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Journal articles on the topic 'George Temple'

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Published: 4 June 2021
Last updated: 1 February 2022

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1

Kilmister, C. W. "George Frederick James Temple." Bulletin of the London Mathematical Society 27, no. 3 (May 1995): 281–87. http://dx.doi.org/10.1112/blms/27.3.281.

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2

Mogarichev, Yuriy, and Alena Ergina. "Fresco Paintings of Southwest Crimea Cave Churches According to Igor Grabar." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 6 (February 2021): 116–30. http://dx.doi.org/10.15688/jvolsu4.2020.6.8.

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Introduction. Today, the remains of fresco paintings are preserved in six cave churches of Taurica: the temple of the Southern Monastery (Mangup); church in the field of Kielse-Tubu (district of Mangup); the temple of the Assumption and the Three Horsemen (Eski-Kermen); the Donators Temple (district of Eski-Kermen); the church number 12 on Zagaytansky rock (Inkerman). Authors of the 19th – early 20th centuries left descriptions of the now lost murals of six more monuments. Methods. Frescos of Crimean cave churches in historiography received insufficient comprehension. Only one monograph was published on this issue (1966). Analysis. Opinions and comments regarding the mural paintings of the cave churches of Crimea, expressed by reputable art historians and specialists in fresco paintings, are relevant. These include Igor Grabar. He was in Crimea in 1927, as the head of the Central Art Conservation Center by Glavnauka of the RSFSR. The Manuscript Department of the State Tretyakov Gallery stores leaflets from the notebook “Igor Grabar’s trip notes in the Crimea and about Old Russian art”. Authors publish the full text of Igor Grabar’s notes concerning the murals of cave churches: the temple of the Assumption and the Three Horsemen (Eski-Kermen); the Donators Temple (district of Eski-Kermen); the temple of the Southern Monastery (Mangup). Results. Igor Grabar’s notes help us clarify many points of view in the study of frescos of cave temples in Crimea. The study of the murals of the temple of the Three Horsemen by Igor Grabar allows us to justifiably discard the versions of “three Georges” and “portraits of real local figures”. There are images of three holy warriors: Dmitry, Theodore (Stratilates or Tyrone), and George in the cave temple. The study of the Mangup Church fresco by Igor Grabar allowed us to develop a periodization of the formation of fresco paintings of this monument.
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3

조전래. "George Herbert’s The Temple: Conflict？Completeness？ Confidence." Studies in English Language & Literature 34, no. 2 (April 2008): 143–68. http://dx.doi.org/10.21559/aellk.2008.34.2.009.

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4

Halli, Robert W., John N. Wall, and Barbara Leah Harman. "George Herbert: The Country Parson, the Temple." South Atlantic Review 50, no. 2 (May 1985): 108. http://dx.doi.org/10.2307/3199241.

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5

DONOGHUE, WILLIAM. "A CURIOUS TENANT IN GEORGE HERBERT'S TEMPLE." Notes and Queries 47, no. 2 (June 1, 2000): 179–80. http://dx.doi.org/10.1093/nq/47-2-179.

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DONOGHUE, WILLIAM. "A CURIOUS TENANT IN GEORGE HERBERT'S TEMPLE." Notes and Queries 47, no. 2 (2000): 179–80. http://dx.doi.org/10.1093/nq/47.2.179.

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7

Faber, Ben. "The Art of Divine Meditation in George Herbert’s The Temple." Christianity & Literature 66, no. 1 (November 30, 2016): 73–89. http://dx.doi.org/10.1177/0148333116679117.

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George Herbert’s The Temple exemplifies the principles of Protestant meditation described by Joseph Hall in The Art of Divine Meditation (1606). Shaped by Catholic and Protestant traditions, Hall’s approach to meditation combines deliberate and extemporary reflection on natural and artificial objects. Like Hall, Herbert in The Temple practices the Augustinian habit of reading mundane signs as emblems with spiritual signification. More particularly Hallian are the stages—from the preparation of the subject for meditation through the dynamic concentration on the object of meditation to the transformation of the subject—that the reader of Herbert’s poems follows. Taken individually, in sets, and in the whole three-part collection, the sacred poems and private ejaculations of The Temple are spiritual exercises that bear the hallmarks of Anglican meditation.
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8

Schoenfeldt, Michael Carl. "George Herbert's Divine Comedy: Humor in The Temple." George Herbert Journal 29, no. 1 (2008): 45–66. http://dx.doi.org/10.1353/ghj.2008.0004.

