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Journal articles on the topic 'Prodigal son (Parable)'

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Published: 4 June 2021

Last updated: 29 July 2024

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1

Brown, Colin. "The Parable of the Rebellious Son(s)." Scottish Journal of Theology 51, no. 4 (November 1998): 391–405. http://dx.doi.org/10.1017/s0036930600056829.

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The parable which we know as as ‘The Parable of the Prodigal Son’ and which the Germans call ‘Das Gleichnis vom verlorenen Sohn’ is the best loved of all Jesus' parables. It has given inspiration to Rembrandt and countless other artists. It has provided the theme for novels, ballet and film. It touches the human condition like no other story. It holds a mirror up to ourselves, whether we identify ourselves with the returning prodigal or see those around us unmasked as the elder brother. The parable has been examined by the best exegetes of the past and present.

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2

Baker, Peter. "The Prodigal Returns? Karl Barth’s Christological Interpretation of Luke 15:11–32." Journal of Theological Interpretation 16, no. 1 (June 1, 2022): 57–73. http://dx.doi.org/10.5325/jtheointe.16.1.0057.

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At the heart of his doctrine of reconciliation, Karl Barth offers a unique but underexamined christological interpretation of the parable of the prodigal son. Displaying both respect for and resistance to the interpretative paradigm for Jesus’s parables established by Adolf Jülicher, Barth’s interpretation rejects allegorical interpretation and appeals to the narrative’s literary characteristics, but it hermeneutically privileges Barth’s perception of the overall theological import of the canonical Christian Scriptures over the parable’s immediate literary context. Barth’s approach may be fruitfully set in conversation with more recent developments in parable research, including redaction-criticism and the understanding of parables as metaphorical texts, yielding a revised polyvalent theological interpretation, which brings together soteriological and christological themes.

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Baker, Peter. "The Prodigal Returns? Karl Barth’s Christological Interpretation of Luke 15:11–32." Journal of Theological Interpretation 16, no. 1 (June 1, 2022): 57–73. http://dx.doi.org/10.5325/jtheointe.16.1.0057.

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At the heart of his doctrine of reconciliation, Karl Barth offers a unique but underexamined christological interpretation of the parable of the prodigal son. Displaying both respect for and resistance to the interpretative paradigm for Jesus’s parables established by Adolf Jülicher, Barth’s interpretation rejects allegorical interpretation and appeals to the narrative’s literary characteristics, but it hermeneutically privileges Barth’s perception of the overall theological import of the canonical Christian Scriptures over the parable’s immediate literary context. Barth’s approach may be fruitfully set in conversation with more recent developments in parable research, including redaction-criticism and the understanding of parables as metaphorical texts, yielding a revised polyvalent theological interpretation, which brings together soteriological and christological themes.

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4

Dzhydzhora, Yevhen. "THE PARABOLIC STRUCTURE OF GOSPEL PARABLES." Odessa National University Herald. Series: Philology 27, no. 1(25) (April 23, 2023): 19–27. http://dx.doi.org/10.18524/2307-8332.2022.1(25).283133.

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The article is devoted to the analysis of the special parabolic structure of the evangelical parables. It is not only about the actual literary understanding of the parabola as a stylistic device, with the help of which foreign language expression is carried out, but also about a mathematical graph – a curved curve, divided at the point of intersection into two symmetrical branches. In the structure of the evangelical parable, these branches can be represented as real-factographic and symbolic interpretive plans, between which there is a direct semantic dependence. All narrative situations that make up the real plan of the parable and are represented by the right branch of the parabola must be interpreted in the same sequence to build a symmetrical left branch. In the article, the parabolic structure of two symmetrical plans is demonstrated on the example of two gospel parables well-known in culture: The Parable of the Prodigal Son [Luk. 15, 11 32] and Proverbs about ten virgins [Matt. 15, 1–11]. Obviously, a similar way of interpretive reading of the Gospel parables can be qualified as a fullfledged hermeneutic technique of analysis of other biblical works.

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Siddall, Mark. "The prodigal climate crisis." Theology 125, no. 3 (May 2022): 197–204. http://dx.doi.org/10.1177/0040571x221097548.

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The parable of the prodigal son is examined in the context of its physical setting within creation and its scriptural setting within the Lucan Gospel kerygma (Acts 2.38–39), revealing the integral ecology of the parable. Broken relationships among people and the land in the parable correlate with the contemporary human broken relationship with creation, which is causing the climate crisis. The brothers categorize the family farm in terms of either possession or merit. Neither possession nor merit are correct; the correct categories in which to view both the family farm and creation are the gospel categories of faithfulness and grace.

