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Journal articles on the topic 'Holy Fool'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 June 2025

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1

Suzryukova, Elena. "THE IMAGE OF THE FOOL IN CHRIST IN THE STORIES OF V. A. NIKIFOROV-VOLGIN." Проблемы исторической поэтики 21, no. 2 (2023): 258–73. http://dx.doi.org/10.15393/j9.art.2023.12302.

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The article analyzes the semantics of the image of the holy fool in V. A. Nikiforov-Volgin’s short stories “Holy Fool” and “Glebushka the Holy Fool.” The image of the holy fool in the author’s prose took shape under the influence of the Old Russian literary tradition, works of Fyodor Dostoevsky and Ivan Shmelev. Nomination of the holy fool in the prose writer’s works reflects the character’s childishness and soul purity, characteristic for this image. Glebushka the Holy Fool from the eponymous short story is a big child, and he is praying for forgiveness for his people, who are burdened with great sins. The holy fool in V. A. Nikiforov-Volgin’s short stories is a traveler, a pilgrim who lives outside the community. An encounter with him makes other characters rethink their lives, and offers an opportunity for repentance and life changes. Nikitushka (“Holy Fool”) is a messenger of the spiritual world; he appears to be reverend-like for one of the story’s characters. This hero appeals to the characters’ conscience without words, notations or rebukes; he relates to the motifs of spiritual transformation and enlightenment. The repentant bandit bows to the ground before the holy fool, thus pleading for forgiveness, and expressing humbleness and awe of the sanctitude. In this short story, Nikitushka the Holy Fool becomes the one who helps the wayward sinner reach God.The world of angels is close to the holy fool. V. A. Nikiforov-Volgin’s short stories present angels either as the holy fool’s interlocutors, or characters in the spiritual poems recited by the holy fool.The holy fool is an advocate not only for salvation for particular people, but for all of Russia.

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2

Rumyantsev, Dmitry. "“The holy fool” V. V. Rozanov and the mediaeval holy fool: religious connotations of literary style and behaviour." St. Tikhons' University Review 113 (June 28, 2024): 83–97. http://dx.doi.org/10.15382/sturi2024113.83-97.

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The article concerns the image of V.V. Rozanov as a " holy fool" in the critical and memoir literature of his contemporaries – V.P. Burenin, S.N. Trubetskoy, A.S. Glinka-Volzhsky, A.A. Izmailov, E.F. Gollerbach. An attempt has been made to determine the meaning of such a naming, the connection of the concept of a "holy fool" in the XIX–XX centuries with the image of the "blessed obscenity". The main functions of the classical medieval holy full are defined based on the scientific literature. Among such functions: nudity, illness, contradiction, word and gesture, spectacle, provocation, self-abasement, aggression, wandering, androgyny, holy fool and king, strange death. Some of these functions are analyzed in the article. Fragments of critical essays and memoirs of contemporaries about Rozanov, in which he was called a "holy fool", are examined for reflections of these foolishness functions. For example, the literary polemic initiated by V.P. Burenin in connection with V.V. Rozanov's article "About one alarm of Mr. L.N. Tolstoy" is analyzed in the context of the relations between the holy fool and the tsar. The definition of Rozanov's literary style, given in the article by A.S. Glinka-Volzhsky, is considered as a reflection of several holy fool functions at once. In addition, the everyday habits of the philosopher are indicated, which caused associations among his contemporaries with the "holy fool" and gave reason to call V.V. Rozanov so. Critics and memoirists of the Silver Age saw the reflection of the features of the medieval holy fool in the everyday behavior and literary style of V. V. Rozanov, and have been created, largely by Rozanov's suggestion, his image of a "holy fool" in the culture of his time. The presence of this image in the secular context of modernist art confirms both the special significance of the Christian feat of foolishness in the Russian Middle Ages, and the rootedness of the image of the "holy fool" in the national cultural memory. While remaining a sign of style or the basis of the author's position, "foolishness", nevertheless, inevitably refers to a certain type of religious life, religious experience, the possibility of which has not been disappeared in the secularized and aestheticized modern context.

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3

Schreurs, A. (Agneta). "How Fool Is a "Holy Fool"?" Philosophy, Psychiatry, & Psychology 13, no. 3 (2007): 205–10. http://dx.doi.org/10.1353/ppp.2007.0023.

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4

Iia, Gordiienko-Mytrofanova, Silina Alina, and Kobzieva Iuliia. "PSYCHOLINGUISTIC MEANINGS OF THE VERBALIZED CONCEPT "HOLY FOOL" (BASED ON THE RESULTS OF THE PSYCHOLINGUISTIC EXPERIMENT)." Вісник ХНПУ імені Г. С. Сковороди "Психология", no. 59 (December 27, 2018): 18–34. https://doi.org/10.5281/zenodo.2527863.

