Relevant bibliographies by topics / Descent of Jesus Christ into hell

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Academic literature on the topic 'Descent of Jesus Christ into hell'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2024

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Journal articles on the topic "Descent of Jesus Christ into hell"

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Lauber, David. "Response to Alyssa Lyra Pitstick,Light in Darkness." Scottish Journal of Theology 62, no. 2 (May 2009): 195–201. http://dx.doi.org/10.1017/s0036930609004682.

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In her remarkably forceful and learned book,Light in Darkness: Hans Urs von Balthasar and the Catholic Doctrine of Christ's Descent into Hell, Alyssa Lyra Pitstick offers a comprehensive critique of Hans Urs von Balthasar's theology of the descent into hell. Pitstick contributes to a sharpening of readings of Balthasar and forces one to make precise interpretative judgements. Clearly, she has produced a work with which anyone interested in Balthasar must engage, and the conversation and debate the book has started will, to be sure, continue for many years ahead. This said, I am afraid that Dr Pitstick's unrelenting and totalising prosecution of Balthasar's theology leads her to disallow any charitable reading and critical appropriation of Balthasar's creative and, at times, sublime theology. Although not necessarily the final evaluative word on Balthasar, or on the doctrine of the descent into hell, Pitstick's book provides a tremendous spark for those interested in Balthasar's theology and for much needed reflection on the significance of the church's confession that Jesus Christ descended into hell.
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Cahill, Jonathan. "The Descent into Solidarity." Journal of Reformed Theology 9, no. 3 (2015): 237–48. http://dx.doi.org/10.1163/15697312-00903015.

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In the Apostle’s Creed, undoubtedly the most enigmatic phrase is Christ “descendit ad inferos,” descended into hell. After surveying various interpretations of the doctrine, this paper seeks to integrate the Reformed tradition’s view of the descent as the subjective experience of God-forsakenness with Hans Urs von Balthasar’s proposal that Christ entered into solidarity with the dead in hell with no hope of being found by God. The paper then draws three ethical implications from this reading of the descent: the importance of self-surrender, the necessity of solidarity with the oppressed and a chastened confidence towards the prospect for social change in our world.
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Bagchi, David. "Christ’s Descent into Hell in Reformation Controversy." Studies in Church History 45 (2009): 228–47. http://dx.doi.org/10.1017/s0424208400002539.

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By far the shortest of the Thirty-nine Articles of the Church of England is the third, ‘Of the going down of Christ into Hell’. In its entirety it reads: ‘As Christ died for us, and was buried, so also is it to be believed, that he went down into Hell’. One might be forgiven for thinking that the brevity of the article, together with the notable absence of polemic, indicates the doctrine’s relative unimportance amid the other great debates of the day. In fact, the descent of Christ into hell was one of the most controverted of all the creedal articles in the Reformation era. Article III is so short, not because it was a routine recital of the Apostles’ Creed, but because no further elaboration or explanation of the doctrine could command consent in the febrile climate of early Elizabethan England: disagreement over what was meant by ‘hell’, what was meant by Christ’s ‘descent’, and over the doctrine’s fundamental significance, was rife. This particular manifestation of the afterlife – be it only Christ’s afterlife, and only a temporary destination at that – is not the most obvious candidate as a theological cause célèbre of the Reformation era. But the intensity and the longevity of trie debates it fuelled make it at least an intriguing footnote to the study of the period.
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Karpenko, Gennady. "THE ITALIAN-STYLE AL FRESCO PAINTING THE RESURRECTION OF CHRIST IN I. S. TURGENEV’S FATHERS AND CHILDREN." Проблемы исторической поэтики 19, no. 1 (February 2021): 140–72. http://dx.doi.org/10.15393/j9.art.2021.8922.

