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Relevant bibliographies by topics / Christian transfiguration

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Academic literature on the topic 'Christian transfiguration'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Christian transfiguration"

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Stevenson, Kenneth. "‘Rooted in Detachment’: Transfiguration as Narrative, Worship and Community of Faith." Ecclesiology 1, no. 3 (2005): 13–26. http://dx.doi.org/10.1177/1744136605052777.

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AbstractThe Transfiguration is recorded in all three synoptic gospels, and points the onlookers towards the cross. The article looks at these narratives, with their variations, and then examines the way in which expositors and preachers, patristic, medieval and modern, have applied the Transfiguration to Christian living. Important are the two quite distinct ways in which the narrative has been used liturgically, in the Latin West, originally as a feature of Lenten preaching, and in the East as a festival in its own right on August 6th. Drawing the two traditions of interpretation and worship together, it is possible to see fresh ways of understanding the impact of the Transfiguration on the Church’s self-understanding: the tension between continuity and discontinuity; the transformation of the three uncomprehending apostles; and the hidden but mobile character of the community of faith. The Transfiguration emerges as a truth that illuminates Christian discipleship at its most profound.

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Maayan-Fanar, Emma. "The transfiguration at Shivta. Retracing early Byzantine iconography." Zograf, no. 41 (2017): 1–18. http://dx.doi.org/10.2298/zog1741001m.

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The Transfiguration constitutes one of the most important events in the New Testament. Yet, only few pre-iconoclastic examples of the Transfiguration scene have survived: S. Apollinaire in Classe, Ravenna, St. Catherine Monastery, Sinai and Porec in Istria, each has its unique iconography. Therefore, scholars have concluded that the Transfiguration scene became widespread only after the iconoclastic controversy. We aim to show, that Transfiguration scene in Shivta, an early Byzantine settlement in the Negev desert, allows a glimpse into the early Christian iconography of the well-known scene, providing a missing link to its development in the post-iconoclastic period.

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Gundry, Robert H., and A. D. A. Moses. "Matthew's Transfiguration Story and Jewish-Christian Controversy." Journal of Biblical Literature 116, no. 3 (1997): 560. http://dx.doi.org/10.2307/3266693.

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Scholten, Clemens. "EIN UNERKANNTER QUAESTIONESKOMMENTAR (EXC.THEOD. 4F) UND DIE DEUTUNG DER VERKLÄRUNG CHRISTI IN FRÜHCHRISTLICHEN TEXTEN." Vigiliae Christianae 57, no. 4 (2003): 389–410. http://dx.doi.org/10.1163/157007203772064577.

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AbstractThere are traces of attempts at a methodical explanation of biblical texts before the appearance of full-scale commentaries on Holy Scripture. The use of exegetical technical forms arose in Christian schools from the necessity to understand the contents of the Bible as coherent. In Clement of Alexandria, exc. Theod. 4f, a hitherto overlooked fragment of an early Christian Quaestiones-commentary has been preserved. The specific interest in Christ's transfiguration concerns his identity with God and the comprehension of his disciples. The differences between heretical and orthodox exegesis do not depend on the choice of methods, as Marc the Magician and Clement demonstrate. The narrative of the transfiguration in the apocryphal Acts of the Apostles testifies to exegetical expertise. Origen considers his own scholarly exegesis as basically debatable.

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Bogataj, Jan Dominik. "Metamorphōsis Between Ovid, The Theōsis Of Andrew Of Crete And The Byzantine Humanism Of Leo Vi." Keria: Studia Latina et Graeca 21, no. 1 (September 30, 2019): 45–59. http://dx.doi.org/10.4312/keria.21.1.45-59.

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The paper addresses the Greek term μεταμόρφωσις, which links Ovid’s famous Metamorphoses with Christ’s transfiguration on the mountain (Mt 17:1–8; Mk 9:2–8; Lk 9:28–36). In addition to early Jewish mystical and apocalyptic traditions, it is Greco-Roman pagan literature that may be identified as a source for this gospel account. The latter went on to elicit a rich patristic and Byzantine response (Andrew of Crete, In transfigurationem 1 [Or. 7]; Leo VI the Wise, Hom. 10.11.39), which is the focus of the present study. The comparison of literary genres, philological and semantic analysis of the term μεταμόρφωσις, and confrontation of the different influences reveals the crucial difference between the two general contexts (pagan and Christian), at the same time enhancing our understanding of both. While Ovid’s numerous apotheoses are recognised as an important contribution, they differ from the patristic term θέωσις in their lack of inner, spiritual transformation.

