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Journal articles on the topic 'Messianic Portraits'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

Katz, Maya Balakirsky. "On the Master-Disciple Relationship in Hasidic Visual Culture: The Life and Afterlife of Rebbe Portraits in Habad, 1798–2006." IMAGES 1, no. 1 (2007): 55–79. http://dx.doi.org/10.1163/187180007782347683.

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AbstractScholarship on Hasidism typically utilizes literary source material of the dynastic leaders and their top disciples, while the more typical master/disciple relationship has escaped attention. Hasidic movements have produced, distributed, and voraciously consumed visual portraits of their leaders throughout the nineteenth and twentieth centuries. The most visually productive Hasidic community is the Belarusian HabadLubavitch, which has produced images of five of its seven generations of leaders. Indeed, portraits of its leaders have been integral to the development of Habad both in East

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2

Victor, Onyango Ouno. "Misunderstood Saviours: Messianic Portraits in the Gospel of Luke and Ngugi's the River Between." International Journal of Social Science and Human Research 08, no. 05 (2025): 2951–59. https://doi.org/10.5281/zenodo.15421408.

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Redeeming a society, and bearing its burden, can be a gruelling mission. It becomes even more demanding when one’s mission is misconstrued. Beyond the dangers that such arduous tasks attract, the saviour must demonstrate the urgency of his mission and the need for solidarity in executing it. Unfettering societies from impending danger calls for great personality. In this study, I employ a post-modern intertextual literary theory in my critical analysis of the artistic vision projected in Ngugi wa Thiong’o’s The River Between. I argue that Ngugi’s novel leverages the mes

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3

Watts, Rikk. "The Lord's House and David's Lord: The Psalms and Mark's Perspective on Jesus and the Temple." Biblical Interpretation 15, no. 3 (2007): 307–22. http://dx.doi.org/10.1163/156851507x184937.

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AbstractFour Davidic Psalms (2, 118, 110, and 22), each cited or alluded to at least twice, in this order, and at critical junctures in Mark's narrative, play a key role in his Gospel. In contemporary understanding Psalm 2 was associated with the future messianic purging of Jerusalem and especially the temple (e.g.4QFlor, Pss Sol 17). Psalm 118, concluding the Egyptian Hallel, spoke of Israel's future deliverance under a Davidic king with the restored temple as the goal of Israel's return from exile. Psalm 110's surprisingly elevated royal designation, uniquely expressed in Melchizedekian prie

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4

Brenner, Rachel Feldhay. "The Jews and the Messianic Ethos of the Second Polish Republic. Stanisław Rembek’s Interwar Literary Writings." Przegląd Humanistyczny 62, no. 4 (463) (2019): 23–30. http://dx.doi.org/10.5604/01.3001.0013.2632.

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Rembek’s conviction of Polish “chosenness” is expressed in the characterizations of the Jewish protagonists in his fiction. While Rembek’s diaristic writing reveals his antiSemitic prejudices, in his novella Dojrzałe kłosy [Ripe spikes], and novel Nagan [Revolver] he portrays the Jews as patriotic officers fighting for Poland. These characterizations of the Jews highlighted Poland’s democratic open-mindedness toward its Jewish citizens. Nonetheless, as Jews they were excluded from the nation’s Christian destiny. Time and again, the Jewish officers in Rembek’s fiction articulate their desponden

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5

Paglinawan, Dindo. "Jesus's redefinition of Psalm 110:1 in Mark: an intertextual study." Journal of Asia Adventist Seminary 23, no. 1-2 (2022): 111–44. https://doi.org/10.63201/rsjn3858.

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Psalm 110:1 portrays an enthroned king to whom the Lord has pledged victory. It stands out as the most frequently quoted and alluded passage in the New Testament. Many scholars, acknowledging the NT’s utilization of Ps 110:1, focus on establishing how this psalm aligns with and finds fulfillment in Jesus, the Messiah. Jesus Himself referenced this passage in Mark 12:36 and 14:62 when addressing questions about His messianic identity. While this article follows this common trajectory, it also diverges by exploring the nuance that, while Jesus applied Ps 110:1 to His messianic vocation, His self

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6

Lima, Rainério dos Santos. "A mancha roxa, o teatro da peste e o direito à violência." Aletria: Revista de Estudos de Literatura 33, no. 4 (2024): 76–95. https://doi.org/10.35699/2317-2096.2023.44887.