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The article focuses on the unsolved mystery of the novel by I. S. Turgenev Fathers and Children — the Italian-style al fresco painting The Resurrection of Christ, located above the entrance to the church at the entrance to the Odintsova estate. None of the researchers and commentators of Turgenev’s novel were puzzled by the question: what does “Italian-style” mean in the Easter image? Meanwhile, Turgenev directly points out that, instead of the gateway Orthodox icon, there is a religious painting The Resurrection of Christ (al fresco painting) in the church, where both the sacrament itself and the outsider witness (“a swarthy warrior in a spiked helmet in the foreground”) are presented. In the Orthodox Easter iconography, however, an outside figure is an unacceptable detail, and the sacrament of the Resurrection as the highest sacred reality in accordance with the spirit and letter of the Gospel was not depicted. The Easter sacrament was replaced by the scene of the Descent into Hell, but such an icon was still called Resurrection. Meanwhile, canonically, the procession of Christ is captured, when the Savior does not descend into hell, but rises from there on the icon of the Resurrection of Christ/Descent into Hell: he leads Adam and other biblical heroes out of the underworld by “grabbing of the wrist.” In this way, the Resurrection of Christ begins with the salvation of man, with co-resurrection. In the value and semantic space of the novel, the Orthodox icon of the Resurrection of Christ/Descent into Hell is concealed behind the “Italian” fresco-veil. If Turgenev knows the “Italian” semantics of the Resurrection, then it is quite natural that the author is more familiar with the semantics of the Orthodox icon from liturgical recollection and makes it covertly actual. The behind-the-scenes presence of the icon of the Resurrection of Christ/Descent into Hell and everything that is liturgically and theologically associated with it and experienced transubs the structure of Fathers and Children. The Easter hierotopy of the novel, outlined by the Orthodox icon and supported by the prayerful hopes of the finale 1) creates a very special, breathtaking and enlightening value space, correlated with eternity, the infinity of the spiritual, which affirms, elevating all present to endless life through participation; 2) sets up the supertext dimension, gives rise to the motive of transcendental hope: “You will not leave my soul in hell”; 3) and also strengthens the Russian word as the Christocentric foundation of Russian culture.
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Kuznetsova, Vera S. "Folklore Version of the “Biblical” Story about Solomon in Hell and Her Russian Siberian Texts." Studies in Theory of Literary Plot and Narratology, no. 1 (2024): 46–57. http://dx.doi.org/10.25205/2713-3133-2024-1-46-57.

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The main theme of folk stories about the biblical King Solomon is his wisdom, which allows him to solve difficult problems and find a way out of difficult situations. Such stories include stories about Solomon in hell: left in hell during the descent of Christ into hell, for the liberation of the souls of the Old Testament righteous languishing there, Solomon, thanks to his wisdom, finds a way to get out of there – he threatens the devils to build a church, for which he is expelled from hell and so freed; they are the subject of consideration in the article. Neither the Holy Scriptures nor the apocryphal narratives known in ancient Russian literature about the descent of Christ into hell contain an episode about Solomon being left in hell, therefore they could not be the only source of folk legends. But similar stories are noted in the indexes of plots of folklore prose: AaТh 804В The Church in Hill; SUS 804В=AA 804* Solomon (soldier, blacksmith) in hell. For analysis, along with records of the European territory of historical Russia, Russian Siberian texts containing the indicated plot were involved in the work. The identified Siberian variants of the stories about Solomon in Hell expand our knowledge about the plot “repertoire” of Russian folklore prose in Siberia, and against the background of the fact that the Siberian fixations of this plot are not taken into account in the SUS, they clarify ideas about the geography of the existence of plot type 804B. Along with this, they replenish the general East Slavic fund of records of narrative folklore with new materials, which expands the source base for research. The results of the examination of folklore narratives about Solomon in hell, including their Siberian records, allow us to assert that not only the wisdom of King Solomon, but also the book motif of the biblical Solomon the temple builder, which was considered not represented in oral legend, was reflected in folk narratives based on folklore plot fund.
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Jones, Mark. "John Calvin’s Reception at the Westminster Assembly (1643–1649)." Church History and Religious Culture 91, no. 1-2 (2011): 215–27. http://dx.doi.org/10.1163/187124111x557872.