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9

Murel, Jacob. "The Multiple Temporalities of George Herbert's The Temple." George Herbert Journal 40, no. 1-2 (2016): 41–58. http://dx.doi.org/10.1353/ghj.2016.0014.

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10

Chenovick, Clarissa. "Reading, Sighing, and Tuning in George Herbert's Temple." Huntington Library Quarterly 82, no. 1 (2019): 155–74. http://dx.doi.org/10.1353/hlq.2019.0007.

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11

Ward, Thomas. "Sounding Devotion in George Herbert’s Temple [with illustrations]." English Literary Renaissance 47, no. 1 (January 2017): 136–63. http://dx.doi.org/10.1086/692108.

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12

van Wengen-Shute, Rosemary. "Time and Liturgy in George Herbert's The Temple*." Theology 106, no. 830 (March 2003): 98–107. http://dx.doi.org/10.1177/0040571x0310600204.

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13

Witt, William G. "George Herbert's Approach to God." Theology Today 60, no. 2 (July 2003): 215–34. http://dx.doi.org/10.1177/004057360306000206.

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This article examines the way practices and doctrines formed the spirituality of the sixteenth-century Anglican priest George Herbert, as reflected in his poetry (The Temple) and prose (The Country Parson). The practices of virtuous living, Sunday worship, public and private prayer, hearing and proclaiming the Word, and partaking of sacraments combine to shape virtuous Christian character. The doctrines of God, creation, sin, Christ, and grace, as well as the problem of affliction, combined to form Herbert's faith.
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14

Rodgers, Katherine Gardiner. "George Herbert on The Last Things." Moreana 35 (Number 135-, no. 3-4 (December 1998): 183–201. http://dx.doi.org/10.3366/more.1998.35.3-4.12.

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The final poems of George Herbert’s The Temple have often been recognized as a sequence on the last things, but the extent to which they skew the traditional presentation of this theme deserves attention. Herbert’s soteriology is more confident than Catholic versions of the tradition, his vision of heaven more tentative than Puritan ones, and his presentation of the Atonement more central than either.
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15

Rayner, Margaret E. "Dom George Temple, CBE, FRS (1901–1992) – an appreciation." Mathematical Gazette 79, no. 484 (March 1995): 126–27. http://dx.doi.org/10.1017/s0025557200147801.

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16

Ji-in, Hwang. "A Study of Resurrection in George Herbert’s The Temple." Literature and Religion 25, no. 2 (June 30, 2020): 189–206. http://dx.doi.org/10.14376/lar.2020.25.2.189.

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Judge, Jeannie. "Keeping the Major Feasts in George Herbert’s The Temple." George Herbert Journal 35, no. 1-2 (2011): 110–26. http://dx.doi.org/10.1353/ghj.2011.0002.

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18

Hong Won Suh. "Religion, Language and Poetry in George Herbert’s The Temple." Journal of Medieval and Early Modern English Studies 20, no. 1 (May 2010): 81–96. http://dx.doi.org/10.17054/jmemes.2010.20.1.81.

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19

Carl Ostrowski. "Inside the Temple of Ravoni: George Lippard's Anti-Exposé." ESQ: A Journal of the American Renaissance 55, no. 1 (2009): 1–26. http://dx.doi.org/10.1353/esq.0.0032.

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20

Balla, Angela. "Neighbourliness and Toleration in the Work of George Herbert." Renaissance and Reformation 35, no. 2 (January 28, 2013): 113–41. http://dx.doi.org/10.33137/rr.v35i2.19373.