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Abstract: In A mancha roxa, Plínio Marcos portrays women plagued by an unnameable scourge, perceptible only in the stains of the epidermis and in the clinical symptoms. In the drama, exploited by imprisonment, the characters are condemned to extermination by illness and oblivion in the punitive apparatus. Thus, this text analyzes the extermination policies – the administered violence, the generalized phobia, the imagery of the plague –, the dystopian images of the epidemic disaster and the characters’ ways of survival. In the second part, after the composition of the theatrical fable and the e

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7

Wolfson, Elliot R. "Asceticism, Mysticism, and Messianism: A Reappraisal of Schechter’s Portrait of Sixteenth-Century Safed." Jewish Quarterly Review 106, no. 2 (2016): 165–77. http://dx.doi.org/10.1353/jqr.2016.0007.

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8

Mezzabotta, Pietro. "«Rimettere in moto la Storia». Edoardo Sanguineti e la “redenzione messianica” di Gian Pietro Lucini." L'ospite ingrato 15, no. I (2024): 317–34. http://dx.doi.org/10.36253/oi-16374.

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The purpose of the article is to investigate the process by which Edoardo Sanguineti, during the 1960s, pursued the ideological and poetical re-actualization of Gian Pietro Lucini. I will try to highlight how, exploiting Lucini’s disagreements with Marinetti and his ideological differences with the founder of Futurism, Sanguineti was able to produce a contemporary portrait of a poet who was, in reality, strictly embodied into nineteenth-century’s mentality. I will attempt, contextually, to contextualize this cultural backwardness of Lucini, explaining how the poet was, after all, characterized

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9

Tan, Matthew John Paul. "Loss in Light of the Last Things: Christianity, Eschatology, and Grief in Inside Out." Religions 15, no. 8 (2024): 897. http://dx.doi.org/10.3390/rel15080897.

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With reference to the film Inside Out, we show how Christian eschatology helps us understand the personal experience of grieving loss, generated by capital’s demands for labor hypermobility and its resultant disjunctures in a person’s biography. Inside Out cinematically portrays, in seemingly unremarkable moments, an inbreaking of a redemptive eschatological moment. We organize our case around two eschatological themes, those of judgement and death. The first section links a person’s affective experience, the structures that generate those experiences, and the last things; we make our case usi

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10

Smyth, Bryan. "Bensaïd’s Jeanne: Strategic Mythopoesis for Difficult Times." Philosophies 8, no. 1 (2023): 12. http://dx.doi.org/10.3390/philosophies8010012.

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In this essay, I consider the significance of Daniel Bensaïd’s work on Jeanne d’Arc with regard to dealing with the “difficult times” in which we live. (1) I first consider some of the background in early critical theory in order to show that Bensaïd’s aim to recover Benjamin’s notion of a “weak messianic power” requires following through with Horkheimer and Adorno’s critique of enlightenment, and that this implies a critical rehabilitation of myth and mythopoesis. (2) Approaching Bensaïd’s account of Jeanne in the light of Blumenberg’s notion of “work on myth”, I show how he portrays her in a

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11

Klein-Franke, Aviva. "The Jews of Yemen in the nineteenth century – a portrait of a messianic community. By Bat-Zion Eraqi-Klorman. pp. 209. Leiden, Brill, 1993." Journal of the Royal Asiatic Society 10, no. 3 (2000): 369–73. http://dx.doi.org/10.1017/s1356186300012979.

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12

Yerzhykivska, Nataliya. "TOUCHES TO THE CREATIVE PORTRAIT OF “THE HEIR OF BORDERLAND VILLAGEMAN... ” BY CZESŁAW JASTRZĘBIEC-KOZŁOWSKI." Polish Studies of Kyiv, no. 40 (2024): 352–79. https://doi.org/10.17721/psk.2024.40.352-379.

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The article focuses on the formation, development, and achievements of the Polish poet and translator Czesław Jastrzębiec-Kozłowski. The author examines the Kyiv (1897–1918) and Warsaw (1919–1956) periods of his life and work. The first one deals with his early poetic attempts, his debut publication in the Warsaw monthly “Pola Esperantisto” (“Polish Esperantist”, 1912), translated poetry by Z. Krasiński. The article presents materials about the publication, co-authored with Tadeusz Ficowski, the father of the future poet and critic J. T. Ficowski (1924–2006), of the first issue of the journal

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13

Simon, Reeva S. "B. Z. Eraqi Klorman, The Jews of Yemen in the Nineteenth Century: A Portrait of a Messianic Community, Brill's Series in Jewish Studies (Leiden.: E. J. Brill, 1993). Pp. 216." International Journal of Middle East Studies 27, no. 3 (1995): 358–60. http://dx.doi.org/10.1017/s002074380006222x.

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14

Ahroni, Reuben. "Bat-Zion Eraqi Klorman. The Jews of Yemen in the Nineteenth Century: A Portrait of a Messianic Community. Brill's Series in Jewish Studies, vol. 6. Leiden: E. J. Brill, 1993. viii, 209 pp." AJS Review 20, no. 2 (1995): 477–81. http://dx.doi.org/10.1017/s0364009400007327.

