Academic literature on the topic 'Gospel of st luke'

James MacMillan's new St Luke Passion is unusual. No longer does the Passion story end in the death of its principal character; there's a postlude that sees Christ resurrected. Neither is it peopled with singers acting out the traditional confrontations between Christ, Pilate and the High Priest; it starts instead with a brief setting of the Annunciation text found at the opening of St Luke's gospel. Unusual too is the small size of the orchestra – no trombones or tubas, one set of timpani as the sole percussion and an organ. Perhaps most surprising, however, is that the roles of Christus and Pilate, and indeed everyone else, are given to the choruses: a children's chorus for Christ, the other choirs acting as narrator.

St. Ambrose belongs to these Fathers of the Western Church, who in their thoughts used biblical motifs using the allegorical exegesis. It was of particular significance to him to teach about the Church. While approaching the matter of the Church he referred to an interesting image from the Gospel of St. Luke, relating to a sinful woman who washed and wiped the feet of Jesus in the house of Simon, the Pharisee. In this figure different motifs of contemporary eccesiology are com­bined. The Church stands as one body composed of many members following to­gether to Jesus and bowing in front of him. He is a dispenser of grace. His primary tasks are to glorify the God, transmit the Gospel and the works of mercy.

AbstractThis article examines the text of an Arabic Gospel manuscript from the “New Finds” at St. Catherine's Monastery, Sinai. It provides a general description of the codex, and then studies two hundred and thirty readings in Saint Luke's Gospel. These readings differ from the Majority Text and agree with some of the earliest Greek witnesses as well as ancient versions. The contribution of this manuscript is shown to be considerable, and a warning against minimizing the textual value of the Arabic versions.

Recent discoveries in the realm of cultural anthropology and social psychology have had repercussions in our interpretation of the New Testament texts and particularly of the Gospel of the Infancy of Jesus (Lk 1-2). The author of this article has attempted to prove that scientific approach and scholarly models should be applied to these texts only in the context of broad theory of their origin and interpretation of the literary meaning. The author has narrowed down the scope of his interest to the presentation of the socio-religious status of Mary in Luke’s account (Lk 1-2). The research has shown how important it was for St. Luke. The final conclusion of the study is very significant and optimistic – presentation of Mary in Lk 1-2 signals the nature of salvation and the standards in the fellowship of God’s people which will be further developed in the next part of the double work of St. Luke (Lk – Acts).