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Des spécialistes de l’histoire sociale ont récemment développé le récit triomphal de l’essor de la tolérance religieuse et l’ont rendu populaire parmi les historiens de la culture, en montrant comment ont alterné et même coïncidé les périodes de persécution et de tolérance. Pour ces historiens sociaux, la tolérance des divisions religieuses s’est en partie développée par la valorisation des relations de bon voisinage. Mais quelle est la relation véritable entre le bon voisinage et la tolérance ? L’oeuvre de George Herbert offre une réponse provocatrice à cette question, puisque son oeuvre poétique The Temple (1633), examinée en lien avec son guide en prose A Priest to the Temple, Or, the Countrey Parson (1652), montre comment une « imagination de la persécution » peut céder à une grandeur de pensée et l’action. L’auteur, en basant son analyse sur des sermons d’état, des injonctions, et des manuels pastoraux, A Priest to the Temple, Or, the Countrey Parson (1652), construit le récit de la relation entre le bon voisinage et la tolérance, et montre comment il fonctionne dans l’oeuvre religieuse en prose et en vers de Herbert. Bien que ces deux valeurs soient différentes, Herbert montre dans quelle mesure elles peuvent parfois être étroitement apparentées. Dans la mesure où ses lecteurs suivent la proposition d’Herbert en allant aussi loin qu’il est possible de travailler avec les autres pour accomplir la volonté de Dieu, ces lecteurs présentent une pratique de la tolérance avant que celle-ci soit théorisée en tant qu’idéal dans la deuxième moitié du dix-septième siècle.
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21

Babagolzadeh, Reza, and Mahdi Shafieyan. "George Herbert’s The Temple: A Religious Rhyme or Political Poetry?" International Journal of Applied Linguistics and English Literature 6, no. 5 (July 6, 2017): 144. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.5p.144.

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George Herbert’s retreat from a political path and a turn towards a religious route has created a perception that the poet and priest had separated himself from politics. His magnum opus, The Temple, corroborates such a point of view with it verses coated with poetic praises and surrounded by biblical allusions, morals and confessions. Within Foucauldian perspective, this study peruses a different path of repainting the picture of the pious priest into a political poet, highlighting how his religious intentions were not separated from political influence. This paper highlights the inseparable bond between politics and religion in the Jacobean Era by analysing how the regimes of truth play its part in shaping the poet’s discourse.
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22

Low, Anthony. "God's Courtier: Configuring a Different Grace in George Herbert's Temple." George Herbert Journal 12, no. 1 (1988): 53–58. http://dx.doi.org/10.1353/ghj.1988.0003.

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23

Nishikawa, Kensei. "The Doctrine of Prevenient Grace in George Herbert’s The Temple." George Herbert Journal 38, no. 1-2 (2016): 66–79. http://dx.doi.org/10.1353/ghj.2016.0009.

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24

Gordis, Lisa M. "The Experience of Covenant Theology in George Herbert's "The Temple"." Journal of Religion 76, no. 3 (July 1996): 383–401. http://dx.doi.org/10.1086/489801.

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25

Crow, Andrea. "The Poetics of Ethical Eating in George Herbert's The Temple." SEL Studies in English Literature 1500-1900 59, no. 1 (2019): 91–112. http://dx.doi.org/10.1353/sel.2019.0004.

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26

Cruickshank, Frances. "Broken Altars: The Work of Form in George Herbert’s Temple." Christianity & Literature 66, no. 1 (November 30, 2016): 24–38. http://dx.doi.org/10.1177/0148333116677446.

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George Herbert’s collection of poetry is very visibly structured: his famous shape poems are only the most obvious in an entire collection that is cleverly and carefully shaped. While this formality has suggested to some an approach to poetry either rigid and conventional or quaint and fussy, the content of the poems is far less fixed. It is deep and meditative, doubtful and unsettled. The poet is in pursuit of an emotional or spiritual authenticity he finds elusive, and that seems specifically precluded, even on his own account, by the highly artful forms of his poems. Close attention to this apparent discrepancy between the form and the content of the poetry reveals a richer understanding of the way form works—or the work form does—in Herbert’s spiritual poetics.
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27

Knight, Jeffrey Todd. "Curatorial Readings: George Herbert'sThe Temple, Quintus Curtius, and Their Context." Huntington Library Quarterly 74, no. 4 (December 2011): 575–98. http://dx.doi.org/10.1525/hlq.2011.74.4.575.

