its formalization in Greek thought and its full flowering in early Christian painting.

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Forrest, Matthew. "Iconography profiles." Morgantown, W. Va. : [West Virginia University Libraries], 2008. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=5698.

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Thesis (M.F.A.)--West Virginia University, 2008.
Title from document title page. Document formatted into pages; contains v, 29 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 11).

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Crosby, Nancy A. "Shifting reality /." Online version of thesis, 1992. http://hdl.handle.net/1850/11760.

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Kordis, George D. "St. Nikodemos the Hagiorite on Byzantine iconography." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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Dascal, Elana. "Reading Midrash as graphic artistic activity : the compilation of Midrash Rabbah as possible influences on early Jewish and Christian art." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28257.

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Midrash is a genre of rabbinic Bible exegesis, composed by various authors and compiled in anthologies during the first seven centuries of the Common Era. This thesis explores the reading of Midrash and its possible influence on early artistic activity. Examples of early Jewish and Christian biblical representations that display some degree of midrashic impact, are presented in order to establish the existence of a relationship between Midrash and art. Finally, by a systematic reading of the corpus of midrashic literature found in Midrash Rabbah, Midrashim that suggest graphic representation, but which have not yet to been found among early art forms, are categorized and analyzed.

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Books on the topic "Christian symbolism"

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The elements of Christian symbolism. Shaftesbury, Dorset: Element, 1997.

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Symbolism of the saints. London: Mowbray, 1989.

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Outward signs: The language of Christian symbolism. New York: Walker, 1989.

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Fernando, Winitha. Christian art. United Kingdom: Fernando Publishers, 2008.

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Fernando, Winitha. Christian art. United Kingdom: Fernando Publishers, 2008.

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Koch, Rudolf. Christian symbols. San Francisco: Arion Press, 1996.

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Mortonson, Kenneth. The Advent instructor: Reflections on Christmas symbolism. Lima, Ohio: CSS Pub. Co, 1995.

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Pál, Cséfalvay, and Buzási Enikő, eds. Christian Museum, Esztergom. Budapest: Corvina, 1993.

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God, cosmos, and humankind: The world of early Christian symbolism. Berkeley: University of California Press, 1995.

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Christian art in India. Madras: Christian Literature Society, 1986.

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Book chapters on the topic "Christian symbolism"

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Falcasantos, Rebecca Stephens. "Christian religious symbolism and pilgrimage." In Routledge Handbook on Jerusalem, 290–300. Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315676517-25.

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Haverkamp, Eva. "Jewish Images on Christian Coins: Economy and Symbolism in Medieval Germany." In Religion and law in Medieval Christian and Muslim Societies, 189–226. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.relmin-eb.5.108444.

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Eriksen, Stefka G. "Translating Christian Symbolism into Old Norse Mythology in Thirteenth-Century Norway." In The Medieval Translator, 303–14. Turnhout: Brepols Publishers, 2017. http://dx.doi.org/10.1484/m.tmt-eb.5.109417.

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Hayward, Robert. "Saint Jerome, Jewish Learning, and the Symbolism of the Number Eight." In Meditations of the Heart: The Psalms in Early Christian Thought and Practice, 141–60. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.stt-eb.4.7008.

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O’Brien, Donal B. Cruise. "Coping with the Christians?" In Symbolic Confrontations, 92–117. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1007/978-1-137-05532-3_5.

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O’Brien, Catherine. "Sacrificial Rituals and Wounded Hearts: The Uses of Christian Symbolism in French and German Women’s Responses to the First World War." In The Women's Movement in Wartime, 244–59. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230210790_15.

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Cocco, Christelle, Zhargalma Dandarova-Robert, and Pierre-Yves Brandt. "Automated Colour Identification and Quantification in Children’s Drawings of God." In When Children Draw Gods, 191–212. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-94429-2_8.

