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Relevant bibliographies by topics / Garden of Gethsemane

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Academic literature on the topic 'Garden of Gethsemane'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 January 2023

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Journal articles on the topic "Garden of Gethsemane"

1

Babcox, Wendy. "Every Olive Tree in the Garden of Gethsemane." Departures in Critical Qualitative Research 3, no. 2 (2013): 111–15. http://dx.doi.org/10.1525/dcqr.2014.3.2.111.

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Every Olive Tree in the Garden of Gethsemane is a suite of photographic images of each of the twenty-three olive trees in the garden. Situated at the foot of the Mount of Olives in Jerusalem, the Garden of Gethsemane is known to many as the site where Jesus and his disciples prayed the night before his crucifixion. The oldest trees in the garden date to 1092 and are recognized as some of the oldest olive trees in existence. The older trees are a living and symbolic connection to the distant past, while younger trees serve as a link to the future. The gnarled trunks seem written with the many conflicts that have been waged in an effort to control this most-contested city; a city constantly on the threshold of radical transformation.

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COVINGTON, SARAH. "The Garden of Anguish: Gethsemane in Early Modern England." Journal of Ecclesiastical History 65, no. 2 (March 13, 2014): 280–308. http://dx.doi.org/10.1017/s0022046912003648.

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Few biblical episodes have generated more theological interpretation across the centuries than that of Jesus praying in the Garden of Gethsemane, where he appears fearfully to resist the divine will in the moments before the passion sequence is initiated. Scholars of the early modern period, however, have tended not to notice how central the scene became in the wake of Protestant and Catholic reformation developments, renewed calls for spiritual self-examination and the resurgent phenomenon of martyrdom. This article addresses this lacuna by arguing that, in the case of England, Jesus in Gethsemane not only held acute resonances across different confessions, but resulted in interpretations that perpetuated a new kind of subjectivity, and one that influenced modernity and its notions of the divided self in a state of faith and doubt.

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Prysiazhniuk, Oleksii. "Basic stages of history of the underground gethsemane garden monastery in the context of monument protection." Bulletin of Mariupol State University. Series: History. Political Studies 10, no. 27 (2020): 37–45. http://dx.doi.org/10.34079/2226-2830-2020-10-27-37-45.

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This research examines and identifies the main stages of the history of an underground monastery in the Gethsemane Garden, from the appearance of the object to the status of a cultural heritage monument. The author draws conclusions about the legal norms enshrined in the regulations that form a system of requirements for procedural actions that turn a cultural heritage object into a monument. The article describes the legal acts that regulate the field of cultural heritage protection and directly influence the process of institutionalization of cultural heritage objects. The process of institutionalization of a monument selected as an example is considered against the background of the history of the object itself in the context of important historical events and historiography of its study. Turning cultural heritage into a monument that is governed by regulations in modern conservation legislation is a complex process. Examples of completing formal procedures and obtaining cultural heritage status are monuments. That is why the author, on the example of cultural heritage – monuments of history, architecture of the underground monastery in the tract «Gethsemane Garden» describes the process of institutionalization of such objects. The institutionalization of cultural heritage means the process of defining and consolidating legal norms, rules, statuses, bringing them into a system capable of acting in the direction of satisfying the need of modern society for the preservation of cultural heritage objects.

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Lonich Ryan, Elise. "Gardens of Grief: Lucy Hutchinson’s “Elegies,” the Garden of Gethsemane, and Formal Uses of Betrayal." Exemplaria 28, no. 3 (May 24, 2016): 212–29. http://dx.doi.org/10.1080/10412573.2016.1178450.

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Bernabei, Mauro. "The age of the olive trees in the Garden of Gethsemane." Journal of Archaeological Science 53 (January 2015): 43–48. http://dx.doi.org/10.1016/j.jas.2014.10.011.

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Markuliak, L. "MEANS OF CHARACTER FORMATION IN IVAN BAHRIANYI’S NOVEL “THE GARDEN OF GETHSEMANE”." International Humanitarian University Herald. Philology 2, no. 48 (2021): 144–48. http://dx.doi.org/10.32841/2409-1154.2021.48-2.33.