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Wunenburger, Jean-Jacques. "The Transfiguration of the Real in Abstract Painting." Human and Social Studies 5, no. 2 (June 1, 2016): 77–89. http://dx.doi.org/10.1515/hssr-2016-0014.

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Abstract This article challenges a series of assumptions associated with abstract painting, arguing that this type of art makes one understand a visual manifestation which does no longer refer to the visible world only, but also to an intelligible world, accessible to the senses. Non-figurative painting abandons the reproduction of the visible, in order to present us with the invisible, and in order to account for this phenomenon the author elaborates three types of philosophical decision to interpret the mode of being of the image. The comprehension of this original experience of abstract art is then compared to the relations between the visible and the invisible, as Christian theology delineates them. Christianity is defined first by the experience of the figuration of God, by His embodiment, which actually enables one to conceive of certain images, such as the icon of the Orthodox liturgy, but at the same time it also bestows, for the first time, an incredible status to the disappearance of the visible divine body, when it returns to the invisible, while remaining present in the visible.

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Phillips, Thomas E. "Jesus' Transfiguration and the Believers' Transformation: A Study of the Transfiguration and Its Development in Early Christian Writings - By Simon S. Lee." Religious Studies Review 36, no. 1 (March 2010): 73. http://dx.doi.org/10.1111/j.1748-0922.2010.01405_12.x.

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Finn, Douglas. "Unwrapping the Spectacle." Augustinian Studies 52, no. 1 (2021): 43–70. http://dx.doi.org/10.5840/augstudies20213564.

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In this article, I explore how Augustine uses sermonic rhetoric to bring about the transfiguration of Babylon, the city of humankind, into Jerusalem, the city of God. Focusing on Enarratio in Psalmum 147, I show how Augustine situates his audience between two spectacles, the Roman theater and games and the eschatological vision of God. Augustine seeks to turn his hearers’ eyes and hearts from the one spectacle to the other, from the love of this world to love of the next. In the process, Augustine wages battle on two fronts: he criticizes pagan Roman culture, on the one hand, and Donatist Christian separatism and perfectionism, on the other. Through his preaching, Augustine stages yet another spectacle, the history of God’s mercy and love, whereby God affirmed the world’s goodness by using it as the means of healing and transfiguration. Indeed, Augustine does not simply depict the spectacle of salvation; he seeks to make his hearers into that spectacle by exhorting them to practice mercy, thereby inscribing them into the history of God’s love and helping gradually transfigure them into the heavenly Jerusalem.

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Тарасенко, А. А., and Г. В. Акрідіна. "ІКОНОСТАСИ СПАСО-ПРЕОБРАЖЕНСЬКОГО КАФЕДРАЛЬНОГО СОБОРУ ОДЕСИ: ТЕМАТИКА І СТИЛІСТИКА." Art and Design, no. 2 (September 21, 2020): 114–28. http://dx.doi.org/10.30857/2617-0272.2020.2.10.

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The purpose is to study the themes and the stylistics of the upper and lower churches’ iconostases of the Transfiguration Cathedral in Odessa. The comparative method was used in order to study the topic and identify the artistic and stylistic features of Odessa Cathedral iconostases. It allows comparing the objects of study with analogues from the world art. Iconological, iconographic methods and figurative-stylistic analysis were also applied. The iconostases of the Transfiguration Cathedral upper and lower churches in Odessa are organically inscribed in the architectural environment, thanks to which the synthesis of arts is reached. Classical architecture and the original spatial architectonics of the upper temple altar barrier determined the theme and the style of the icon-painting. It was found out that the decoration and the icons in the Transfiguration Cathedral upper and lower churches’ iconostases combine the multi-temporal traditions of Christian art. The upper church central iconostasis reflects the influence of Renaissance architecture and art. The icon painting characteristic feature is a combination of the European art heritage, specifically Italian and Northern Renaissance, classicism, baroque and academicism of the XIX century. A three-dimensional style of painting based on the Western European tradition is observed. The decoration of the lower temple altar barrier contains architectural elements of Byzantium, Ancient Rus and baroque. The icon painting was created in the canonical Byzantine style of the Paleologue Renaissance period. By studying the features of the Transfiguration Cathedral iconostases, the main trends in church art of the second half of the XX–XXI centuries were identified: the application and combination of the renaissance-academic and the Byzantine-Ancient Rus styles. A detailed study of Odessa Cathedral iconostases was conducted for the first time. The features of the icon-painting themes and stylistics in the connection with the architectonics of the iconostases and the temple’s architecture were revealed. Practical significance is due to the possibility of using research materials in monographs on art history of Odessa, in the preparation of textbooks and methodological instructions with an in-depth study of icon-painting, monumental and decorative art, in the working-out of lectures’ and practical classes’ texts.

