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Journal articles on the topic 'Jesus Christ – Passion – History of doctrines'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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1

Ellington, Donna Spivey. "Impassioned Mother or Passive Icon: The Virgin's Role in Late Medieval and Early Modern Passion Sermons*." Renaissance Quarterly 48, no. 2 (1995): 227–61. http://dx.doi.org/10.2307/2863065.

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On 13 April 1403, Parisian chancellor Jean Gerson delivered one of his most famous sermons, a sermon on the Passion of Christ entitled “Ad deum vadit.” That evening, in the second part of the sermon, Gerson set forth the central and most dramatic portion of the Passion narrative, the crucifixion of Jesus. As he had done throughout the story, Gerson sought to recreate the feelings, responses, and very words of Mary as she witnessed her son's suffering. In an anguished question that echoed Jesus’ own, Gerson proclaims that Mary was able to cry to God.

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2

Segal, Alan. "‘How I Stoppedworrying about Mel Gibson and Learned to Love the Quest for the Historical Jesus’: A Review of Mel Gibson’S the Passion of the Christ." Journal for the Study of the Historical Jesus 2, no. 2 (2004): 190–208. http://dx.doi.org/10.1177/147686900400200205.

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AbstractThe Passion of the Christ by Mel Gibson has proven to be a mass-cultural phenomenon. This article compares it with the recent film The Gospel of Johnand then evaluates the film under three rubrics: (1) artistic and religious merit, (2) historical accuracy, and (3) anti-Semitism. The relationship between these two films and the problem of the historical Jesus is investigated.

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3

Miller, Howard, and Stephen J. Nichols. "Jesus Made in America: A Cultural History from the Puritans to "The Passion of the Christ"." Journal of American History 96, no. 1 (2009): 178. http://dx.doi.org/10.2307/27694742.

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4

Friesen, Dwight H. "How Karunamayudu (1978) Became an Evangelistic Tool: Implications for Understanding Evangelicals and Media." Exchange 41, no. 2 (2012): 120–43. http://dx.doi.org/10.1163/157254312x638319.

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Abstract It has not been uncommon in the history of Jesus in film for commercial movies of Jesus’ life to be conscripted for Christian evangelism around the world. Cecil B. DeMille’s The King of Kings (1927), John Krish and Peter Sykes’ Jesus (1979), better known today as The Jesus Film, and Mel Gibson’s The Passion of the Christ (2004) are but three notable examples. Each of those movies, however, was first produced in America for American audiences. In the case of Karunamayudu (1978), a Telugu commercial movie of Jesus’ life, the target audience was South Indian viewers raised on a steady di

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5

Allbaugh, Thomas. "Book Review: Jesus Made in America: A Cultural History from the Puritans to the Passion of the Christ." Christianity & Literature 59, no. 1 (2009): 161–64. http://dx.doi.org/10.1177/014833310905900129.

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6

Page, Sydney H. T. "The Suffering Servant between the Testaments." New Testament Studies 31, no. 4 (1985): 481–97. http://dx.doi.org/10.1017/s0028688500012042.

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Traditionally Christians have interpreted Isaiah 52. 13–53. 12 as a prophecy of the passion of Christ,1but modern biblical scholars have disagreed about how this identification of the suffering servant with Jesus arose. In particular, those who have investigated the question of whether Jesus saw himself as occupying the role of the servant have reached conflicting conclusions.2In the background of this discussion is another contentious issue, namely, whether a messianic interpretation of the suffering servant had already been adopted in pre-Christian Judaism. Representative of a negative respo

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7

Lawrence, Louise. "Book Review: Jesus and Mel Gibson'sThe Passion of the Christ: The Film, the Gospels and the Claims of History." Theology 108, no. 845 (2005): 390–91. http://dx.doi.org/10.1177/0040571x0510800533.

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8

Muessig, Carolyn. "Signs of Salvation: The Evolution of Stigmatic Spirituality Before Francis of Assisi." Church History 82, no. 1 (2013): 40–68. http://dx.doi.org/10.1017/s000964071200251x.

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Francis of Assisi's reported reception of the stigmata on Mount La Verna in 1224 is widely held to be the first documented account of an individual miraculously and physically receiving the wounds of Christ. The appearance of this miracle, however, in the first quarter of the thirteenth century, is not as unexpected as it first seems. Interpretations of Galatians 6:17—“I bear the marks of the Lord Jesus Christ in my body”—had been circulating in biblical commentaries since the early Middle Ages. These works posited that clerics bore metaphorical and sometimes physical wounds(stigmata)as marks

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9

Sunarko, Adrianus. "Allah Berharap pada Manusia: Teologi dengan Paradigma ‘Kebebasan’." MELINTAS 32, no. 2 (2017): 171. http://dx.doi.org/10.26593/mel.v32i2.2677.171-192.