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Gelfond, M. M. "Semantics of the Fictional Draft: Once again about B. L. Pasternak’s poem “A Fairy Tale” (“Skazka”)." Critique and Semiotics 38, no. 1 (2020): 351–62. http://dx.doi.org/10.25205/2307-1737-2020-1-351-362.

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The article deals with the fictional creative story of Boris Pasternak’s poem “The Fairy Tale” (“Skazka”), described in the novel “Doctor Zhivago”. It is fundamentally different from the real story: if Pasternak changed the plot and partly the genre of “The Fairy Tale”, as evidenced by his letter to Nina Tabidze, Yuri Zhivago in the novel changes the poetic meter twice – and at the same time comprehends its semantics. The differences between the real and the “novelistic” creative history focus on the semantic halo both of trochaic trimeter – the meter of “The Fairy Tale”, and of trochaic pentameter and trochaic tetrameter, used at starting of the first and intermediate edition. The article shows how the first edition, written in pentameter (trochaic or iambic), connects “The Fairy Tale” with “Hamlet” and “The Gethsemane Garden”. The assumption of a genetic link between the three texts and a few significant plot coincidences enables to find invariant embodiments of one lyrical plot in different genres in them. The triangle: “Hamlet” – “The Fairy Tale” – “The Gethsemane Garden” built within the cycle varies the most important topic of the cycle and the novel – the strategy of individual, personal confrontation with “the twilight of night” and “the years of timelessness”. The study of the second stage of the fictional story “The Fairy Tale” clarifies a number of Pushkin’s contexts, not only in the “Poems of Yuri Zhivago”, but also in the novel as a whole. The study of semantic halos arising at different stages of Zhivago’s work on “The Fairy Tale” allows including it in the context of Russian lyrics.

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Petruccelli, Raffaella, Cristiana Giordano, Maria Cristina Salvatici, Laura Capozzoli, Leonardo Ciaccheri, Massimo Pazzini, Orietta Lain, Raffaele Testolin, and Antonio Cimato. "Observation of eight ancient olive trees (Olea europaea L.) growing in the Garden of Gethsemane." Comptes Rendus Biologies 337, no. 5 (May 2014): 311–17. http://dx.doi.org/10.1016/j.crvi.2014.03.002.

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Koterski, Joseph. "Thomas More and the “Prayer for Detachment”." Moreana 52 (Number 199-, no. 1-2 (June 2015): 61–82. http://dx.doi.org/10.3366/more.2015.52.1-2.6.

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This paper focuses on a theme of special importance in The Sadness of Christ, one of the last writings of Thomas More. While awaiting execution in the Tower of London, he wrote this book as a way to reflect on passages from the Gospel that depict the agony of Christ in the Garden of Gethsemane. In looking upon Christ as a model for virtue in the face of suffering and persecution, More commented at length on how to treat those who wrong us and how to cultivate a proper sense of detachment. This essay will compare More’s advice with that of his contemporary, Ignatius Loyola, with special reference to such passages from the Spiritual Exercises as the “First Principle and Foundation” and the “Three Degrees of Humility.”

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Makaradze, Khrystyna. "Means of the comic as a way of representing ideology in I. Bahrianyi`s novel “The Garden of Gethsemane”." Current issues of social sciences and history of medicine, no. 3 (31) (March 7, 2022): 40–43. http://dx.doi.org/10.24061/2411-6181.3.2021.290.

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The article engages in an attempt to survey I. Bahrianyi`s novel “The Garden of Gethsemane” on the subject of comic elements. The novel is perceived as a realistic depiction of inhumane Soviet reality, so the question of how risorial culture is blended seamlessly with the text is relevant. The aim of the article is to find out the nature of the comic as an aesthetic category, in particular its varieties: irony, sarcasm, grotesque, and to analyze how the comic functions in the novel, what forms it takes, what functions performs. The descriptive method was used during the work. In I. Bahrianyi`s novel the most frequent manifestation of the comic is irony, which is used on different levels: in journalistic excursus, in depicting the interior, exterior, and most of all – in the dialogues between characters. Humor is also an inalienable part of prisoners’ lives. As a result of processing the material, we came to the following conclusions: the theme of I. Bahrianyi`s novel “The Garden of Gethsemane” envisages a profound pathos, but the comic elements are harmoniously woven into the fabric of the text. With the help of irony and sarcasm the author supports the anti-Soviet ideology and exposes the drawbacks of the Soviet system. The discrepancy between reality and the image, created employing irony draws attention to the issue, foregrounds it. In the dialogues between the two antagonists: the investigator and the prisoner – the irony serves as a means of characterizing the depicted world and the nature of the relationship between them, outlining the author's attitude to what is being said. Irony reduces the significance of Soviet reality as if depriving it of power because it recategorizes everything: now the absurd reality inspires not terror, but disdain. This way of reacting in a borderline situation protects the psyche of prisoners from feelings of doom and persecution. For prisoners irony and humor are one of the available ways of escapism, as well as the ability to preserve the integrity of one's self.