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LUNKIN, R. N. "The Social and Political Role of Religion in Europe: the Demand for Christian Identity." Outlines of global transformations: politics, economics, law 11, no. 4 (October 16, 2018): 46–64. http://dx.doi.org/10.23932/2542-0240-2018-11-4-46-64.

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Inthearticleanalyzedthesocial and political role of Christian churches, their position in Europe from the pint of view of statistics and presence of the faith-based organizations in the society. The author made a conclusion that the politicized Christianity on the European continent tied with the preserving of the role of Christian churches in the social structure as with the secularizationthatdidnotbecomedesecularization (thereturningofreligiontouchedonlyLatin America,Africa,Asia)andcreatedthevacuum of identity. The weakness of the modern Western European society in its capacity to defend and express the identity forced politicians to seek the support from Christian worldview. Different confessions demonstrated stable development and social mobility in the period of the formation of EU structures. The European politicization of Christianity became the part of the world process of the transfiguration of the religion into a way of the self expression of multiple identities in the circumstances of the inevitable globalization and becoming of the democracy as the optimal form of the social existence. The basic features of the process: the high number of church affiliated (faith based) civil organizations, network church activity, the possibility to reflect various forms of identity in a frames of the Christianized democratic structures.

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Dissertations / Theses on the topic "Christian transfiguration"

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Lee, Simon S. "Jesus' transfiguration and the believers' transformation a study of the transfiguration and its development in early Christian writings." Tübingen Mohr Siebeck, 2008. http://d-nb.info/994548672/04.

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Moses, Andrews Daniel Anandarajah. "The significance of the transfiguration in Matthew's Gospel seen in its Jewish and early Christian context." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.304802.

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Anthony, Peter Benedict. "Interpreting vision : a survey of patristic reception of the Transfiguration and its earliest depiction, with special reference to the Gospel of Luke." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:7f76f633-e2bf-4319-90ff-c5f87dd7f1c3.

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This thesis shows that patristic interpretation of the Transfiguration had a sensitivity to visionary and ecstatic motifs within the synoptic Transfiguration narratives, and particularly Luke’s, which prompted a rich breadth of hermeneutic interaction with our texts. I offer the evidence of my survey of the reception history of the Transfiguration in the first 900 years of Christian history as a way of filling a number of gaps in knowledge in modern biblical scholarship concerning the Transfiguration narratives. This thesis begins, in Chapters 1, 2, and 3, with an appraisal of interpretation offered by modern biblical scholars, patrologists, and art historians. Critical comment often overlooks a series of ambiguities in the narratives, particularly the distinct characteristics of Luke’s version. These include the question of whether the disciples enter the overshadowing cloud, the presence of priestly or cultic imagery, visionary motifs frequently found in apocalyptic texts, such as the disciples’ drowsiness, and Peter’s confusion at not knowing what he said. Chapters 4-7 examine the earliest reception in 2 Peter, the Apocalypse of Peter, and the Acts of Peter, explore at some length Origen’s and Tertullian’s interpretation, and also look at Latin and Greek comment after Origen. I show many ancient writers to understand the disciples as experiencing ecstatic vision. Some also use cultic language appertaining to the Jerusalem Temple in their exegesis of the Transfiguration. They also employ the narrative to interpret other prophetic or visionary texts. Many of these distinguishing features of interpretation frequently stem from their attentiveness to the Lucan narrative. Chapter 8 examines the earliest artistic depictions of the Transfiguration from the sixth century onwards. This chapter indicates that many of the visionary and cultic themes we have outlined in previous chapters are frequently overlooked by art historians, and also that Luke’s narrative exercised a greater influence on representation of the Transfiguration than many people have imagined. This thesis concludes with a reconsideration of the visionary character of the Transfiguration narratives. Many of the ambiguities, overlooked details, and distinctive traits we pointed to in our opening chapters will be seen to have had much greater significance through many centuries of early hermeneutic tradition and artistic depiction than is the case in modern historical critical scholarship.