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6

Kovaleva, Tatiana. "THE MOTIF OF THE PRODIGAL SON IN THE PLOT OF IVAN BUNIN’S NOVEL THE LIFE OF ARSENIEV." Проблемы исторической поэтики 19, no. 2 (May 2021): 301–25. http://dx.doi.org/10.15393/j9.art.2021.9582.

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The article is devoted to the research of the reception and transformation of the subject of the Gospel Parable of the Prodigal Son in the novel The Life of Arseniev by Ivan Bunin. The key events in the Parable of the Prodigal Son are present in the structure of The Life of Arseniev: leaving the ancestral home — leaving God behind; temptations of the spirit and flesh, dissolute life, spiritual lust, spiritual death; confession; return to the ancestral home — return to God, to the Heavenly Father’s Home. Arseniev's departure from his ancestral home differs from the departure of the Gospel Parable’s hero, yet this event is one of the landmarks in the main character’s life path of life. Unlike the prodigal son, Aleksey Arseniev leaves his home seeking the highest meaning and purpose of life as the key aim; the sense of God’s presence had been present in his soul since his very childhood. However, the youthful thirst for glory and pleasures of life led Bunin's hero to the abandonment of the Heavenly Father and to immersion in sinful life. The tropes of sensuality, temptation, desire, degradation, sins, unfaithfulness, adultery are the key motifs in the description of the hero’s dissolute life. Arsenyev’s immoral life became the main reason for the damage to his relationship with Lika and her breakup with him. The most important events in the Gospel Parable of the Prodigal Son are repentance of sins, penance before his father and before God — these events appear in Bunin’s novel in an altered form. Since Arseniev did not experience deep repentance before God for his sinful youth, the resurrection of his soul and his return to the Home of the Heavenly Father were impossible. Bunin demonstrates that an entire life is required for the hero to experience true repentance and his final return to God, thus Bunin leaves Arseniev on the path to God. Scenes from the Gospel Parable of the Prodigal Son, such as departure from the ancestral home, dissolute life and spiritual death are recreated most completely in Bunin’s novel The Life of Arseniev; while repentance and return to God, which take up the remainder of the hero’s life, are described by the author in a complex altered form.

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7

Lawson, Edwin D. "The Prodigal Son: A Psychological Interpretation." Psychological Reports 80, no. 2 (April 1997): 529–30. http://dx.doi.org/10.2466/pr0.1997.80.2.529.

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There are several traditional interpretations of the parable of the prodigal son. Another approach would be psychological, which is really a story of the ego-involvement of the father. The father's self-image was threatened when the son left but was restored on the return.

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8

Janek, Anna. "Między zamknięciem i otwarciem… Interpretacja wiersza Tadeusza Różewicza „Syn marnotrawny (z Hieronima Boscha)”." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 53, no. 4 (December 23, 2021): 47–63. http://dx.doi.org/10.36770/bp.644.

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The aim of the article is to interpret a poem by Tadeusz Różewicz, Syn marnotrawny (z obrazu Hieronima Boscha) [The Prodigal Son (from the painting of Hieronymus Bosch)], from the volume Srebrny kłos [The Silver Ear of Corn] (1955). The poem is subjected to intertextual reading, which included strongly sketched autobiographical allusions, ecstatic descriptions of Bosch’s paintings and contextual references to the biblical parable of the prodigal son. Confronting the situation of the lyrical hero with the theological interpretation of the parable and reaching for the concept of reading the play proposed by Mieke Bal, ultimately reveals the kerygmatic meaning of the piece.

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Batugal, Maria Leodevina C. "Coming Home: The Spiritual Journey of the Prodigal Son." European Journal of Theology and Philosophy 1, no. 4 (August 16, 2021): 31–33. http://dx.doi.org/10.24018/theology.2021.1.4.37.

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In this article, I reviewed the passage of the Prodigal Son in the context of the Lukan perspective and the reader then, is referred to Luke 15: 11-31. This parable gives us an image of a loving and forgiving God whose mercy endures forever. This is the greatest love story which presents the depths of God’s love. Several biblical scholars disclose that this parable guides us to new hope by allowing God to love, forgive us and accept his saving love.

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Park, Rohun. "Revisiting the Parable of the Prodigal Son for Decolonization: Luke's Reconfiguration of Oikos in 15:11-32." Biblical Interpretation 17, no. 5 (2009): 507–20. http://dx.doi.org/10.1163/092725609x12480898042400.