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The author introduces a way of theologising by way of a particular paradigm, that is, ‘freedom’ paradigm. From the philosophical viewpoint this way of thinking according to the paradigm is chosen with the consideration that it has become one of the central themes in modern thought, is not under the level of reflection reached by the modern thought, and conforms the requirement of reason to borderlessly question the fundamental cause of everything. From the theological viewpoint, the choice for this paradigm has a consequence that ‘freedom’ becomes the reference, towards which theological refle

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10

ΦΩΣΚΟΛΟΥ, Βασιλική. "Αναζητώντας την εικόνα του Ελκομένου της Μονεμβασίας. Το χαμένο παλλάδιο της πόλης και η επίδρασή του στα υστεροβυζαντινά μνημεία του νότιου ελλαδικού χώρου". BYZANTINA SYMMEIKTA 14 (26 вересня 2008): 229. http://dx.doi.org/10.12681/byzsym.879.

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&nbsp; <p>Vassiliki Foskolou</p><p>Tracing the Monemvasia Icon of Christ Helkomenos. The City's lost Palladium and its Influence on the Late Byzantine Monuments of Southern Greece</p><p>The study's aim is to trace the now lost Monemvasia icon of Christ Helkomenos. Our knowledge of the city's celebrated palladium is confined to fragmentary information deriving from narrative sources. Specifically, we know that it was transferred by Isaac Comnenos to Constantinople in the late 12th century; as for the scene represented on the icon, our sole information comes fro

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11

Khromov, Oleg. "TWO PRINTS BY LEONTY BUNIN IN THE 18TH CENTURY SERBIAN GRAPHIC." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (2020): 100–113. http://dx.doi.org/10.36340/2071-6818-2020-16-2-100-113.

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The article is devoted to two engravings depicting Jesus Christ and the Mother of God in lush ornamental cartouches. They are well known to Serbian art critics and are published in the catalogs of Serbian metal engravings of the 18th century. Copper engraved boards of these engravings, which Serbian researchers attribute to the end of the 18th or the beginning of the 19th century, are preserved in the Krka Monastery. Prints from them of the 18th-19th centuries are unknown in Serbian collections. In Serbia, the first prints from these boards were made in the 20th century. However, prints from t

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12

Butarbutar, Marlon. "Kristologi Biblika Menurut Kaum Reformed Sebagai Salah Satu Dasar Apologetika Dalam Menghadapi Pengajaran Gnostik Di Era Postmodern." SCRIPTA: Jurnal Teologi dan Pelayanan Kontekstual 6, no. 2 (2020): 116–28. http://dx.doi.org/10.47154/scripta.v6i2.49.

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Kristologi adalah merupakan pokok terpenting dalam ajaran iman Kristen. Kristologi juga bisa disebut sebagai pusat kekristenan itu sendiri, dengan itu kristologi adalah pusat dari ilmu theologia. Karenanya mempelajari Pribadi dan karya Kristus, berarti sedang berada pada pusat theologi Kristen. Yesus Kristuslah yang memberikan identitas kepada kekristenan, yang sekaligus membedakannya dari agama atau kepercayaan yang lain. Keistimewaan doktrin ini terletak dalam pribadi dan karya Yesus Kristus sebagai Tuhan yang menjadi finalitas jalan menuju kepada keselamatan yang kekal. Pemahaman yang benar

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13

Culbertson, Philip. "Review of Jesus and Mel Gibson’s ‘The Passion of Christ’: The Film, the Gospels, and theClaims of History edited by Kathleen E. Corley and Robert L. Webb." Journal for the Academic Study of Religion 19, no. 2 (2007): 249–51. http://dx.doi.org/10.1558/jasr.v19i2.249.

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14

Holt, Else Kragelund. "Stat op i Gry, min Gud! Tre gammeltestamentlige salmer, gendigtet af Grundtvig." Grundtvig-Studier 47, no. 1 (1996): 77–96. http://dx.doi.org/10.7146/grs.v47i1.16226.

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Grundtvig 's version of Three Old Testament HymnsBy Else Kragelund HoltThe article seeks to demonstrate the significance of Grundtvig’s interpretative use of the old Testament in Sangværk /. The methodological inspiration for the study is not to be found in the ongoing Grundtvig research, but in Old Testament exegesis, especially in the shape of Tradition History and Wirkungsgeschickte.The questions raised are not primarily why Grundtvig did so and so with his Old Testament Vorlage, but rather what he did with it. The material of the investigation is three hymns from the Easter part of the San

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15

Myjak, Krzysztof. "SCHOOL AND PARISH CATECHESIS IN THE FEDERAL REPUBLIC OF GERMANY IN RELATION TO CANON AND UNIVERSAL LAW." Roczniki Administracji i Prawa 1, no. XXI (2021): 31–44. http://dx.doi.org/10.5604/01.3001.0015.2492.