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Slaven, Craig D. "Southern Transfiguration: Competing Cultural Narratives of (Ec)centric Religion in the Works of Faulkner, O’Connor, and Hurston." UKnowledge, 2016. http://uknowledge.uky.edu/english_etds/31.

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This project explores the ways in which key literary texts reproduce, undermine, or otherwise engage with cultural narratives of the so-called Bible Belt. Noting that the evangelicalism that dominated the South by the turn of the twentieth century was, for much of the antebellum period, a relatively marginal and sometimes subversive movement in a comparatively irreligious region, I argue that widely disseminated images and narratives instilled a false sense of nostalgia for an incomplete version of the South’s religious heritage. My introductory chapter demonstrates how the South’s commemorated “Old Time” religion was not especially old, and how this modernist construct of an idealized past helped galvanize Southern evangelicalism into a religion that more readily accommodated racial hegemony in the present. The following three chapters examine Faulkner’s Light in August, O’Connor’s Wise Blood, and Hurston’s Jonah’s Gourd Vine and Moses, Man of the Mountain. I find that each of these novels embeds traces of forgotten religious dissidence. The modern nostalgia for a purer old-time religion, my readings suggest, says less about the history of religion in the South than it does about New-South efforts to merge evangelical and “Southern” values, thereby suppressing any residual opposition between them.

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Macfarlane, Calum Donald. "Transfiguration as the heart of Christian life : the theology of Thomas Traherne (1637?-1674) with special reference to 'The Kingdom of God' and other recently discovered manuscripts." Thesis, University of Southampton, 2005. http://eprints.chi.ac.uk/839/.

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Thomas Traheme (1637?-1674), Hereford born poet, priest and writer, has been variously understood as a nature poet, mystic, or even simply as a facile optimist. Sometimes he has been taken as an honorary Romantic poet, a sort-of Wordsworth before his time. Moreover, it has been common for critics either to divorce his theological beliefs from his literary contribution altogether, or to dismiss his spirituality as undisciplined and immature and his theological views as insubstantial. Based in part on new manuscript evidence, this thesis argues, on the contrary, that Traheme's literary works must be understood in the light of his comprehensive theological vision. Central to this theological vision were the interwoven concepts of felicity, the powers of the human soul, childhood innocence, love and glory, and transfiguration. Transfiguration, for Traheme, was the means by which his goals of felicity, love and glory were attained. For him, the fully human person may by God's grace anticipate even now the experience of final beatitude in which all the powers of the soul are fully employed and enlightened by the Spirit of God. The soul thus transfigured is able in turn 'to transfigure all things, and be delighted' to the glory of God. It is within this sweeping theological vision that Traheme's writings must be understood. It is an articulate vision, rooted in Christian theological tradition and an integrated Renaissance world picture of interdependent spheres, outward and inward, cosmic and anthropological. If we fail properly to appreciate Traheme's theological understanding, then we are in danger of misinterpreting his aesthetic and spiritual contribution. In contrast, when Traheme's devotional prose and poetry are seen in the light of his theological vision, then we are better able to see what Traheme saw - 'a transformed world of glory, inspired with a love as infinite as a creature can hold'. Accordingly, this thesis begins in Chapter 1 with an account of Traheme's biography and his place in the seventeenth century. Chapter 2 reviews the complex story of the Traheme sources, including manuscript discoveries past and present, before turning to a summary of the main lines of interpretation that have emerged in criticism of his writings. Chapter 3 examines the broader context in which Traheme's understanding of transfiguration arises. Chapter 4 traces the ways in which Traheme's anthropology, pneumatology, and eschatology undergird his theological vision of transfiguration. Chapter 5 focuses on a detailed discussion of transfiguration as process and event in Traheme's writings. A final concluding chapter offers a summary account of Traheme's view and demonstrates how this theological vision offers an enriched reading of his devotional prose and poetry while giving particular attention to the concept of transfiguration as action.