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<em>Aim</em> <em>of the study.</em><em> The article presents the results of the research into the verbalized concept “holy fool” in the linguistic world-image of the Russian-speaking population of Ukraine. </em> <em>Materials and methods. </em><em>The main method of the conducted research was the psycholinguistic experiment. Thesamplecomprised204 respondents aged 18-35, males and females being equally represented. </em> <em>Results.</em><em> The conducted research resulted in the description of the psycholinguistic meanings of “holy fool”</em><em>. The experiment showed that the concept “holy fool” in the everyday linguistic consciousness is primarily associated with mental or physical deficiency, which was reflected in three core (more than 15%) psycholinguistic meanings: “strange fellow or old man”,</em><em> “ugly fellow or old man”,“mentally sick fellow or old man”. Foolishness as “simulated madness” (“for Christ’s sake”) is replaced by natural foolishness in everyday linguistic consciousness. </em><em>Modern people no longer tend to consider a holy fool to be “a peculiar zealot of piety”. However, this meaning still remains more or less understandable, which is supported by the psycholinguistic meaning “blessed fellow or old man” (14,2%). The word “holy fool” itself is perceived as obsolete by some modern native speakers.</em> <em>The results of our research confirm the conclusions made by Russian and Ukrainian scholars who analyzed and described the concept “holy fool” in everyday linguistic consciousness, i.e. its ambivalent nature; the peripheral location of theological associates, most of which reflect a certain type of holiness (“blessed”); singular emotive associates.</em> <em>On the whole, the core semantics of “holy fool” does not depend on gender. Regardless of gender, respondents evaluate the stimulus both negatively and positively. 41% of respondents display repulsion to this stimulus “holy fool”. Male respondents tend to use rude and obscene lexemes.</em> <em>As far as the prospect of further research is concerned, there is a need to describe the behavioral pattern of the ludic competence “holy fool” taking into consideration both core and peripheral psycholinguistic meanings of holy fool and actualizing the personified associates that help to build the model of behavior typical of a holy fool</em>

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5

Wieczorek, Bartosz. "Figura świętego głupca w twórczości Andrieja Tarkowskiego." Studia Filmoznawcze 40 (June 27, 2019): 175–86. http://dx.doi.org/10.19195/0860-116x.40.14.

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The figure of the “holy fool” in the work of Andrei TarkovskyThe article analyzes the figure of the “holy fool” — a specific cultural phenomenon of Russian Orthodoxy, which found its strong reflection in the work of Andrei Tarkovsky. After showing the essence of the work of the Russian director, i.e. the internal conflict in man between the material and spiritual sphere, the Christian pedigree of the figure of the “holy fool”, which finds a special expression in Russian culture, is presented. Over time, it undergoes significant transformations. In Tarkovsky’s films, the figure of the “holy fool” allows the director to manifest his opinions and his view of the world, the role of art or the vocation of the artist. Tarkovsky’s “holy fool” evolves from a purely Christian figure, a humble and trusting figure fighting with all evil, through the original loner seeking consolation for others, to a figure, which destroys the existing order while awaiting the reaction of God connected with the restoration of the harmony to the world.

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6

Gordiienko-Mytrofanova, Iia, and Iuliia Kobzieva. "Concept “Holy Fool” in the Linguistic World-Image of the Russian-Speaking Population of Ukraine." PSYCHOLINGUISTICS 24, no. 1 (2018): 118–33. http://dx.doi.org/10.31470/2309-1797-2018-24-1-118-133.

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The aim of the article is to identify and analyze the semantic components of the verbalized concept “holy fool” in the linguistic world-image of the Russian-speaking population of Ukraine. The main method of the conducted research was the psycholinguistic experiment. The sample comprised 204 respondents aged 18-35, males and females being equally represented. The results of the conducted experiment allowed us to make a conclusion that in terms of the everyday linguistic consciousness of the Russian-speaking population of the eastern part of Ukraine the concept “holy fool” is reflected in three core (more than 10%) semantic clusters: 1) “behavior” (46.57%); 2) “appearance, looks” (21.57%); 3) “cognitive disorders” (16.67%). Therefore, holy fool is mainly represented by lexemes with behavioral semantics, lexemes referring to personal appearance, and lexemes semantically connected with deficient mental abilities of a person. The first cluster is represented by such core semes as “STRANGE” (20.59%) and “BLESSED” (8.82%). The second is represented by “UGLY” (17.64%) and the third cluster is represented by the core seme “FOOLISH” (16.67%). Theological associates are mainly represented by associates that describe a certain type of holiness (“BLESSED”). The stimulus word “holy fool” is generally evaluated in three different ways: positively, negatively, and neutrally. 41% of respondents display repulsion to this stimulus, which is reflected in the following reactions: ugly 11, foolish, plain 7, insane, sick, ugly creature 4, fool, crazy, crippled 3, mentally challenged, abnormal, wrong, fearful 2 etc. The comparative analysis of the verbalized concept “holy fool” in the linguistic world-image of the Russian-speaking population of Ukraine and Russia leads to the following conclusions: 1) the semantic charge of the word “holy fool” is bigger in the linguistic consciousness of the Russian-speaking respondents from the eastern part of Ukraine; 2) the core of the verbalized concept “holy fool” have different components (“HUMAN BEING” – “STRANGE”). Most Ukrainian and Russian respondents tend to treat the concept “holy fool” as something negative or neutral, which testifies to the ambivalence of this concept; theological associates are represented in the periphery; emotive associates are only reflected in singular reactions.

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7

MOGA, Iulian. "Mama Gabrieli, the Contemporary Confessor of Georgia." Analele Ştiinţifice ale Universităţii „Alexandru Ioan Cuza” din Iaşi, s.n., Istorie 69 (2024): 297–310. http://dx.doi.org/10.47743/asui-2023-0018.