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The article deals with the topic of the school and parish catechesis in the Federal Republic of Germany. The author presents the legal basis of the catechesis, in the Church and in the State. The catechetic teaching is defined in the Code of Canon Law. Information on this can be found in the second chapter of the title “The Ministry of the Divine Word” in this code. After a brief outline of the legal basis the author proceeds to presenting the history of religious education in Germany. Its origins lie in the 16th century at the time of Reformation and Counter-Reformation. As Rainer Winkel stat

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16

Maslauskaitė, Sigita. "ŠVENČIAUSIOSIOS TREJYBĖS ATVAIZDAI: IŠTAKOS, IKONOGRAFIJOS BRUOŽAI, DEFORMACIJOS." Religija ir kultūra 10 (January 1, 2012): 63–79. http://dx.doi.org/10.15388/relig.2012.0.2739.

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Švč. Trejybės atvaizdo istorija rodo, kad šio krikščionybės slėpinio aiškinimas buvo ir yra iššūkis, į kurį krikščionybė bandė atsakyti visuotinių susirinkimų metu, skatindama teologinių traktatų leidybą, šviesdama menininkus ir kūrinių užsakovus. Trivienio Dievo didybės vaizdavimas, ikonografijos interpretacijos ir deformacijos atskleidžia, kad per visą krikščionybės istoriją dėta daug pastangų „aiškiai“ išreikšti Švč. Trejybės esmę, tačiau slėpinys liko ir slėpiniu, ir iššūkiu. Į jį atsiliepti stengėsi įvairių epochų tikintieji, tačiau vieno tikro atsakymo nerado. Švč. Trejybės ikonografijos

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17

Szram, Mariusz. "“Varii errores qui ab origine mundi emerserunt”. The semantic scope of the term “heresy” in Philastrius’ of Brescia Diversarum hereseon liber." Vox Patrum 68 (December 16, 2018): 315–25. http://dx.doi.org/10.31743/vp.3358.

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The bishop of Brescia, Philastrius, author of the first Latin catalogue of heresies, written between 380 and 388, presented in his treaty an extremely large number of heterodox movements: 28 within Judaism and 128 in early Christianity. This comes as a result of a wide understanding of the term heresis. For Philastrius this term was synonymous with the term error, recognized as any deviation from the universal truth in the history of the world, inspired by Satan as “the father of lies”, ocurring primarily in Judaism and Christianity. Among the early Christian views defined by the bishop of Br

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18

Veldman, Ilja M. "Philips Galle: een inventieve prentontwerper." Oud Holland - Quarterly for Dutch Art History 105, no. 4 (1991): 262–90. http://dx.doi.org/10.1163/187501791x00155.

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AbstractPhilips Galle (1537-1612) is best known as a productive engraver and publisher of prints. I Iowever, scant attention has been paid to the fact that he himself often designed prints which he or others engraved. This disregard of Galle's role as inventor is unfair, for many of his representions are particularly interesting for their iconography: several of the themes are original, conceived either by Galle himself or inspired by literary sources and introduced to Netherlandish art for the first time. Only a couple of his designs have been preserved: the drawings Perseus and Andromeda (fi

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19

Kadurina, A. O. "SYMBOLISM OF ROSES IN LANDSCAPE ART OF DIFFERENT HISTORICAL ERAS." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 148–57. http://dx.doi.org/10.31650/2519-4208-2020-20-148-157.

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Background.Rosa, as the "Queen of Flowers" has always occupied a special place in the garden. The emergence of rose gardens is rooted in antiquity. Rose is a kind of “tuning fork” of eras. We can see how the symbolism of the flower was transformed, depending on the philosophy and cultural values of society. And this contributed to the various functions and aesthetic delivery of roses in gardens and parks of different eras. Despite the large number of works on roses, today there are no studies that can combine philosophy, cultural aspects of the era, the history of gardens and parks with symbol

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20

Evers, Dirk. "Combinatory Christology." HTS Teologiese Studies / Theological Studies 72, no. 4 (2016). http://dx.doi.org/10.4102/hts.v72i4.3482.

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This article aims to present Christology not as an add-on to monotheism, but as its specific Christian form. What Christ means can only be explained with reference to God and vice versa; what God stands for in a Christian sense has to be explained with reference to Jesus Christ and not with reference to generic religious terms. Christology thus informs and forms the Christian understanding of how to relate God and reality. Therefore, Christology has to be developed as combinatory Christology bringing different dimensions of reality including scientific and evolutionary perspectives into creati

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