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Robin, Paula Monteleone. "Beatriz, musa de Dante Alighieri, com suas transfigurações na Vita Nova e incursões na Divina Comédia." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-23092011-083225/.

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A presente pesquisa teve como objetivo o estudo da Vita Nova de Dante Alighieri, onde o Amor, as musas e outros personagens surgem da mitologia grega. Esse Amor pagão é cristianizado por Dante, que o transforma na figura de Deus. Beatriz passa a ser a Musa de Dante, que é chamada pelo poeta primeiro de gentilissima, depois donna angelo, santa, filósofa e teóloga. No Convívio, pode-se constatar a aproximação de sua deusa à sabedoria filosófica e teológica. Tudo isso se passa pela elaboração da poesia, bem como a Divina Comédia, que são, segundo o autor, alegorias. Foram feitas algumas incursões na Divina Comédia para confirmar tais configurações entrou-se em trechos do Purgatório e do Paraíso.
The purpose of this research was to study Dante Alighieri\'s Vita Nova, where Love, muses, and other characters emerge from the Greek mythology. This pagan love is christianized by Dante, who transforms it into the figure of God. Beatrice becomes Dante\'s muse, who is initially called by him as very gentle lady, then as donna angelo (woman-angel), saint, philosopher and theologian. In Convivio, an approach between his goddess and a philosophical and theological wisdom can be observed. Convivio, as well as The Divine Comedy, are written in poetry and are both, according to the author, allegories.

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Henning, Andreas Raffael. "Raffaels Transfiguration und der Wettstreit um die Farbe : koloritgeschichtliche Untersuchung zur römischen Hochrenaissance /." München [u.a.] : Dt. Kunstverl, 2005. http://www.loc.gov/catdir/toc/fy0704/2005433111.html.

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Langendorff, Judith. "Le nocturne comme catégorie esthétique de l'image dans la photographie et le cinéma contemporains." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA085.

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À partir d’un corpus ouvert de photographes et de cinéastes coloristes qui ont une fascination pour le nocturne, cette thèse explore les différentes gradations et significations de celui-ci, des plus évidentes aux plus abstraites. La thèse s’attache alors à démontrer que le régime nocturne transforme l’obscurité en valeurs chromatiques et qu’il éclaire, avec une subtilité qu’occulte la vision diurne, les aspects les plus complexes de la société et de l’esprit humain. La confrontation des analyses de séquences filmiques et de photographies dans une perspective articulant esthétique, philosophie et histoire de l’art, a permis de construire la thèse autour de trois grandes notions, Distorsion, Sublimation, Transfiguration, qui fondent le nocturne comme catégorie esthétique de l’image.Le corpus principal organisé sur des critères externes (nocturne, couleur post-années 1960-70) et internes (processus esthétiques conjoints) est composé de séquences de films en couleurs de Stanley Kubrick (1928-1999), de David Lynch (1946), de Brian de Palma (1940), de Francis Ford Coppola (1939) et de séries photographiques de Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) et Daniel Boudinet (1945-1990).Le corpus secondaire est constitué de séries photographiques de Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974), Chrystel Lebas (1966), d’extraits d’un court métrage d’Antoine Barraud (1973) et d’une série TV de Nic Pizzolatto (1975) et Justin Lin (1973), nécessaire pour finaliser la démonstration
Based on a large corpus of colorist film directors and photographers who share a fascination for the nocturne, this thesis explores the different gradations and meanings of this one, from the more obvious to the more abstracts. The thesis endeavours to demonstrate how the nocturne reasserts the darkness values to turn them into colors, and how it illuminates, with a subtlety absent in diurnal vision, the more complex aspects of society as well as the human mind.The confrontation between picture and film sequences analysis, with a perspective articulating aesthetic, philosophy and art history, leads to three main concepts: Distortion, Sublimation and Transfiguration. Thereby it establishes the nocturne as an image’s aesthetic category in cinema and photography.The main corpus in cinema and photography, organised by externals criteria (nocturne, post-1960-1970 years color) and internals criteria (similar operating processes aesthetic), is established with the movie extracts of Stanley Kubrick (1928-1999), David Lynch (1946), Brian de Palma (1940), Francis Ford Coppola (1939) as well as the photographic series of Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) and Daniel Boudinet (1945-1990).The second is based on the photographic series of Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974) and Chrystel Lebas (1966), as well as Antoine Barraud’s (1973) movie extracts. Finally, for the requirement of the demonstration, a Nic Pizzolatto (1975) and Justin Lin (1973) TV show

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Lee, Yinfeng, and 李銀鳳. "Healing and Transfiguration: Exploring Trial, Trauma, and Recovery in the Writings of Christian Women." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/v8y7df.