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15

Chkhaidze, Viktor. "New Findings ofPectoral Crosses on the Territory of Historical Alania (II)." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 6 (December 2023): 183–90. http://dx.doi.org/10.15688/jvolsu4.2023.6.14.

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Introduction. One of the material evidences of the Christianization of the territory of historical Alania (the east of the Krasnodar Territory – the northern regions of Chechnya) in the period from the 10th to the beginning of the 13th centuries is the data of staurography: the finds of crosses-encolpia, pectoral crosses, crosses-quadrifolia. The study of this category of finds allows us to consider the features and chronology of the process of Christianization of the population of the largest state in the North Caucasus in the Middle Ages, to study more closely the historical and social portr

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16

Ouno, Victor Onyango. "Misunderstood Saviours: Messianic Portraits in the Gospel of Luke and Ngugi’s the River Between." International Journal of Social Science and Human Research 08, no. 05 (2025). https://doi.org/10.47191/ijsshr/v8-i5-38.

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Abstract:

Redeeming a society, and bearing its burden, can be a gruelling mission. It becomes even more demanding when one’s mission is misconstrued. Beyond the dangers that such arduous tasks attract, the saviour must demonstrate the urgency of his mission and the need for solidarity in executing it. Unfettering societies from impending danger calls for great personality. In this study, I employ a post-modern intertextual literary theory in my critical analysis of the artistic vision projected in Ngugi wa Thiong’o’s The River Between. I argue that Ngugi’s novel leverages the messianic portraits in the

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17

Paul, Kolawole Oladotun. "A Reflection on the Islamic Portrait of Jesus." Pharos Journal of Theology 103 (2022). http://dx.doi.org/10.46222/pharosjot.10309.

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When the name ‘Jesus’ is mentioned, one’s instant thought turns towards Christianity. Discourses on Jesus are made often with reference to Christendom. No doubt, Christianity has volumes to say about God and man; crucial claims are made about the meanings of life and the significance of death. The distinctive nature isn’t only about these crucial insights, but the process in which they were known. The Christian faith is based on the personhood of Jesus Christ. This is because the Christian understanding of God and man arises from the Christian understanding of the identity of Jesus Christ as a

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18

Bertolet, Timothy. "Hebrews 5:7 as the cry of the Davidic sufferer." In die Skriflig/In Luce Verbi 51, no. 1 (2017). http://dx.doi.org/10.4102/ids.v51i1.2286.

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This article proposes a better source for the Son’s cry in Hebrews 5:7. It begins by surveying sources previous scholars have identified, including Jesus’ cry in Gethsemane and Golgotha, several Psalms, and the Maccabean martyr literature. It is then argued that these background sources for the language are insufficient. Instead the author of Hebrews has an entire motif from the Psalter as his informing source: the Davidic figure that cries out in trust to be delivered from a death-like experience. Firstly, the motif of the Davidic righteous suffering in the LXX Psalms is demonstrated. Secondl

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19

Obono, Koblowe. "Sociocultural Framing of ‘Ambo-Gbabe’ Music Video Campaign in the 2015 Gubernatorial Elections in Lagos State, Nigeria." Nigerian Journal of Sociology and Anthropology 16, no. 1 (2018). http://dx.doi.org/10.36108/njsa/8102/61(0130).

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The 2015 Lagos State governorship campaign of the All Progressives Congress (APC) used sociocultural frames conjuring indigeneity and modernity to attract political attention and support. Constructed through religious, economic, cultural and humaninterest frames, a blissful future encapsulating the hopeful ethos of the city was projected. Reflecting and conscientizing their messianic aspirations, this existentialist paradigm attended to the hopes of the people for better living conditions. The article examines and interprets the sociocultural frames in ‘Ambo-Gbabe’ music video, focusing on con

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20

Elul, Azriel. "“The Scepter Shall Not Depart from Judah”: Jews and Imperial Power in Benjamin of Tudela’s Book of Travels." Binghamton University Undergraduate Journal 9, no. 1 (2024). http://dx.doi.org/10.22191/buuj/9/1/5.

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This paper, written as a final project for Professor Shay Rabineau's class “Walking the Land,” examines the relationship of medieval Jews to the imperial powers to which they were subject, as expressed in Benjamin of Tudela's Book of Travels. It focuses on the two imperial cores of Rome and Baghdad, and contextualizes the representation of these two cities within the world of imperial power in which the text was produced. As a work of medieval travel literature, I analyze the Book of Travels not as a factual account of history, but rather as a discursive and imaginative text which seeks to cat

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