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Saint Gabriel the Holy Fool or the fool for Christ sake is a contemporary saint and wonderworker about whom generations to come will testify his miracles. He was born near Tblisi in a troublesome period of atheistic denial and great trial for the Georgian people. Like all the great holy fools for Christ, all his lifetime was despised, considered crazy, abnormal, judged by people and even by his own members of family, but he never ceased to confess his steadfast belief in the only one and true God.

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8

Binder, Eva. "The holy fool in European cinema." Studies in Russian and Soviet Cinema 10, no. 3 (2016): 271–72. http://dx.doi.org/10.1080/17503132.2016.1220735.

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9

Vorontsova, Elena, and Andrei Allenov. "An ordinary Soviet fool for God: the case of Fyodor Derekh." St. Tikhons' University Review 105 (February 28, 2023): 101–16. http://dx.doi.org/10.15382/sturi2023105.101-116.

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The article deals with the case of veneration of the holy fool Fyodor Derekh. It is important to note that the considered figure of a resident of one of the villages of the Sosnovsky district of the Tambov region was not unique. For the local population in the post-war Soviet period, interaction with holy fools was part of ordinary religious life: they were turned to for advice or prophecy, they were given alms or allowed to live for a while. The description of the veneration of such "ordinary holy fools" allows us to expand our understanding of both the forms of folk Orthodoxy in the Soviet period and the phenomenon of foolishness in the 20th century.The article deals with the case of veneration of the holy fool Fyodor Derekh. It is important to note that the considered figure of a resident of one of the villages of the Sosnovsky district of the Tambov region was not unique. For the local population in the post-war Soviet period, interaction with holy fools was part of ordinary religious life: they were turned to for advice or prophecy, they were given alms or allowed to live for a while. The description of the veneration of such "ordinary holy fools" allows us to expand our understanding of both the forms of folk Orthodoxy in the Soviet period and the phenomenon of foolishness in the 20th century.The article deals with the case of veneration of the holy fool Fyodor Derekh. It is important to note that the considered figure of a resident of one of the villages of the Sosnovsky district of the Tambov region was not unique. For the local population in the post-war Soviet period, interaction with holy fools was part of ordinary religious life: they were turned to for advice or prophecy, they were given alms or allowed to live for a while. The description of the veneration of such "ordinary holy fools" allows us to expand our understanding of both the forms of folk Orthodoxy in the Soviet period and the phenomenon of foolishness in the 20th century.

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10

Demchenko, Aleksandr Ivanovich. "Joint Monograph: Tuminskaya O. A., Gayevskaya N. Z. The Image of the Holy Fool in the Word and Depiction / intr. by Doctor in Philosophy K. G. Isupov; comp. and ed. by N. Z. Gayevskaya. Kaluga: Zolotaya Alleya, 2021. 208 p., ill.: Book Revew." Pan-Art 3, no. 2 (2023): 90–93. http://dx.doi.org/10.30853/pa20230016.

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The review considers the monographic work “The Image of the Holy Fool in the Word and Depiction” by O. A. Tuminskaya and N. Z. Gayevskaya (2021), dedicated to shedding light on the image of the holy fool in literature and art in a comprehensive analytical manner. Analysing numerous iconographic examples, referring to a wide range of sources, the authors of the monograph trace the parallels of the creation of the image of the holy fool in iconography and hagiography. Being novel in its content, methodology, having an interdisciplinary nature that combines historical, art historical, anthropological approaches, the reviewed publication makes a significant contribution to the study of foolishness for Christ.

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11

Fedorova, N. V. "LIFE AS OPPOSED TO THE NORM." Review of Omsk State Pedagogical University. Humanitarian research, no. 31 (2021): 62–65. http://dx.doi.org/10.36809/2309-9380-2021-31-62-65.

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The article examines human life as opposed to the norm through foolishness. In different periods of history, the cult of foolishness underwent changes in the attitude towards it from the side of the common people and the authorities. The holy fools were revered as saints and canonized, and at the same time they tried to ban them, destroy them physically, and isolate them. Through foolishness, the abnormal in society and in the individual was opposed to the other abnormal. The abnormal was revealed through the imaginary abnormal. Choosing foolishness, most often consciously, as the way of life, the fool through his abnormality, pointed to the abnormal in society. Thanks to this trick, the holy fools got the opportunity to influence the life of not only an average person, but also those who could change society as a whole. The price of this opposition was the life of the holy fool.

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12

Johnson, Christopher DL. "“Base, but Nevertheless Holy”." Studies in Religion/Sciences Religieuses 43, no. 4 (2014): 592–612. http://dx.doi.org/10.1177/0008429814548171.

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Victor Turner briefly mentions the liminality of “holy beggars” and “simpletons” (1969: 110) but this point has received little attention in existing literature on either liminality or holy fools. The seventh-century saint’s life The Life of Symeon the Fool is often described as presenting Symeon as someone who challenges and inverts norms while ultimately remaining a “loyal, albeit restless, member” of Emesa’s Christian community (Saward, 2000: 28). This paper will argue that Symeon’s prolonged liminality in the narrative allows him to play both of these roles by blurring the lines between desert and city, compassion and aggression, and critic and caretaker.

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13

Dewey, Horace W., and Natalie Challis. "Basil the Blessed. Holy Fool of Moscow." Russian History 14, no. 1 (1987): 47–59. http://dx.doi.org/10.1163/187633187x00042.