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Of all the Reformation theologians, John Calvin exerted arguably the most influence on the English Puritans. That did not mean, however, that his theology was uncritically accepted. This chapter considers the reception of Calvin’s theology at the Westminster Assembly on two doctrines that were debated among the Westminster divines, namely, the eternal generation of the Son of God and the so-called descent of Christ into Hell. Calvin’s somewhat unique position on the Son’s aseity and his interpretation of Christ’s descent were considered by the Assembly, but ultimately rejected by the majority, though not all, of the Westminster divines. Nevertheless, the Westminster documents are not quite detailed enough to contradict Calvin’s position on the Son’s aseity, but the Larger Catechism definitely departs from Calvin’s teaching on Christ’s descent into Hell. Moreover, the relation of the Apostles’ Creed and Nicene Creed to Reformed theology in the sixteenth and seventeenth centuries also comes under consideration in this chapter.
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Залесный, Иеромонах Серапион. "The theological Content of the Corpus of Holy Saturday Canons." Вопросы богословия, no. 2(10) (September 20, 2023): 25–40. http://dx.doi.org/10.31802/pwg.2023.10.2.002.

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В статье предпринят богословский анализ корпуса канонов Великой Субботы, который включает в себя 6 текстов. Из числа всех тем, отраженных в этих текстах, в статьерассматриваются 4: сошествие Христа во ад, мотив Христа-победителя, божество и человечество Христа во время страдания, покой Бога в седьмой день. В богослужении Великой Субботы мотив сошествия во ад является одним из центральных литургических воспоминаний этого дня. Наиболее восторженно тему разрушения ада воспевает преп. Косма Маюмский. При описании разрушения ада Христом мы встречаем яркий образ Христа-Победителя, одолевшего диавола и смерть (преп. Кассия, преп. Косма, преп. Андрей Критский). В каноне Космы Маюмского находит отражение чисто догматическая тема: нераздельность Божества и человечества Христа во время Его смерти и погребения. Темы «богословия субботства» встречается в корпусе канонов Великой Субботы лишь дважды: у св. Марка и у св. Андрея Критского. В статье используется метод контекстуального анализа: богословие канонов соотносится с общим святоотеческим преданием и помещается в широкий контекст вероучения Церкви. The article undertakes a theological analysis of the corpus of the canons of the Holy Saturday, which includes 6 texts. In the article, the author highlights 4 main themes reflected in these canons: the descent of Christ into the hell, the motive of Christ the Conqueror, the Divinity and the humanity of Christ during his suffering, the rest of the God on the seventh day.In the orthodox worship of the Holy Saturday, the motif of the descent into the hell is one of the central liturgical recollections of that day. The most enthusiastic theme of the destruction of the hell is sung by St. Cosmas of Maiuma. When describing the destruction of the hell by Christ, we encounter a vivid image of Christ the Conqueror, who has overcome the devil and the death (St. Cassia, St. Cosmas, St. Andrew of Crete). The canon by St. Cosmas of Maiuma reflects a purely dogmatic theme: the inseparability of the Divinity and the humanity of Christ at the time of His death and burial. The themes of "the theology of Sabbath" occur only twice in the corpus of canons of the Holy Saturday: in the St. Mark’s and the St. Andrew’s of Crete.The article uses the method of contextual analysis: the theology of the canons correlates with the general patristic tradition and is placed in the broad context of the Church doctrine.
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Friedman, Jerome. "Christ' Descent into Hell and Redemption Through Evil. A Radical Reformation Perspective." Archiv für Reformationsgeschichte - Archive for Reformation History 76, jg (December 1, 1985): 217–30. http://dx.doi.org/10.14315/arg-1985-jg09.