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Dissertations / Theses on the topic "Garden of Gethsemane"

1

Kato, Kazuaki. "A study of Christ's prayers in the Garden of Gethsemane resignation or confidence? /." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.

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Schaich, Anne. "Zu schön für Protestanten: Rudolf Yelin des Älteren „Gebet im Garten Gethsemane“ in der Stadtkirche Tuttlingen." 2019. https://tud.qucosa.de/id/qucosa%3A35258.

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Die Tuttlinger Stadtkirche wurde 1817 vorläufig vollendet. Als ursprünglich klassizistischer Bau ist sie nach der Renovierung durch Heinrich Dolmetsch 1903 kaum noch zu erkennen. An ihrer südlichen Kanzelwand sind zwei Gemälde von Rudolf Yelin d. Ä. aus Stuttgart angebracht, denen bis heute ihre berechtigte Anerkennung versagt bleibt. Anlass für den Kirchbau war der große Tuttlinger Stadtbrand 1803. Das Innere enthielt – vermutlich, denn Quellen sind rar – neben den umlaufenden Säulen und Pilastern nur das Gestühl, eine Schwalbennestkanzel und seit 1865 ein großes Holzkruzifix. Der Bau wurde bereits kurz nach seiner Fertigstellung mit schwäbischen Spottnamen bedacht: „Fruchtschranne“, „Reithaus“. Ihre Schmucklosigkeit wurde im Laufe des 19. Jahrhunderts für die Stadtgesellschaft, die sich rasant von Ackerbürgern zu Kleinindustriellen wandelte, zusehends unerträglich. Daher gründete sich, um der Schlichtheit Herr zu werden, ein Kirchenverschönerungsverein, der Geld für die Ausmalung der Kanzelwand sammelte. 1892 sandte der damals noch junge Maler Rudolf Yelin, der gerade die Stuttgarter Stiftskirche ausgemalt hatte, im Auftrag des Kirchengemeinderates zwei Entwürfe für die Kanzelwand nach Tuttlingen: „Himmelfahrt“ und „Gethsemane“. Die beiden großen Gemälde sollten von Dekorationsmalerei des Reutlinger Malers Fritz Hummel umgeben werden. Diese Aufteilung war eine Auswirkung des mangelhaften Baumaterials: Nur der Turm war massiv gebaut, und man befürchtete Risse in der Wand. So entstanden die beiden Leinwandgemälde Yelins in seinem Stuttgarter Atelier am Eugenplatz und wurden später vor Ort in die Silikatmalerei Hummels eingepasst. Ihre rückwärtige Versteifung ist im Seitenlicht gut zu erkennen.

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Books on the topic "Garden of Gethsemane"

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Herring, Laraine. Into the garden of Gethsemane, Georgia. Phoenix, AZ: Concentrium, 2013.

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Finding life: From Eden to Gethsemane, the garden restored. Indianapolis: Wesleyan Pub. House, 2014.

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3

The garden of Gethsemane: Poems from the lost decade. South Yarra, Victoria: Hyland House, 1991.

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The Savior's final week: Gethsemane, Golgotha, the Garden Tomb. Salt Lake City, Utah: Deseret Book, 2014.

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Pinegar, Ed J. Gethsemane, Golgotha, and the Garden Tomb: The sacrifice of the exalted Son of God. Springville, Utah: CFI, an imprint of Cedar Fort, Inc., 2015.

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Rubietta, Jane. Between two gardens: From Eden to Gethsemane. Minneapolis, Minn: Bethany House, 2001.

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Rubietta, Jane. Between two gardens: From Eden to Gethsemane. Minneapolis, Minn: Bethany House, 2001.