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14

Cockroft, Martin. "Invocation, and: Tale, and: The Holy Fool." Prairie Schooner 80, no. 1 (2006): 131–33. http://dx.doi.org/10.1353/psg.2006.0061.

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15

Fiene, Donald M., and Ewa M. Thompson. "Understanding Russia: The Holy Fool in Russian Culture." Slavic and East European Journal 32, no. 1 (1988): 151. http://dx.doi.org/10.2307/308944.

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16

Zislin, Josef. "IS IT GOOD TO BE A HOLY FOOL." Diabetes mellitus LI, no. 1 (2019): 66–69. http://dx.doi.org/10.14341/dm10057.

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The review is focused on criticizing the article: “Is phenomenon «Fools-for Christ» the extraordinary psychological phenomenon or a mental disorder?“. It is shown that it is impossible to diagnose any religion phenomena outside the historical-anthropological context based upon on hagiographic descriptions only.

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17

Brom, Libor. "Understanding Russia: The holy fool in Russian Culture." Social Science Journal 25, no. 2 (1988): 242–44. http://dx.doi.org/10.1016/0362-3319(88)90012-2.

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18

Faritov, Vyacheslav T. "Asceticism and Foolishness of Christ in Friedrich Nietzsche's Philosophy." Vestnik Tomskogo gosudarstvennogo universiteta, no. 466 (2021): 64–70. http://dx.doi.org/10.17223/15617793/466/7.

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The article considers the phenomena of asceticism and foolishness for Christ in the philosophy of Friedrich Nietzsche. The author substantiates the thesis that asceticism and foolishness for Christ are subjects of Nietzsche's philosophical reflections. The author also shows that the figures of the ascetic and the holy fool also act as “conceptual characters” of Nietzsche's philosophizing. The author suggests that Nietzsche himself felt a tendency towards self-identification with these characters and therefore tried to “dis-identify”, which he did not always succeed in. The article concludes that Nietzsche's position in relation to asceticism is ambiguous and internally contradictory. The philosopher exposed and criticized ascetic ideals, but this criticism is also directed at himself. Nietzsche himself, his character and way of thinking reveal a significant degree of kinship with ascetic views. Therefore, Nietzsche's criticism of asceticism is in many ways an attempt to overcome the ascetic in himself. For this task, Nietzsche appeals not only to the figures of an atheist and a pagan, but also to the image of a jester, a holy fool. The author substantiates the idea that one of the main distinguishing features of the holy fool's lifestyle is that he does not seem to be what he really is. A real fool, a real insane person is not a holy fool. The holy fool undertakes the feat of appearing to be a fool or insane, while he himself is not. In this way, the holy fool renounces the world and himself in the world, the state when his behavior corresponded to the norms and criteria of this world. Thus, a view of the world from a reverse perspective is achieved. Something close to this mode of thought and behavior is found in Nietzsche's philosophy. His philosophizing is deeply personal, but, at the same time, he constantly does not show the reader who he really is. Nietzsche's style is a constant play with masks and disguises. As a result of the study, the author concludes that Nietzsche's position in the history of European philosophy can be characterized as foolishness for Christ. His doctrine is formed during the crisis of European metaphysics and is the self-awareness of this crisis. Belief in reason, in the ability to comprehend God in terms of reason, characteristic of Western philosophy, is denied. This conviction in the omnipotence of reason was criticized already in Kantian philosophy, but criticized by means of reason itself. This was the peculiar “cunning of reason”, which, having preserved itself as a tool of criticism, subsequently triumphed in Hegel's philosophy. The claim of reason to absolute significance cannot be refuted by means of reason itself. Nietzsche understood this. He realized that breaking the impasse in which Western metaphysics found itself thanks to the deification of reason requires a completely different path.

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19

Efird, Robert. "Figures of Iurodstvo in Tarkovsky’s The Passion According to Andrei." Canadian-American Slavic Studies 49, no. 1 (2015): 83–107. http://dx.doi.org/10.1163/22102396-04901001.

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Variations on the holy fool recur throughout the films of Andrei Tarkovsky but the figure of the iurodivyi is perhaps never more pervasive or critical to the task at hand than in his second feature-length film, The Passion According to Andrei. This article examines holy foolishness as an essential aspect of the artistic personality in Tarkovsky’s depiction of Andrei Rublev, Boriska, and Theophanes the Greek. In addition, Tarkovsky’s idiosyncratic narrative style, with its close similarities to Deleuze’s description of the time-image, exhibits similarly oppositional and provocative patterns. As this examination finds, the holy fool may also function as a figure for the overarching narrative as it strives, through various means, to push the viewer from complacent modes of thought and stimulate a more direct, less spatialized perception of time or duration.

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20

Golden, Bruce, David Dalton, and Marc Roberty. "Mr. Mojo Risin': Jim Morrison, the Last Holy Fool." Notes 49, no. 3 (1993): 1079. http://dx.doi.org/10.2307/898990.

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21

Соболевська, О. "POET AS HOLY FOOL (JURODIVYJ): POETRY AS FOLLY (JURODSTVO)." Doxa, no. 1(33) (September 15, 2020): 126–39. http://dx.doi.org/10.18524/2410-2601.2020.1(33).211975.

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22

Forcén, Fernando Espí, and Carlos Espí Forcén. "Symeon the Holy Fool: patron of the mentally ill." British Journal of Psychiatry 205, no. 2 (2014): 94. http://dx.doi.org/10.1192/bjp.bp.114.144238.