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Ivanova, Svetlana. "Iconography of the Resurrection in the Russian art of the 16th — 18th centuries: sources of formation of the new canon." St.Tikhons' University Review. Series V. Christian Art 45 (March 31, 2022): 28–44. http://dx.doi.org/10.15382/sturv202245.28-44.

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The article deals with the study of the development of the new iconography "Resurrection with the Descent into Hell", which appeared in Russian art in the 16th century. Variants of new iconography are considered on the examples of certain monuments. Iconographic types are distinguished by the arrangement of the two main plots, sequential or vertical. At the same time, in the first iconographic type, it is possible to see either a literal adherence to the Dutch engraving, or a rethinking: the placement of the image "Resurrection" below, under the main stage.The influence of the Old Believers' work "The Passion of Christ" on the iconography "Resurrection with the Descent into Hell" is investigated. This influence is evident not only in the new storylines that become commonplace for the new image. This can be seen both in the text on the icon and in the stamps of monuments. Examples of citing the text are given. Certain iconographic features associated with this influence are noted.
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Evlampiev, Igor I., and Vladimir N. Smirnov. "Dostoevsky's Christianity." RUDN Journal of Philosophy 25, no. 1 (December 15, 2021): 44–58. http://dx.doi.org/10.22363/2313-2302-2021-25-1-44-58.

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The article refutes the widespread view that Dostoevsky's Christian beliefs were strictly Orthodox. It is proved that Dostoevsky's religious and philosophical searches' central tendency is the criticism of historical, ecclesiastical Christianity as a false, distorted form of the teaching of Jesus Christ and the desire to restore this teaching in its original purity. Modern researchers of the history of early Christianity find more and more arguments in favor of the fact that the actual teaching of Jesus Christ is contained in that religious movement, which the church called the Gnostic heresy. The exact philosophical expression of the teaching of Christ was received in the later works of J.G. Fichte, whose ideas had a strong influence on the Russian writer. Like Fichte, Dostoevsky understands Christ as the first person who showed the possibility of revealing God in himself and gaining divine omnipotence and eternal life directly in earthly reality. In this sense, every person can become like Christ. Dostoevsky's main characters walk the path of Christ and show how difficult this path is. The article shows that Dostoevsky used in his work not only the philosophical version of true (Gnostic) Christianity developed by German philosophy (Fichte, Schelling, Hegel), but also the key motives of the Gnostic myth, primarily the idea that our world, filled with evil and suffering, is created not by the supreme, good God-Father, but by the evil Demiurge, the Devil (in this sense, it is hell).
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Dissertations / Theses on the topic "Descent of Jesus Christ into hell"

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Tran, Nha Trong. "Christ's descent into hell a study of 1 Peter 3:18-20 /." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.

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Brenton, Robert M. "Calvin's confession of Christ's descent into hell in the context of the doctrine of redemption an historical and hermeneutical inquiry /." Theological Research Exchange Network (TREN), 2005. http://www.tren.com.

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Carlson, James Andrew. "The descent of Christ an exegetical examination of Ephesians 4:8-10 /." Theological Research Exchange Network (TREN), 1993. http://www.tren.com.

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Sieh, Dan. "A theological examination of Jesus' activities following his death on the cross." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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Du, Toit Marietjie. "A study of 1 Peter 3:18-4:6 an investigation into the historical background of the doctrine of Christ's descent into Hades /." Pretoria : [S.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-08112008-094957/.

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Gonzalez, Julie. "Etude iconographique de la gueule d'enfer au Moyen Age. Origines et symboliques : iconographie et sources textuelles." Thesis, Pau, 2015. http://www.theses.fr/2015PAUU1004/document.