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28

Whalen, Robert. "George Herbert's Sacramental Puritanism*." Renaissance Quarterly 54, no. 4-Part1 (2001): 1273–307. http://dx.doi.org/10.2307/1261973.

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The relationship in the early Stuart church between doctrine and discipline — between formal theological belief and outward matters including church governance, polity and ceremonial practice — is important for our understanding of George Herbert's devotional lyrics. Eucharistic theories which entertained notions of “real presence “ tended to support a sacerdotal style of divinity in which priest, ceremony and outward conformity were key features. Belief in the centrality of inward spiritual life, on the other hand, was reinforced by a theology in which the external elements are less effectual instruments than mere signs of a strictly invisible grace. This paper elucidates a sacramental poetics through which Herbert sought to reconcile the ideologically contrary imperatives of public ceremony and private religious devotion. The two are brought together successfully in The Temple, but this success consists largely in the drama resulting from the conflict the poems trace. Unmistakably inward in focus, Herbert's devotional enthusiasm is cultivated nonetheless through a fully sacramental and sacerdotal apparatus.
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29

Swann, Joel. "“In the hands and hearts of all true Christians”." Journal of Medieval and Early Modern Studies 50, no. 1 (January 1, 2020): 115–37. http://dx.doi.org/10.1215/10829636-7986625.

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The lively contemporary reception of George Herbert’s book of poems The Temple has been clearly demonstrated by a substantial body of modern scholarship. This article shows how that body of work can be complemented through material evidence of readership drawn from from specific copies of The Temple. By investigating readers’ marks in over 120 copies of the book published between 1633 and 1709, it confirms that The Temple was received with enthusiasm and active readership. While marks in the book often suggest that it was sometimes used for the “commonplacing” of sententious phrases and religious maxims, this article demonstrates how Herbert’s poems also attracted more nuanced literary engagements. The sale and acquisition of the book in private and public libraries in the late seventeenth century likewise suggest that The Temple held a dual role, sometimes positioned in relation to other devotional texts (like the Book of Psalms), and sometimes in a relation to the emerging category of secular literature.
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30

Reade, Julian. "The Ishtar Temple at Nineveh." Iraq 67, no. 1 (2005): 347–90. http://dx.doi.org/10.1017/s002108890000142x.

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Nineveh, like modern Mosul of which it is now a suburb, lay at the heart of a prosperous agricultural region with many interregional connections, and the temple of Ishtar of Nineveh dominated the vast mound of Kuyunjik (Fig. 1). Trenches dug on behalf of the British Museum, mainly by Christian Rassam in 1851–2, Hormuzd Rassam in 1852–4 and 1878–80, George Smith in 1873–4, and Leonard King and Reginald Campbell Thompson in 1903–5, impinged on the site. The main temple was almost completely cleared, together with an area to the north-west, by Thompson and colleagues in four seasons between 1927 and 1932 (Figs. 2–3). Many original King and Thompson records are kept in the Department of the Ancient Near East at the British Museum; some photographic negatives are at the Royal Asiatic Society in London. The numerous objects from Thompson's excavations are now divided between the Iraq Museum, the British Museum (where they are registered in the 1929-10-12, 1930-5-8, 1932-12-10 and 1932-12-12 collections, mostly corresponding to the four successive seasons), the Birmingham City Museum, the Ashmolean Museum at Oxford, and the Fitzwilliam Museum at Cambridge; some were given to other institutions, and to individuals who had contributed to the excavation costs.
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31

West, Philip. "Nathaniel Wanley and George Herbert: The Dis-engaged and The Temple." Review of English Studies 57, no. 230 (June 1, 2006): 337–58. http://dx.doi.org/10.1093/res/hgl041.