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23

Hyeran Kim. "Ears of Holy Fool: V. Meyerhld's Unrealized Production Boris Godunov." Russian Language and Literature 56, no. ll (2017): 89–115. http://dx.doi.org/10.24066/russia.2017.56..004.

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24

Bartelink, G. J. M., and Derek Krueger. "Symeon the Holy Fool. Leontius' Life and the Late Antique City." Vigiliae Christianae 51, no. 2 (1997): 214. http://dx.doi.org/10.2307/1584029.

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25

Bulgakovsky, Dmitry, and Nick Mayhew. "Xenia the Servant of God, or Andrey Fyodorovich the Holy Fool." TSQ: Transgender Studies Quarterly 7, no. 1 (2020): 114–20. http://dx.doi.org/10.1215/23289252-7914570.

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Abstract Xenia the Servant of God, or Andrey Fyodorovich the Holy Fool is a hagiography written by Russian Orthodox priest and publicist Dmitry Bulgakovsy (1843–ca. 1918). Published in Russia in 1890, it is one of the first full accounts of the life of a saint variably referred to by two names: one feminine, Xenia, and the other masculine, Andrey. The saint ostensibly lived in St. Petersburg in the eighteenth century. Identified female at birth and named Xenia, after the death of their husband Andrey, at the age of twenty-six the saint took on the identity of their deceased husband. The saint is popular in Russia today, and stories about their life are disseminated widely. Although they were canonized in 1988 as St. Xenia and are now venerated as a holy woman, accounts of their life always include the story of their gender transformation. In twenty-first-century narratives, this episode tends to be glossed over briefly as proof of the saint's extraordinary love for their husband, serving to embellish their role as a devoted wife. However, in the original nineteenth-century stories of the saint's life—such as the one translated below—there is greater ambiguity in the depiction of their gender.

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Trevett, Christine. "Asperger's Syndrome and the Holy Fool: The Case of Brother Juniper." Journal of Religion, Disability & Health 13, no. 2 (2009): 129–50. http://dx.doi.org/10.1080/15228960802581537.

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27

Kurkin, B. A. "Seven phrases of blessed Nikolka (the role and significance of the Holy Fool image in Alexander Pushkin's tragedy «Boris Godunov»)." Язык и текст 6, no. 3 (2019): 4–15. http://dx.doi.org/10.17759/langt.2019060301.

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In article the author analyzes the role and significance of the God’s Fool named Nikolka’s character in Alexander Pushkin's tragedy “Boris Godunov”.The author puts forward a view that the God’s Fool is in fact the central character of the Pushkin's tragedy, the spiritual axis and the core of the narrative. The article points to the fact that the God’s Fool is a prophet recognizing in Tsar Boris a killer and, with logical inevitability - an impostor in “Prince Dimitri”. Nikolka appears as a character free from mass obsession and delusion engulfing Russia and a symbol of hope of deliverance.

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Danggalimu, Novice Umbu Kamoza. "From Holy Fool to The Holy Christ: Menguak Makna Teologis Spiritualitas di Balik Lagu “Judas” oleh Lady Gaga." Aradha: Journal of Divinity, Peace and Conflict Studies 1, no. 2 (2021): 125. http://dx.doi.org/10.21460/aradha.2021.12.616.

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AbstractThe emergence and development of Popular Culture tend to be misunderstood and disregard as a shallow culture. Due to its sensational and eccentric display, the product of Popular Culture is always considered wrong morality of what people believe as a high morality. The song, “Judas”, sung by Lady Gaga, is one of products of Popular Culture which now becomes controversy. The controversy, then, becomes wider because Gaga brings forward to show to the public Judas who in the Bible both Protestant and Catholic was the traitor and symbol of sins. The video clip of this song is also regarded as a harassment of Jesus in which full of expression of sex, violence, hedonism, and even vulgar. Now, the question is that is it true that the meaning of Judas shown by the lyrics is to blaspheme Christianity and to mislead people by using Judas as a shield? Then, what is truly the conception of sins in this song so that it becomes controversy? To find out the answer, in this paper, I will use semiotic analysis method. The method is to analyze to read the text from social perspective by using code or message (containing symbols and meaning) as the starting point, without ignoring the context and reader. Afterwards, the text of this song will be dialogued in Christi an theology, so it can be found like what the theological response to this song is. I also hope the result can show us that popular culture shown by popular music is not always shallow and vicious. However, there is ethical message and moral value which should be consideration or reflection of how the people undergo either their private live or their religion. AbstrakKemunculan dan perkembangan budaya populer di dunia cenderung disalahpahami, diabaikan bahkan dicemooh sebagai budaya yang dangkal dan murahan. Produk hiburan budaya populer sering kali disertai dengan penampilan yang sensasional dan eksentrik sehingga dianggap melenceng dari norma-norma atau moralitas hidup yang selama ini dijunjung tinggi nilainya. Lagu “Judas” yang dibawakan oleh Lady Gaga menjadi salah satu contoh produk budaya populer yang dianggap sensasional, eksentrik dan akhirnya menimbulkan kontroversi. Kontroversi tersebut semakin merebak karena Gaga menampilkan seorang tokoh Judas yang dalam Alkitab dan dalam ajaran agama baik Protestan maupun Katolik merupakan tokoh pengkhianat dan simbol dosa. Video klip dalam lagu Judas juga dinilai telah melecehkan Yesus bahkan saratdengan ungkapan seks, kekerasan dan hedonisme yang juga bebas dan vulgar. Pertanyaan yang kemudian muncul adalah apakah benar makna yang terkandung dalam lirik lagu Judas bertujuan untuk menghina agama Kristen dan bertujuan untuk menyesatkan manusia dengan menggunakan Judas sebagai tamengnya? Lalu apa sesungguhnya konsep dosa dalam lagu Judas yang sampai menimbul kontroversi di mata dunia? Untuk menemukan jawaban atas hal tersebut maka dalam tulisan ini penulis akan menggunakan metode analisis semiotika, yakni analisis yang berperan untuk membaca teks dari perspektif sosial dengan menggunakan kode dan pesan (yang mengadung simbol dan makna) sebagai titik berangkatnya, tanpa mengabaikan pengaruh konteks dan pembaca. Kemudian teks lagu Judas akan didialogkan dalam teologi Kristen sehingga dapat ditemukan seperti apa respon etis teologis atas kehadiran lagu Judas. Penulis berharap hasil yang ditemukan dapat menunjukkan bahwa budaya populer melalui musik pop ini tidak selalu menunjukkan kesesatan dan kedangkalan seperti yang dipahami kebanyakan orang, melainkan juga memuat pesan dan nilai-nilai moral etis yang seharusnya menjadi bahan perti mbangan atau refleksi manusia atas kehidupan pribadi dan agamanya.