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À l'opposé du Paradis céleste que rejoignent les élus, les artistes romans ont imaginé le monde de tourments qui attend les pécheurs. Ce lieu de terreur, duquel s'élèvent « des pleurs et des grincements de dents » (Matth. 22, 13), ne peut être illustré sous des formes simples et communes. L'imagerie médiévale, précocement, dès le IXe siècle dans le domaine anglo-saxon, donne à l'Enfer l'apparence d'une tête hybride, la Gueule d'Enfer. Sculpteurs et enlumineurs se sont-ils inspirés de monstres issus des mythologies païennes anciennes et contemporaines ? Sur quelles sources textuelles se sont-ils appuyés pour élaborer ce motif ? Aisément reconnaissable, l'image de la Gueule s'inscrit dans les nombreuses représentations du Jugement Dernier et de la Descente du Christ aux Enfers. Une étude typologique pourra déterminer l'influence de la présence et de l'aspect de la Gueule d'Enfer sur la signification de ces épisodes fondateurs du Christianisme. La Gueule terrifiante devient le symbole même d'un Enfer fantasmagorique et vivant ; elle envahit progressivement toute l'iconographie religieuse et il convient de voir si elle ne modifie pas le sens de nombreux épisodes bibliques. Présente encore à l'époque gothique, la Gueule d'Enfer est transformée par les artistes de la fin du Moyen Âge, avant de disparaître progressivement de l'iconographie religieuse. Si l'Enfer médiéval a suscité de nombreuses études, le motif de la Gueule dévorante a paradoxalement peu attiré l'attention des Historiens de l'Art. Cette thèse tend à combler, au moins en partie, cette lacune
Opposed to the Celestial Heaven waiting for the blessed, the roman artists invented a netherworld waiting for the sinners. This terrifying place, from where « tears and gnashing of the teeth » arrive (Matth, 22 , 13 ) cannot be illustrated in simple and common ways. As soon as the 11th century, in the anglo-saxon world, Hell was represented as an hybrid head, the Maw of Hell, in the medieval imagery. Did the sculptors and the illuminators get their inspiration from the monsters belonging to the oldest and contemporary pagan mythology ? Which textual sources did they use to elaborate this pattern ? Easily recognisable, the image of the Maw is one of the many representations of the Last Judgment and of Christ's Descent to Hell. A typological study will determine the influence of the presence and the aspect of the Maw of Hell on the meaning of those founding episodes of Christianism. The terrifying Maw became the symbol of a fantasmagoric and real hell slowly invading the whole religious iconography and it is worth wondering if it didn't change the meaning of many biblical episodes. Still present during the Gothic period, the Maw of Hell was changed by the artists of the late Middle Ages, before disappearing slowly from religious iconography. If medieval Hell was the subject of many studies, the Maw of Hell surprisingly attracted few Art History researchers. This thesis partially tries to fill this gap
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Books on the topic "Descent of Jesus Christ into hell"

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Balthasar, Hans Urs von. Theologie der drei Tage. Freiburg: Johannes, 1990.

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Balthasar, Hans Urs von. Mysterium Paschale: The mystery of Easter. Edinburgh, Scotland: T&T Clark, 1990.

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Balthasar, Hans Urs von. Mysterium Paschale: The mystery of Easter. Grand Rapids, Mich: W.B. Eerdmans Pub. Co., 1993.

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Barth on the Descent into Hell: God, Atonement and the Christian Life. London: Taylor and Francis, 2017.

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Ilarion. Christ the conqueror of hell: The descent into Hades from an Orthodox perspective. Crestwood, N.Y: St. Vladimir's Seminary Press, 2009.

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Ilarion. Christ the conqueror of hell: The descent into Hades from an Orthodox perspective. Crestwood, N.Y: St. Vladimir's Seminary Press, 2009.

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Ilarion. Christ the conqueror of hell: The descent into Hades from the Orthodox perspective. Crestwood, N.Y: St. Vladimir's Seminary Press, 2009.

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Dalton, William J. Christ's proclamation to the spirits: A study of 1 Peter 3:18-4:6. 2nd ed. Roma: Editrice Pontifico Istituto Biblico, 1989.

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Martin, Regis. The suffering of love: Christ's descent into the Hell of human hopelessness. Petersham, Mass: St. Bede's Publications, 1995.