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博士
輔仁大學
跨文化研究所比較文學博士班
100
Since the late 20th century, both the Chinese and Western Christian circles have witnessed the emergence of a group of spiritual writings of restoration. In order to properly and effectively read these works and explore the (Christian) cultural trend reflected in them from a cross-cultural and comparative literary study standpoint, this dissertation proposed a Christian trauma recovery / healing theory including the transfiguration process of a Christian and the principles of Christian Faith Therapy and Christian Writing Therapy, named “Theory of Transfiguration,” and combined it with new research methods in the thematics and genre studies realm. The research objects were kinds of representative trials / traumatic events that Christians faced in these two centuries (that is, political persecution and turning into a prisoner, physical disability and paralysis, and psychological illnesses caused by twisted, broken relationships) and 84 works that had been written by 6 or tree groups of Christian women (that is, Holland’s Corrie ten Boom and China’s Chang Ai-Qing, Taiwan’s Liu Xia and USA’s Joni Tada, USA’s Sheri Shepherd and England’s Helena Wilkinson). The three major conclusions of this dissertation are as follows: 1. 20th and 21th centuries are the centuries that suffering / traumatic Christians not only receive their healing and restoration, but also testify God’s restorative work for them or through them. 2. Christians’ weakness, failure, or traumatization are often related to the insufficiency, shallowness, tonal change, or declination of their spirituality; on the other hand, their sturdiness, victory, or restoration are often related to the awakening of their souls and spirits, or to the renewal and growth of their spirituality. The former always brings disfiguration, whereas the latter always brings glorious and beautiful transfiguration. 3. The deeper, the more thorough, and the more complete a Christian receives or executes spiritual healing / Christian Faith Therapy and Writing Therapy, the more mature her spiritual life becomes, and even her spiritual writings of restoration becomes more honest and transparent. She is able to face the other people’s and her own emotional truth with courage, to talk about her own weaknesses, sins, errors, and failures with humility and kindness, to share the hard process of discovering the roots of her emotional problems and dealing with each one of them under the counsel of the Holy Spirit and / or other Christian co-therapists with calmness, and to use it as an encouragement for herself and for the reader.

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Books on the topic "Christian transfiguration"

1

Matthew's Transfiguration story and Jewish-Christian controversy. Sheffield, England: Sheffield Academic Press, 1996.

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Moser, Gibbons JoAnne, ed. Chapel of the Transfiguration. Cincinnati, Ohio: Community of the Transfiguration, 2002.

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Jesus' transfiguration and the believers' transformation: A study of the transfiguration and its development in early Christian writings. Tübingen, Germany: Mohr Siebeck, 2009.

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Thomas, W. Ian. The saving life of Christ; and, The mystery of Godliness. Grand Rapids, Mich: Zondervan Pub. House, 1988.

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Transfiguration: A meditation on transforming ourselves and our world. New York: Doubleday, 2007.

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Metamorphosis: The Transfiguration in Byzantine theology and iconography. Crestwood, N.Y: St. Vladimir's Seminary Press, 2005.

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The transfiguration of history at the center of Dante's Paradise. Princeton, N.J: Princeton University Press, 1986.

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La trasfigurazione del Signore nei Padri della Chiesa. Roma: Città nuova, 2010.

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Die Verklärung Jesu nach dem Markusevangelium: Studien zu einer christologischen Legitimationserzählung. Tübingen: Mohr Siebeck, 2013.

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Grant, Patrick. Spiritual discourse and the meaning of persons. New York: St. Martin's Press, 1994.

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Book chapters on the topic "Christian transfiguration"

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"Liturgy, Cosmic Worship, and Christian Cosmology." In Toward an Ecology of Transfiguration, 295–306. Fordham University Press, 2020. http://dx.doi.org/10.1515/9780823252343-028.