The influence of the Gospel lectionary (evangelistarion) on the iconography of medieval wall painting was rather sporadic. One of the rare testimonies that it did exist, nevertheless, is the specific iconographic formula for the scene of Christ in the house of Martha and Mary, preserved in a number of King Milutin's foundations - Gracanica (ca. 1320), Chilandar katholikon (1321) and St. Nicetas near Skopje (ca. 1324). In all three churches, the iconographic formula corresponds for the most part to the description in the Gospel (Lk 10, 38-42). A large number of figures were painted against an architectural background, intimating that the action in the event was taking place indoors (draw. 1, figs. 1, 2). Among the figures, only Christ is marked by a halo. He is sitting on a small wooden bench, and addressing a woman, who is standing in front of him. This is certainly Martha. Her sister Mary is sitting at the feet of Christ. Next to Christ is Peter, and one or two more disciples, while numerous onlookers, men and women, are depicted behind Martha. There is no mention of either them or the apostles in the Gospel of Luke. The appearance of the disciples' figures, however, is easy to explain because they appear usually in greater or lesser numbers with Christ, in the scenes from the cycle of Christ's Public Ministry. In addition to this, this passage from the Gospel intimates that Christ entered the village in the company of his disciples. As for the figures behind Martha, at a first glimpse, one would assume that they are Judeans, the same ones that sometimes, according to the Gospel of John (11:19-31), appear in the house of Martha and Mary in the episodes painted next to the Raising of Lazarus. Still, such an assumption is not plausible because among the mentioned figures in the depictions in Gracanica, Chilandar and St. Nicetas, one can distinguish a woman above the other figures, her right arm raised, addressing Christ. This figure enables an explanation for the unusual iconographic formula and indicates its connection with the evangelistarion. The section of the Gospel that speaks of Christ's visit to Martha and Mary (Lk 10:38-42) is read out during the liturgy of the feasts of the Birth and the Dormition of the Virgin and, in the lectionary, these five verses are accompanied by a reading of two another verses the Gospel of Luke (Lk 11:27-28). The two verses recount the conversation of Christ and a woman during the Saviour's address to the assembled crowd who tempted him, demanding a sign from Heaven. Recognizing the Lord, the woman raised her voice so as to be heard above the crowd and said: 'Blessed is the mother who gave you birth and nursed you'. Two different events and two separated passages from Luke are joined in the lectionary in such a way that from the combination of the readings, it proceeds that the mentioned woman is addressing Christ while he is speaking to Martha. As a result, an iconographic formula emerged that was applied in Gracanica, the Chilandar katholikon and in St. Nicetas near Skopje. Judging by the preserved examples, this formula was characteristic only of the painting in the foundations of King Milutin. None of the other known depictions of Christ's visit to Martha and Mary, Byzantine or Serbian included the figure of a third woman, singled out from the mass of onlookers speaking to Christ. With minor variations, the text of the closing verses of Chapter 10 of the Gospel of Luke was, in the main, almost literally illustrated. The origin of this unique iconographic formula in several of King Milutin's foundations remains unknown. The most logical thing would be that the combined illustration of the two separate passages from Luke's Gospel came from an illuminated lectionary of Byzantine origin. However, the quests for such a manuscript so far have not confirmed this assumption. In the only lectionary, known to us, which depicts Christ in the house of Martha and Mary - the Dionysiou cod. 587 - the iconographic formula is the pictorial expression of the last verses of Chapter 10 of the Gospel of Luke. The two verses of Chapter 11 in Luke's Gospel, which are also included in the text of the lection, read out during the liturgy of the Birth and of the Dormition of the Virgin, had no effect on the iconography of the scene of Christ in the house of Martha and Mary in the famous Dionysiou lectionary, even though in it, the mentioned scene illustrate this very lection. The scene is located in the place where the said lection appears for the first time in the lectionary, within the framework of the readings envisaged for the feast of the Birth of the Virgin (September 8). The second part of the lectionary which refers to the same lection, i.e. to its reading for the feast of the Dormition (August 15), is illuminated with the representation of the death of the Virgin. The Dormition of the Virgin is painted in the corresponding place in several more lectionaries, while beside the pericope that is read during the liturgy of the feast of the Birth of the Theotokos, sometimes there was an appropriate depiction of the Birth of the Virgin, or simply a single figure of the Virgin. Most often, however, that part of the lectionary was left without an illustration, which can be explained by the fact that the vast majority of illuminated Byzantine lectionaries either did not have any figural ornamentation or merely contained the portraits of the evangelists. The absence of narrative illustrations is particularly characteristic of the Byzantine lectionaries that originate from the Palaeologan era. The illumination of Serbian lectionaries from that epoch is also reduced to ornamental headpieces, initials, and, in some cases, the evangelist portraits. Nevertheless, one should not altogether exclude the possibility that in some unknown or unpublished Byzantine or Serbian manuscripts of the evangelistarion, there was an iconographic formula that was applied in the painting of King Milutin's foundations. In any case, it does not seem plausible that this unusual iconographic formula may have arrived from the West. The scene of Christ's visit to Martha and Mary was also presented in the Latin lectionaries based on the five Gospel verses in which it was described (Lk 10:38-42) even though, in the appropriate pericope of the lectionaries of the Roman Church, these five verses are also accompanied by a reading of two another verses the Gospel of Luke (Lk 11:27-28). The influence of the lectionaries is not visible even in the presentations of Christ's visit to Martha and Mary that are preserved in the medieval wall painting of the western European countries.