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Martin, Regis. The suffering of love: Christ's descent into hell and human hopelessness, with particular reference to the holocaust of the Jews. Romae: Pontificia Studiorum Universitas a S. Thoma Aq. in Urbe, 1988.

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Book chapters on the topic "Descent of Jesus Christ into hell"

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Elliott, J. K. "Jesus in the Underworld." In The Apocryphal Jesus, 97–108. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198263845.003.0008.

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Abstract The Christian affirmation of belief in Jesus ‘ descent to Hades is in the Apostles ‘ Creed and in the so-called Athanasian Creed, as well as being article III in the Anglican Thirty-Nine Articles. The Biblical origin for this belief, which is a major and normative part of Christian tradition, seems to be based on a particular interpretation of I Peter 3: 19 ( ‘In the spirit he (Christ) went and preached to the imprisoned spirits ‘). Not that statement encouraged later generations of Christians to elaborate what was meant by Jesus ‘ appearance before imprisoned spirits. The apocryphal stories of Jesus ‘ descent to the underworld reflect those elaborations. The main text describing these events is the fifth-sixthcentury Descensus ad Inferos (the Descent of Jesus to Hades), found in several manuscripts as the second half of the Gospel of Nicodemus, the first half being the Acts of Pilate. Extracts from this text are printed under (1) below. In this tradition Jesus ‘ arrival in Hades after his death by crucifixion spells the end of death as a permanent state. ‘Hades ‘ by transference is the domain of the character, Hades (known elsewhere in mythology as Pluto). He rules over the world of departed spirits. This realm seems close to the idea of the Hebrew Sheol. (In the creeds the word ‘hell ‘ is erroneous and confusing.) Hades is not hell or Tartarus-those are names for the place of eternal punishment, and the opposite of heaven, the place of the eternally blessed. We read of heaven and hell in Chapter 15.
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Lauber, David. "Karl Barth: Jesus Christ's death in God-abandonment as the descent into hell." In Barth on the Descent into Hell, 1–41. Routledge, 2017. http://dx.doi.org/10.4324/9781315096612-1.

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Magree, Michael C. "Philippians 2:7 in Eusebius and Athanasius." In The Interpretation of Kenosis from Origen to Cyril of Alexandria, 111–50. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198896661.003.0004.

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Abstract This chapter examines the understanding of Christ’s self-emptying in Eusebius of Caesarea and Athanasius of Alexandria. Eusebius makes the self-emptying of Christ a key part of his argument that prior to the incarnation the Son of God has a distinct existence or hypostasis. The verbs in scripture that depict the Father and the Son in distinct opposition to one another allow for agent-identification exegesis, in which Eusebius can point to grammatical distinction grounding a metaphysical distinction. The self-emptying of Christ is a direct part of this formulation. Athanasius does not focus on self-emptying in particular, but rather he is interested in the narrative shape of verses 6–11 as a whole. What concerns him is that those who want to claim the Son of God is not consubstantial with the Father see verses 9–11 as a sort of promotion. Jesus did well, and therefore he was elevated. Athanasius held that this misses out on the drama and shock of the prior verses, which are communicating Paul’s astonishment at the one “in the form of God” “emptying himself” and “humbling himself.” There has to be a radical descent of the Son for the lifting up of human nature to occur.
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"Chapter 7. Descent into Hell." In The Bride of Christ Goes to Hell, 233–79. University of Pennsylvania Press, 2012. http://dx.doi.org/10.9783/9780812206937.233.

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"The Descent of Christ into the Underworld in Early Christian Liturgy." In The Apostles’ Creed ‘He Descended Into Hell’, 54–78. BRILL, 2018. http://dx.doi.org/10.1163/9789004366633_005.

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Copenhaver, Brian P. "Humanism Goes to Hell." In Pico della Mirandola on Trial, 7–42. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192858375.003.0002.