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Oliver Ready. "The Myth of Vasilii Rozanov the ‘‘Holy Fool’’ through the Twentieth Century." Slavonic and East European Review 90, no. 1 (2012): 33. http://dx.doi.org/10.5699/slaveasteurorev2.90.1.0033.

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Wortley, John. "Symeon the Holy Fool: Leontius's "Life" and the Late Antique City.Derek Krueger." Speculum 72, no. 2 (1997): 515–16. http://dx.doi.org/10.2307/3041024.

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Benson, Sean. "Reckoning and Regeneration: Billy Bob Thornton's Scourge of God and Holy Fool." Religion and the Arts 3, no. 2 (1999): 180–94. http://dx.doi.org/10.1163/156852999x00132.

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Krinitsyn, Alexander B. "The Motive of Foolishness in the Novel by F. M. Dostoevsky “Demons”." Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 82, no. 3 (2023): 14–24. http://dx.doi.org/10.31857/s160578800026310-7.

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The first part of the article reviews the study of the theme of foolishness in the “Pentateuch8j1; of F.M. Dostoevsky and some of his too broad interpretations are criticized. An own understanding of this motive and its real place in the writer’s work is developed. The differentiation of the holy fool and the foolish hero is carried out, as well as the difference between foolishness and buffoonery. In the second part of the work, the motif of foolishness in the novel “Demons8j1; is considered, since this is the only novel of the “pentateuch8j1; where this motif really performs an ideological and plot-forming function. The motif of holy foolishness is revealed in a number of characters, such as Stavrogin and Lizaveta Tushina, in addition to literally holy fools (Marya Timofeevna, Semyon Yakovlevich). It is shown how the development of the motif of foolishness in “Demons8j1; allows Dostoevsky to convey his specific vision of the era of change, since the writer sees the conditionality of the spiritual upheavals of the present historical moment by the Russian national character and the deep layers of the people’s consciousness – the original grassroots religious tradition.

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du Plooy, Belinda. "Sacred Subtexts: Depictions of Girls as Christ Figure and Holy Fool in the Films Moana and Whale Rider." Feminist Theology 30, no. 1 (2021): 85–103. http://dx.doi.org/10.1177/09667350211031152.

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Christ figures and holy fools are familiar religious symbols often repeated and adapted in film making. They have historically most often been depicted as male, and among the slowly growing body of female filmic christ figures, they are usually depicted as adult White women. In this article, I consider two films, Niki Caro’s Whale Rider and Disney’s Moana, in which young Indigenous girls are depicted within this trope. I engage in close reading of the films, in relation to Anton Karl Kozlovic’s theoretical framework for structural characteristics of the filmic christ figure, as I focus my discussion here on the christological symbolism of the two female child figures in these films, while also folding this back to the long-standing religious and literary tradition of the holy fool. The aim of this article is to contribute to the growing body of critical and theoretical work about the representation and reading of women and religion in film.

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Al-Saeedi, Ammar Yousif Hakim, Mohammad Hasan Rostami, and Gholamreza Raeisian. "The Fools in the Fifth Verse of Surat An-Nisa Between Al-Thaalbi and Al-Tusi." International Journal of Religion 5, no. 11 (2024): 4261–68. http://dx.doi.org/10.61707/mkpr1c51.

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For the holy saying of Allah “Give not unto the foolish (what is in) your (keeping of their) wealth, which Allah hath given you to maintain; but feed and clothe them from it, and speak kindly unto them” has many different implications for the word “the fools” among the interpreters. Does Allah mean women? Why did He who said women singled them out, or does it mean orphans? What is their evidence? Or both? Or do you call every fool? What is the reason that called for calling every fool? All of these aspects have been presented by commentators, and which of the aspects is the closest? What is the evidence for that? When we search for the word in Quranic verses, what result do we reach, and if we say either of them, what is the result of this statement? All of these questions show the importance of the topic, and we will try to answer them as much as possible, either explicitly or implicitly through research.