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Theokritoff, Elizabeth. "Liturgy, Cosmic Worship, and Christian Cosmology." In Toward an Ecology of Transfiguration, 295–306. Fordham University Press, 2013. http://dx.doi.org/10.5422/fordham/9780823251445.003.0026.

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Theokritoff, Elizabeth. "Liturgy, Cosmic Worship, and Christian Cosmology." In Toward an Ecology of Transfiguration, 295–306. Fordham University Press, 2013. http://dx.doi.org/10.2307/j.ctt13x0c2x.30.

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Kaell, Hillary. "Materialism and Consumption." In Christian Globalism at Home, 128–56. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691201467.003.0007.

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This chapter studies how the circulation of gifts and money raises fraught questions about U.S. “materialism” and the unjust global distribution of “abundance.” It starts in the 1960s to 1980s, beginning with a shift in how U.S. Christians conceived of materialism. The chapter then explores three popular anti-materialist tactics related to choosing a child to sponsor, small and homespun gifts, and the rhetorical transfiguration of consumer objects into emotions like joy and love. It also draws on the author's contemporary fieldwork at Operation Christmas Child to consider the continued role of objects as points of contact in Christian globalism. Ultimately, U.S. Christians seek to overcome their anxieties about materialism by embracing materiality—the gifts, donations, and other objects of love that seem to provide the surest way to manifest and circulate Love across the world.

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Chryssavgis, John. "A New Heaven and a New Earth: Orthodox Christian Insights from Theology, Spirituality, and the Sacraments." In Toward an Ecology of Transfiguration, 152–62. Fordham University Press, 2013. http://dx.doi.org/10.5422/fordham/9780823251445.003.0013.

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"A New Heaven and a New Earth: Orthodox Christian Insights from Theology, Spirituality, and the Sacraments." In Toward an Ecology of Transfiguration, 152–62. Fordham University Press, 2020. http://dx.doi.org/10.1515/9780823252343-015.

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Peters, Janelle. "Robes of Transfiguration and Salvation in Early Christian Texts." In Dress in Mediterranean Antiquity. T&T Clark, 2021. http://dx.doi.org/10.5040/9780567684677.ch-021.

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"Flesh Invested with the Paternal Light: St Irenaeus on the Transfiguration of the Body." In Jewish Roots of Eastern Christian Mysticism, 118–27. BRILL, 2020. http://dx.doi.org/10.1163/9789004429536_008.

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Wilson, Brittany E. "Seeing the Light." In The Embodied God, 149–92. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190080822.003.0005.

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This chapter begins to develop the idea that one of the ways in which God can become manifest is in material flesh, specifically Jesus’s material flesh. The chapter approaches this issue from the angle of early Christian depictions of Jesus’s divinity and specifically Jesus’s epiphanic appearances in Luke’s Gospel. In his Gospel, Luke identifies Jesus as a light (a common subject of epiphanies) and depicts Jesus appearing in an epiphanic manner during his ministry and beyond, especially in the scenes involving his transfiguration and resurrection appearances. In these instances, Jesus’s form takes on an elusive quality that is typical of epiphanies, especially with respect to how his body is seen. Here Jesus’s body is visible yet also veiled, and these paradoxical encounters, the chapter argues, are a key way in which Luke aligns Jesus with God and the divine realm more broadly.

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Urbano, Arthur P. "Jesus’s Dazzling Garments." In The Garb of Being, 35–56. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823287024.003.0003.

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In his exegesis of the Transfiguration account in the Commentary on Matthew, Origen of Alexandria presents Jesus’s transfigured robes as a medium of revelation: to the disciples who witnessed the event and to the Christian interpreter. By contemplating Jesus’s garments, the latter will discover revealed knowledge on the nature of Christ and of the scriptures. This chapter examines Origen’s exegesis through the lens of what Roland Barthes called “written-clothing,” an infusion of garments with definitive value through descriptions and associations that make them signifiers of cultural values. Utilizing a “poetics of clothing” that highlights the color and fabric of Jesus’s robes while associating them with significant temporal, spatial, and historical markers rooted in Scripture and philosophy, Origen enhances the textual spectacle of Jesus’s garments. Moreover he constructs a cognitive model of written-clothing that at once verbalizes Jesus’s garments and “garmentizes” the Scriptures. In the end Origen creates an understanding of Jesus’s robes that transports the reader into contemplation of the incarnate Christ.

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