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Philip, George. Garden of Gethsemane. Creative Media Partners, LLC, 2018.

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9

Custaud, Norah. Painters in the Garden of Gethsemane. Books on Demand GmbH, 2019.

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Shaw, Andy. Murder in the Garden of Gethsemane. Independently Published, 2021.

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Book chapters on the topic "Garden of Gethsemane"

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Fabre, Pierre-Antoine. "Sleep of the Flesh: The Agony of the Visible at the Limits of the Frame in the Iconography of the Prayer of Christ in the Garden of Gethsemane." In Image and Imagination of the Religious Self in Late Medieval and Early Modern Europe, 163–94. Turnhout: Brepols Publishers, 2007. http://dx.doi.org/10.1484/m.proteus-eb.3.907.

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Ward, Graham. "Sighs for Eden." In Another Kind of Normal, 322–42. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192843012.003.0010.

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The theme of loss in the last chapter is taken up in terms of the doctrine of an original paradise. This chapter radically problematizes the temporality of that paradigm of perfection–sin–redemption, and foregrounds those questions about the sighs for a lost Eden. There was no paradise historically, so what is being figured in the Scriptures? The Scriptures are examined through the lens of God as planter and horticulturalist and the nature of gardens as forms of heterotopia is explored. The exploration focuses on the two geographical gardens in the Gospels—Gethsemane and the garden of the empty tomb—before returning to the mythic sensibilities of Eden in Derek Jarman’s film The Garden. The film (and Jarman’s Journals) play with the idea of paradise, but in ways which reinvent the myth and its contemporary significance.

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"In the garden of Gethsemane on the Dnieper river." In Words for War, edited by Oksana Maksymchuk and Max Rosochinsky, 56. Boston, USA: Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618116673-028.

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"In the garden of Gethsemane on the Dnieper river." In Words for War, translated by Oksana Maksymchuk and Max Rosochinsky, 56. Academic Studies Press, 2017. http://dx.doi.org/10.2307/j.ctv1zjg8p9.30.

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Grajter, Małgorzata. "Oratorium Chrystus na Górze Oliwnej opus 85 Ludwiga van Beethovena a estetyka Friedricha von Schillera." In Filozofia muzyki. Doświadczenie, poznanie, znaczenie, 131–53. Wydawnictwo UNUM, 2022. http://dx.doi.org/10.21906/9788376432250.07.

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Beethoven’s only oratorio, Christ on the Mount of Olives, Op. 85, was created in the phase marked by the strong influence of the thought of Immanuel Kant and the Weimar classics (in particular Goethe and Schiller), described as the climactic phase of Classicism. The musical activity of this phase is a response to the Enlightenment concept of man as a sensual-spiritual being. It gains the power of not only aesthetic but also ethical impact on the recipient. Beethoven, as a creator aware of his mission to create music, which was to raise an individual towards the ideals of humanity, was particularly influenced by Schiller’s philosophical and aesthetic thought: the influence of the great philosopher was by no means limited to the Ninth Symphony. Concerning Beethoven’s oratorio, this influence is particularly noticeable in the way the figure of Christ in the Garden of Gethsemane is depicted – both as a divine being and as a suffering, lonely man facing torment and death. Therefore, the aim of this article is to present Beethoven’s work in the context of the aesthetic writings of Friedrich von Schiller, with particular emphasis on the categories of beauty, sublime and pathetic.

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"159. The Mosque of the Ascension on the Mount of Olives–172. In the Garden of Gethsemane." In The Archeology of the New Testament, 170–83. Princeton University Press, 1992. http://dx.doi.org/10.1515/9781400863181.170.

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Drobinski, Matthias, and Thomas Urban. "Vom Garten Gethsemane zur Grabeskirche." In Johannes Paul II., 273–80. Verlag C.H.BECK oHG, 2020. http://dx.doi.org/10.17104/9783406749384-273.

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Rekow, Matthias. "„Aufruhr“ im Garten Gethsemane – Eine konfessionelle Bildpolemik zum böhmischen Ständeaufstand 1618–1623." In Zwischen Raum und Zeit, 77–110. De Gruyter, 2022. http://dx.doi.org/10.1515/9783110758306-005.

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