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AbstractColour is still a relatively neglected aspect in the study both of religious art and of children’s artistic expression of the divine. Our research addresses this important gap and adds to psychological research on religious representations and conceptualization of the divine. From drawings collected in four different cultural and religious environments: Japanese (Buddhism and Shinto), Russian-Buryat (Buddhism, Shamanism), Russian-Slavic (Christian Orthodoxy) and French-speaking Swiss (Catholic and reformed Christianity) we show that children often imagine and depict god using the same colours: primarily yellow and blue. Apparently, god is often imagined by children as light or in light (yellow) and dwelling in the sky (blue). These results parallel historical and religious studies showing that the light enjoys prominent and most powerful symbolism and association with the divine. Complementary analysis of possible effect of child’s age, gender, and schooling (religious or regular) did not affect the main result. This research also introduced a novel approach to data analysis by using computer vision in psychological studies of children’s drawings. The automated colour identification method was developed to extract colours from scans of drawings. Despite some difficulties, this new methodology opens an interesting avenue for future research in children’s drawings and visual art.

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della Dora, Veronica. "Mythological Landscape and Landscape of Myth: Circulating Visions of Pre-Christian Athos." In Symbolic Landscapes, 109–31. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-1-4020-8703-5_5.

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Unger, Matthew P. "The Symbolic Experience of Christian Extreme Metal." In Sound, Symbol, Sociality, 89–109. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-47835-1_6.

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Giamil, D. Samuel. "Symbolum Nestorianum Anni P. Ch. N. 012." In Oriens Christianus (1901-1941), edited by Anton Baumstark, 61–79. Piscataway, NJ, USA: Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463217358-004.

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Conference papers on the topic "Christian symbolism"

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Masolova, E. A., and T. B. Ganicheva. "Christian Calendar and Symbolism of Numbers in the Late Literary Prose of Leo Tolstoy." In Proceedings of the Internation Conference on "Humanities and Social Sciences: Novations, Problems, Prospects" (HSSNPP 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/hssnpp-19.2019.47.

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Tierraseca, Mónica. "Tracing the absent. Hilma af Klint’s mystical language." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-22.

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The main aim of this paper is to study the mysticism of the Swedish artist Hilma af Klint (1862–1944) in relation to her religious experience and her searching for existential answers through contact with divine entities. Although the identity of these figures is not clear, we are aware of their familiarity with Christian beliefs. Thus, in this paper we attempt to approach Af Klint’s Christian, metaphysical and anthroposophical message by analysing her notebooks. Particularly, we focus on the symbolic aspect of one of them made between 1919 and 1920, entitled Flowers, Mosses, and Lichens.

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Pariláková, Eva. "The mystical meaning of the table in contemporary art. Reinterpretation of the language of giving and receiving." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-23.

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The author interprets two forms of figurativeness of the mystical experience – the touch of man with the spiritual world, God, and the experience of amazement at being – by analysing the symbol of the table in contemporary art. The author first identifies the figurativeness of the fragmentary experience contrary to the mystical experience. Subsequently, she examines the mystical table in the icon of the Trinity by Andrei Rublev as a symbol of sacred hospitality and the eucharistic sacrifice. She also examines the icon’s philosophy as a meeting of the human and the transcendent world (Florensky, Trubeckoi, Evdokimov etc.). Finally, she explains the signs of the figurativeness of the mystical semantics of the table in three contemporary paintings (Jakabčic, Podhorský). These include, for example, Christian allusions, visual minimalism, white colour, contemplative immobility, mysterious to paradoxical imaginations, or the expressive-symbolic use of red and blue.

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Reports on the topic "Christian symbolism"

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Варданян, Марина Володимирівна. The sphere of “The Self” concept: thematic horizons in literary works for children and youth of Ukrainian Diaspora writers. Lulu Press, 2017. http://dx.doi.org/10.31812/0564/1672.

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The article deals with the leading issues in the children's literature of the Ukrainian Diaspora writers. Among the key themes are the following such as historical, patriotic, religious and Christian topics, which are considered through the image of “The Self”. This concept includes the image of the Motherland, historically native land, prominent figures (Taras Shevchenko, hetmans of Ukraine), the family line, national symbols (the flag, the trident) and religious and Christian symbols (the church, the blessing). The idea of preserving the cultural identity and the national identity of Ukrainians is prevalent through the concept of “The Self”.

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