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32

Summers, Claude J. "Review: God's Courtier: Configuring a Different Grace in George Herbert's Temple." Christianity & Literature 38, no. 1 (December 1988): 85–87. http://dx.doi.org/10.1177/014833318803800125.

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33

Schoenfeldt, Michael C. "The Opacity of Signs: Acts of Interpretation in George Herbert's The Temple." George Herbert Journal 11, no. 1 (1987): 53–57. http://dx.doi.org/10.1353/ghj.1987.0000.

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34

Taylor, Amanda. ""Use alone": Usefulness and Revision in George Herbert's The Temple." George Herbert Journal 34, no. 1-2 (2010): 78–101. http://dx.doi.org/10.1353/ghj.2010.0002.

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35

Teeter, Emily. "Mycerinus: The Temple of the Third Pyramid at Giza. George A. Reisner." Journal of Near Eastern Studies 56, no. 4 (October 1997): 305–6. http://dx.doi.org/10.1086/468590.

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36

Jackson, Simon. "The Visual Music of the Masque and George Herbert's Temple [with illustrations]." English Literary Renaissance 45, no. 3 (September 2015): 377–99. http://dx.doi.org/10.1111/1475-6757.12052.

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37

LAIDLAW, J. C. "Review. Le Temple de Bocace. Edition commentee par Susanna Bliggenstorfer. Chastelain, George." French Studies 45, no. 4 (October 1, 1991): 454. http://dx.doi.org/10.1093/fs/45.4.454.

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38

Hillier, Russell M. "Herbert’s pepper corn: Responsibility and reciprocity in The Temple." Christianity & Literature 66, no. 1 (November 30, 2016): 109–38. http://dx.doi.org/10.1177/0148333115585281.

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In common with medieval piety and the theology of Richard Baxter, George Herbert’s lyrics express a responsive amor Dei or desire for God, required of humans if faith is to be maintained. In Herbert’s poetry his lyrical voices often become aware that they are recipients of God’s grace, but their discovery of, response to, and participation in the reception of that grace is no less paramount. Herbert’s poetry marks and celebrates this divine–human exchange. The article examines the nature of such human responsibility throughout Herbert’s poetry, and especially in the lyrics that make up The Temple: in Herbert’s attitude to Scripture and in the practice of confession; in the motif of the answered call; in patterns of symbolic actions of clasping hands and climbing; in the altered state effected by faith; and, finally, in the eschatological encounters dramatized across the final sequence of poems in The Church.
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39

Kuchar, Gary. "Introduction: Distraction and the Ethics of Poetic Form in The Temple." Christianity & Literature 66, no. 1 (November 30, 2016): 4–23. http://dx.doi.org/10.1177/0148333116677454.

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The formal dimensions of George Herbert’s poetry, including prosody and assonance, bear important ethical and spiritual significance. This is especially true in lyrics dealing with the problem of distraction, a crucial concept in 17th-century religious culture and one with a range of historically and theologically discrete meanings. The formal strategies Herbert deploys in lyrics about distraction proved particularly consequential for subsequent poets in the period, especially those writing in the wake of the English Civil War such as Henry Vaughan. For Vaughan, as for Herbert, distraction is a somatic, social, and spiritual problem that touches on the very essence of what it is to be a fully mature Christian.
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40

White, L. Michael. "The Delos Synagogue Revisited Recent Fieldwork in the Graeco-Roman Diaspora." Harvard Theological Review 80, no. 2 (April 1987): 133–60. http://dx.doi.org/10.1017/s0017816000023579.