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Conlon, James. "The Goodness Of The ‘Holy Fool’ In Talk To Her (Hable con ella)." Film and Philosophy 20 (2016): 32–47. http://dx.doi.org/10.5840/filmphil2016204.

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Mitrofanov, Vera Yurevna, and Petr Yurevich Naumov. "RUSSIAN TYPE DEVOID OF «HOLY FOOL» IN THE STORY OF MAXIM GORKY «NILUSHKA»." V mire nauchnykh otkrytiy, no. 11.1 (November 26, 2014): 815. http://dx.doi.org/10.12731/wsd-2014-11.1-21.

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Wurst, Karin A. "The Holy Fool: Christian Faith and Theology in J. M. R. Lenz (review)." Seminar: A Journal of Germanic Studies 43, no. 3 (2007): 370–71. http://dx.doi.org/10.1353/smr.2007.0051.

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Blowers, Paul M. "Book Review: Symeon the Holy Fool: Leontius's Life and the Late Antique City." Journal of Early Christian Studies 5, no. 4 (1997): 616–17. http://dx.doi.org/10.1353/earl.1997.0088.

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Kim, Chaehee. "Reconsideration of Kurosawa Akira’s Humanism: Focusing on the ‘Presupposed Question’ and ‘Holy Fool’." Film Studies 94 (December 31, 2022): 207–36. http://dx.doi.org/10.17947/fs.2022.12.94.207.

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Kudryavtsev, A., and Vl Sedov. "Encolpion of the 14th century from the St Andrew Monastery on Sitka near Novgorod." Archaeological News 31 (2021): 154–62. http://dx.doi.org/10.31600/1817-6976-2021-31-154-162.

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During archaeological investigations of 2020 at the settlement of Sitka I situated to the south from Novgorod, the necropolis of the Church of St Andrew the Holy Fool on Sitka of the Sitka Monastery was excavated. In the mixed strata between burials of the 17th–18th century, the face valve of an encolpion with the Crucifix was found dated through analogues to the 14th century. Apparently, it came from a disturbed later grave and belonged to a representative of the clergy.

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Tompkins, I. "Review. Symeon the Holy Fool: Leontius's Life and the Late Antique City. D Krueger." Classical Review 47, no. 2 (1997): 327–28. http://dx.doi.org/10.1093/cr/47.2.327.

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McGrath, Stamatina. "Symeon the Holy Fool: Leontius's Life and the Late Antique City by Derek Krueger." Catholic Historical Review 83, no. 4 (1997): 761–62. http://dx.doi.org/10.1353/cat.1997.0243.

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Hunt, Priscilla. "WHY DID AVVAKUM PLAY THE HOLY FOOL? AN АNALYSIS OF THE ARCHPRIEST AVVAKUM’S CREATIVE PROCESS IN WRITING HIS "LIFE"". Studia Religiosa Rossica: Russian Journal of Religion, № 3 (2021): 13–39. http://dx.doi.org/10.28995/2658-4158-2021-3-13-39.

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The article studies the polemical orientation of the hagiographical Life of the Archpriest Avvakum, Written by Himself in relation to the author’s earlier works, The Answer of the Orthodox, and other texts that were included together with the Life in the Pustozersk Collection. An analysis of the creative evolution of Avvakum’s thought will demonstrate that the Life’s appeal to holy foolishness at its narrative climax was its strongest ideological weapon against the new Church elite (the Nikonians). This appeal gave rise to an unprecedented emphasis on the author’s personal life experience that was meant to be proof of the “theoretical” arguments against Nikonian rationalism in the The Answer to the Orthodox. As a demonstration of a mystical-experiential approach to knowledge of God, his dramatized holy foolishness justified his choice to present his own biography as a publicistic hagiographical narrative.

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Madigan, Andrew J. "Henry Chinaski, Zen Master: Factotum, the Holy Fool, and the Critique of Work." American Studies in Scandinavia 42, no. 2 (2010): 75–94. http://dx.doi.org/10.22439/asca.v42i2.4413.

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Lee, Kyw young. "Aspects of Salvation in Andrei Tarkovsky’s 〈Nostalgia〉 and 〈The Sacrifice〉 - Image of the ’holy fool’." Korean Journal of Russian Language and Literature 31, no. 3 (2019): 151–75. http://dx.doi.org/10.38077/kjrll.2019.09.31.3.151.

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Sukina, Liudmila Borisovna. "Saints who sailed from the sea: «German» model of foolishness in Old Russia." Studia Slavica et Balcanica Petropolitana 33, no. 1 (2023): 3–16. http://dx.doi.org/10.21638/spbu19.2023.101.