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The ‘Harrowing of Hell’ was an article of the Christian creed, and when Jesus went down to Hell, his body was still buried. But Christians thought of Hell as a place—or a place containing many places. How could Christ, without a body, be in a place, any place at all? The person who took this trip to the underworld was God—a pure spirit, eternal, and changeless. But God had taken on a human body, as Jesus, in order to save other embodied humans. Yet Pico knew that human bodies were material and imperfect—changing, suffering, and dying. Then how could a changeless God be both perfect and embodied? To understand the dogma of incarnation—the embodiment of God—in a philosophical way, the inquiring prince needed a theory of divine embodiment. But the version that he proposed offended the authorities, and they ruled that his ideas were heretical.
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"Theologies of Salvation in the Middle Ages." In Christian Theologies of Salvation, edited by David Hogg. NYU Press, 2017. http://dx.doi.org/10.18574/nyu/9780814724439.003.0008.

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This overview chapter for the second part of the book covers the Middle Ages and includes chapters on Anselm, Thomas Aquinas, and Julian of Norwich. This chapter recounts the development of the theology of salvation through this period, where the life of Christ as the payment to the Devil for the souls under his authority became an increasingly popular notion. Over the course of the Middle Ages, this doctrine became known as the harrowing of Hell, due to the belief that when Jesus rose from the grave, the righteous were let out of Hell itself.
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Marsden, George M. "Introduction." In Fundamentalism and American Culture, 3–8. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195300512.003.0001.

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Abstract From its origins fundamentalism was primarily a religious movement. It was a movement among American “evangelical” Christians, people professing complete confidence in the Bible and preoccupied with the message of God’s salvation of sinners through the death of Jesus Christ. Evangelicals were convinced that sincere acceptance of this “Gospel” message was the key to virtue in this life and to eternal life in heaven; its rejection meant following the broad path that ended with the tortures of hell.
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9

Elliott, J. K. "The End Time." In The Apocryphal Jesus, 205–8. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198263845.003.0017.

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Abstract Whereas the apocalypses of Peter and of Paul are concerned with the current state of affairs in heaven and hell, the Apocalypse of Thomas contains predictions about the ending of the present world. It is thus ‘apocalyptic ‘ in its sense of foretelling the future. From the New Testament onwards Christians were made aware that they were already living in the end time. For them Christ was believed to have inaugurated the last age. Christians were not sure how imminent that final day, increasingly thought of as the day of judgement, would be: many hazarded a guess. Nor did the Christians know what warnings would announce or precede the coming of the End. Again, attempts were made to list which events were to be disregarded and which were portentous. Apocalyptic passages in the New Testament Gospels and of course the Book of Revelation are concerned with these warnings and the ‘signs of the times ‘. Such speculation has never ceased. The writer of the Apocalypse of Thomas, dating perhaps from the fifth century, gave a countdown, and describes the events of the final six days before the end of the world. One version of this text is given here. Apocalypse of Thomas (shorter text) Hear, 0 Thomas, for I am the Son of God the Father, and I am the father of all spirits. Hear from me the signs which shall come to pass at the end of this world, when the end of the world shall be fulfilled before my elect depart out of the world. I will tell you that which shall come to pass openly (or, will tell you openly, etc.): but when these things shall be the princes of the angels do not know, for they are now hidden from them.
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10

Marsden, George M. "Introduction." In Fundamentalism and American Culture, 1–8. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197599488.003.0001.

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Abstract:
From its origins fundamentalism was primarily a religious movement. It was a movement among American “evangelical” Christians, people professing complete confidence in the Bible and preoccupied with the message of God’s salvation of sinners through the death of Jesus Christ. Evangelicals were convinced that sincere acceptance of this “Gospel” message was the key to virtue in this life and to eternal life in heaven; its rejection meant following the broad path that ended with the tortures of hell. Unless we appreciate the immense implications of a deep religious commitment to such beliefs—implications for one’s own life and for attitudes toward others—we cannot appreciate the dynamics of fundamentalist thought and action....
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