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Recent studies and archaeological work have focused attention once again on an old problem—the origins and development of the synagogue—by bringing two sides of the issue to light. On the one hand, some studies have reconsidered theories of synagogue origins in the Babylonian, Persian, or Hellenistic periods. The result is that several traditional assumptions typified in the works of Julian Morgenstern, Solomon Zeitlin, George Foot Moore, and Louis Finkelstein have been questioned. The question of origins has come to rest on the Palestinian setting and on the nature of the “synagogue” not as institution in the later Talmudic sense, but as “assembly.” There is no clear archaeological evidence for synagogue buildings from Second Temple Palestine. Only after 70 CE and the destruction of the Temple, did it emerge as the central institution of Pharisaic-Rabbinic Judaism.
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41

Evans, Robert C., and Mario A. Di Cesare. "George Herbert: The Temple: A Diplomatic Edition of the Bodleian Manuscript (Tanner 307)." Sixteenth Century Journal 28, no. 4 (1997): 1403. http://dx.doi.org/10.2307/2543632.

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42

Ilame, Veena R. "Theological Element in George Herbert’s “The Temple” with the Special Reference to Atonement." International Journal of English Literature and Social Sciences 5, no. 4 (2020): 1075–83. http://dx.doi.org/10.22161/ijels.54.37.

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43

Beck, Jeffrey, Donald Marks, and Jillian Plescia. "Assessing Eminence in the Lyrics of The Temple: Quantifying George Herbert’s Lightning Strikes." Journal of Genius and Eminence 1, no. 1 (December 1, 2016): 43–51. http://dx.doi.org/10.18536/jge.2016.01.1.1.05.

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44

Hwang, Jiin. "The Study on George Herbert's The Temple and His View of the Christianity." Modern Studies in English Language & Literature 60, no. 1 (February 28, 2016): 263–87. http://dx.doi.org/10.17754/mesk.60.1.263.

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45

Wolberg, Kristine A. "Posture and Spiritual Formation: Sanctification in George Herbert’s The Country Parson and The Temple." Christianity & Literature 66, no. 1 (November 30, 2016): 57–72. http://dx.doi.org/10.1177/0148333116676235.

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In his prose and poetry, George Herbert assumes that the body and soul are inextricably interrelated, and what one does with one significantly affects the other. This has a profound influence on the process of spiritual growth or sanctification. The article begins with demonstrating from Herbert’s work the importance of external behavior (particularly posture) to spiritual formation. However, while attention to posture and behavior is necessary, it may not be sufficient for personal transformation. Herbert’s prose and poetry demonstrate that positive spiritual formation requires the help of supernatural power.
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46

Livesey, James. "The Fall of the Catholic Cosmopolitan: Charles O'Conor and the Catholic Debate on the Act of Union." Britain and the World 6, no. 2 (September 2013): 152–70. http://dx.doi.org/10.3366/brw.2013.0094.

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This article addresses the writing and politics of Charles O'Conor, grandson of the noted antiquarian and founder of the Catholic Committee, Charles O'Conor of Belangare, who as librarian to George Nugent-Temple-Grenville, Marquis of Buckinghamshire, at Stowe played a crucial role in articulating Irish Catholic responses to the 1801 Act of Union. The paper argues O'Conor represented a Catholic perspective that felt an historic compromise between the political authority of the British constitution and the religious authority of the Catholic Church was possible.
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Ilame, Veena R. "A Critical Study of "Use alone": Usefulness and Revision in George Herbert's "The Temple."." International Journal of English Literature and Social Sciences 5, no. 4 (2020): 1102–12. http://dx.doi.org/10.22161/ijels.54.40.

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48

Hill, Darci. "George Herbert and the Heroic Tradition: A Consideration of the Third Movement ofThe Temple." Reformation & Renaissance Review 5, no. 2 (March 21, 2003): 245–54. http://dx.doi.org/10.1558/rarr.5.2.245.36247.

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49

Thompson-Miller, R. "How Racism Takes Place By George Lipsitz Temple University Press. 2008. 310 pages. $27.95." Social Forces 93, no. 4 (March 21, 2013): e119-e119. http://dx.doi.org/10.1093/sf/sot021.

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50

Wagoner, Phillip B. "George Michell,Late Temple Architecture of India, 15thto 19thCenturies: Continuities, Revivals, Appropriations, and Innovations." South Asian Studies 31, no. 2 (July 3, 2015): 268–69. http://dx.doi.org/10.1080/02666030.2015.1094216.

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