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The article attempts to put forward and substantiate a hypothesis about the use of a special model of this feat in the formation of the cult of some holy fools of the Russian Church, borrowed not from the eastern, but from the western medieval religious culture. Some lives of Russian holy fools noticeably fall out of the Eastern Christian tradition, with which old and modern historiography links their hagiography. Despite the veneration of the Byzantine σαλος in Ancient Russia, in its religious life the practices of foolishness occupied a marginal position for a long time. In the process of formation and development of the «national» cult of holy fools in the Muscovite state, one of the options for explaining where such ascetics came from was their foreign origin. In the article this problem is considered on the material of the hagiography of Isidor of Rostov and Procopius of Ustyug. In their Lives, one can single out a topic that is common to them and unusual for Russian hagiography. Both saints are repeatedly referred to in the texts of their Lives as foreigners who previously lived in Western countries, «German land». Both found in the Orthodox faith their «spiritual fatherland» and abandoned the «Latinism». In the Lives of each of them, «foolishness» is explicated as the main religious practice. But this is not the «obscenity» of the Eastern Christian σαλος, but a desire for solitude and wandering close to the model of behavior of the saints of the Western Middle Ages. In both lives there is a motif of the sea. Based on the observations and arguments presented in the article, it can be assumed that the compilers of the hagiographies, creating the image of a holy fool-foreigner unknown to Old Russian literature before, were guided by hagiographic texts not only of Greek-Byzantine, but also of Western European origin, some of which were available in Slavic translations. The saturation of the texts with Novgorod plot details indicates that Novgorod, which had long-standing and extensive cultural ties both with the post-Byzantine world and with the countries of the Baltic region, could be the place for constructing this new model of holiness for Old Russia.

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Fomina, A. A. "FIGURES OF A “SCOMOROKH” (BUFFOON) AND THE “YURODIVAYA” (HOLY FOOL) IN ELENA KOLYADINA’S NOVEL “FLOWER CROSS”." Memoirs of NovSU, no. 2 (2023): 161–66. http://dx.doi.org/10.34680/2411-7951.2023.2(47).161-166.

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Bobrovnikov, Vladimir, and Ilona Chmilevskaya. "Entangled Narratives of the Changing Muslim Hagiography: A Soviet Holy-Fool in Post-Soviet Southern Dagestan." State Religion and Church in Russia and Worldwide 41, no. 3-4 (2023): 87–119. http://dx.doi.org/10.22394/2073-7203-2023-41-3-4-87-119.

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Мазалова, Н. Е. "Становление и деятельность петербургской целительницы и прорицательницы юродивой Матроны Босоножки". Вестник антропологии (Herald of Anthropology), № 2022 № 1 (2022): 193–207. http://dx.doi.org/10.33876/2311-0546/2022-1/193-207.

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В статье предпринимается попытка создать портрет знаменитой петербургской юродивой Матроны. Уделяется внимание ее социальному статусу, социокультурному облику, особенностям мировоззрения, морально-этическим принципам, различным деяниям. Исследование проблем вопроса женского юродства, странничества, а также биографические исследования выдающихся женщин, направленные на изучение субъективного опыта, повседневного и ритуального поведения индивидуума в конкретную историческую эпоху, относятся к числу актуальных в исторической науке. Образ Матроны Босоножки представляется значимым объектом исследования в пространстве гендерных отношений в исторической ретроспективе и в настоящее время, поскольку до наших дней не утрачен интерес к ее личности. Автором проведено исследование изменения социального статуса Матроны. На примере петербургской блаженной исследованы проблемы милосердия и жертвенности. Отмечены особенности петербургского юродства. Особое внимание уделено вопросам выбора подвига юродства, который у Матроны был обусловлен несколькими обстоятельствами, среди которых несчастливая личной жизнь, смерть двух мужей, пребывание в статусе солдатки, и в большей мере – сестры милосердия, а также пережитые ужасы войны. Проанализирована деятельность Матроны как целительницы и прорицательницы. Актуальность работе придает рассмотрение сохранения представлений о целительских и провидческих способностях блаженной Матроны Босоножке в наши дни во время эпидемии коронавируса. in English: The article attempts to portray the famous holy fool from St. Petersburg to describe her social status, socio-cultural appearance, worldview, moral and ethical principles, and deeds. The studies of the female holy foolishness, wandering, and biographical studies of outstanding women aimed at studying their subjective experience, everyday and ritual behavior in a specific historical era, are relevant in historical science. The character of Matrona the Barefoot is important in the light of gender relations in historical retrospect and now, since interest in her personality has not been lost to this day. The author conducted a study of the change in Matrona’s social status. The St. Petersburg holy fool serves as an example for investigating the issues of charity and sacrifice. Special attention is paid to choosing the feat of foolishness, which Matrona did due to several circumstances: an unhappy personal life, the death of two husbands, her status as a female soldier and a nurse, the horrors of war she experienced. The article analyzes Matrona’s activity as a healer and prophetess. The author discusses the popularity of ideas about the powers of the blessed Matrona the Barefoot in our days during the coronavirus epidemic.

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Zhang, Xiaomin. "The reception of the novel by B. Pasternak “Doctor Zhivago” in China - the image of the protagonist." RUDN Journal of Studies in Literature and Journalism 24, no. 2 (2019): 245–54. http://dx.doi.org/10.22363/2312-9220-2019-24-2-245-254.

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The article discusses the features of the interpretation of the image of the protagonist of B. Pasternak’s novel “Doctor Zhivago” by Chinese literary critics. In particular, issues related to the presentation of the main character - Yuri Zhivago - as the son of God (the apostle of Christ), an “extra person” or holy fool. It is noted that Zhivago’s figure is perceived and evaluated ambiguously, as indicated by the presence of certain differences in the interpretation of Dr. Zhivago’s figure by Chinese researchers. Based on the analysis, the author argues that none of the areas considered by the researchers was an exhaustive explanation of the hero’s life and behavior, which indicates the complexity of the image, its ambiguity and versatility.

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