Several years ago, His Holiness the Dalai Lama and Desmond Tutu published together, The Book of Joy: Lasting Happiness in a Changing World (2016). If the famed Lama was calling on notions of joy developed in and through his own Tibetan Buddhist tradition to suggest a way forward for a fraught 21st-century world, the almost equally famous South African social activist and Anglican bishop was drawing from even more ancient Christian sources regarding rapturous and jubilational delight in order to propose engaging with the complexities of a globalizing third millennium. This article seeks to dig deeper into the scriptural tributaries feeding these contemporary proposals, focusing first on the 5th-century CE Indian Buddhist thinker Buddhaghosa, in particular his teachings regarding the role of joyful equanimity for the salvation of the monastic community found in the classic text Visuddhimagga, and on the appropriation of these ideas by contemporary Buddhist practitioners, and second on the apostolic writings of St. Luke, for whom joyful prayer and worship were central expressions of a Spirit-empowered proclamation of the gospel by the earliest followers of Jesus in their sojourn to the ends of the earth that has galvanized Christian mission historically. We will find that both traditions can learn something important in this dialogical process which can, in turn, also nurture in the present age a more humble and also, paradoxically, more potent Christian witness in Buddhist environments in the present 21st-century global context.

This study examines the titles that the author of Luke's gospel uses to describe Jesus' character in relation to scriptural citations and allusions/echoes. It also thoroughly explores Luke's use and understanding of the Greek expression, o ui&d12;s &d13;vtou ' anqrwpou (Son of Man), its relationship to Fulfillment passages and its earthly and cosmological connotations. This study briefly addresses the five most commonly used names of Jesus in Luke (Lord, Teacher, Messiah, Master and Son of Man) and examines their meanings in the Old Testament. Son of Man is the most important Christological title according to Luke because, in contrast to the other titles, it is associated most often with earthly and cosmological connotations. This combination is central to Luke's Christology. In using the Son of Man in this way Luke is following its meaning in both the Old Testament scripture and in the Jewish Pseudepigrapha.

The Gospel of Luke exhibits numerous correspondence between pericopes, some related to structure and others not. Those that were intentional reflect how Luke understood the individual units of tradition that were incorporated into Luke-Acts. They reflect an interrelationship he perceived between the corresponding pericopes. Accordingly, in the process of composing his volumes, Luke read the individual units of tradition intertextually, in the light of each other. This thesis adopts a form of the literary theory called "intertextuality" that accepts the importance of the author for the interpretation of certain types of text. The intent of Luke is frequently sought through the evidence of the correspondences. Robert C. Tannehill has studied intertextual correspondences in Luke-Acts that are not strictly structural in nature. His work is evaluated in the first chapter of the thesis. Eleven rigorous tests that assess the probability of authorial intent behind proposed correspondences are formulated and applied to proposals. Many withstand this scrutiny, but several do not. The second chapter applies the same tests to Charles H. Talbert's often extensive sets of Luke-Acts correspondences. He considers these to be the very framework of Luke-Acts. Several of them are found wanting, but authorial intent is proven to be probable in many instances. Chapter three establishes the literary precedent for the multi-fold parallel cyclical structure of Luke to be proposed in chapter four (e.g. ABC ... A'B'C'...). Numerous examples are presented of OT, Greco-Roman and NT texts that bear a similar patterned architecture. The new proposal for the cyclical structure of Luke 4:14-24:53 is developed in chapter four. The eleven tests for authorial intent are applied and the results strongly favor its intentional construction. Chapter five discusses the many literary and theological implications of the structure. Additionally, a viable method of Lucan composition, consistent with the proposed structure, is suggested.

This thesis has been written in two parts. The first examines the validity of three hypotheses that have been offered as explanations for the structure of Luke-Acts, in whole or in part. These are the Christian Deuteronomy theory, lectionary. In the second part of the thesis a more positive approach is taken towards understanding the structure of Luke-Acts by examining the possible contributions that might result from studies in Source, Redaction, and Composition Criticism.