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AbstractThe early Christian Gospels' most radical construction of the household (oikos) helps to create extensive opportunities and freedoms over and against the constraints of the Roman Empire. In particular, the Parable of the Prodigal Son (Luke 15:11-32) provides a transformative awareness of living and interacting under the Empire and writes its empowering effects into the present context of grassroots people. The paterfamilias of the parable is crossing the boundary of colonial oikos which has been least traversed. While going back and forth interacting with his sons, the paterfamilias erases the borderline and releases oikos from the economic, social, and cultural constructions of colonial power. Jesus' oikos emerges not from a moral regarding good economic discipline and earnings, but rather from real needs and real community under the mercy and grace of a God who levels all boundaries: "every valley" and "every mountain." This essay is a postcolonial reading of the Parable of the Prodigal Son from an East Asian perspective.

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Larsen, Kasper Bro. "Den kloge godsforvalter (Luk 16,1-8a)." Dansk Teologisk Tidsskrift 80, no. 2-3 (September 16, 2017): 166–85. http://dx.doi.org/10.7146/dtt.v80i2-3.106354.

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The parable of the prudent manager in Luke 16:1–8a constitutes an exegetical puzzle. The present article understands the parable in light of early Jewish covenantal nomism (E.P. Sanders). The parable is not a theological replica of “The Prodigal Son” (pace J.R. Donahue) but a sequel to that story. Whereas “The Prodigal Son” tells a story to outsiders of getting in, “The Prudent Manager” narrates to insiders a story about staying in. The manager first foolishly squanders his master’s possessions (v. 1b–3); but in the face of crisis, he acts generously in the interest ofothers (vv. 4–7) and is praised for being prudent (v. 8a). The manager thus personifies “the faithful and prudent manager” mentioned in Luke 12:43. He is an example for disciples to follow. Occasioned by the 75th anniversary of academic theology at Aarhus University, the article begins with a review of 20th century dialectical-theological applications of the parable in the works of Professors K.E. Løgstrup, Regin Prenter, P.G. Lindhardt, and Johannes Sløk.

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Vlasenko, Nadezhda M. "The Parable of the Prodigal Son as a Story about the Father’s Mercy in Dostoevsky’s Novel The Humiliated and the Insulted." Dostoevsky and World Culture. Philological journal, no. 2 (2022): 54–88. http://dx.doi.org/10.22455/2619-0311-2022-2-54-88.

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The article analyses the novel The Humiliated and the Insulted through the motif of the parable of the prodigal son, thanks to which the concept of the entire novel becomes more clear. This short biblical story is laid down by Dostoevsky at the basis of the plot of The Humiliated and the Insulted. All the main characters of the novel are organically represented as “heroes” of the parable, more precisely, as characters that carry the concepts “prodigal son”, “father”, “Father” (“God”). At the same time, the traditional reading of the parable as a story about a careless, vicious, little-respected man who left his parents’ home is reinterpreted by Dostoevsky and the importance of the father’s grace as well as the necessity of the father’s mercy at all costs are emphasized. The ability to forgive unconditionally is perceived by Dostoevsky as a gift that allows to overcome personal pride and, in general, the vicious circle in which the family is enclosed.

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Batten, Alicia. "Dishonour, Gender and the Parable of the Prodigal Son." Toronto Journal of Theology 13, no. 2 (September 1997): 187–200. http://dx.doi.org/10.3138/tjt.13.2.187.

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14

Westbrook, Deanne. "Wordsworth's Prodigal Son: "Michael" as Parable and as Metaparable." Wordsworth Circle 28, no. 2 (March 1997): 109–19. http://dx.doi.org/10.1086/twc24044636.

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15

Terwiel, B. J. "Neo-Ahom and the parable of the prodigal son." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 145, no. 1 (1989): 125–45. http://dx.doi.org/10.1163/22134379-90003272.

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16

Starodubcev, Tatjana A. "Parable of the Prodigal Son in the Prizren Gospel." Саопштења = Communications 55 (2023): 71–84. http://dx.doi.org/10.18485/rzzsk_saopstenja.2023.55.3.

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17

Dutko, Joseph Lee. "Mythoi, Monomyth, and a Missing Mother: The Archetypal Significance of the Prodigal’s Quest in Luke 15:11–24." Religions 14, no. 8 (August 3, 2023): 997. http://dx.doi.org/10.3390/rel14080997.

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The parable of the Prodigal Son in Luke 15 elicits profound responses and emotions in various times, places, and cultures. Why has it stood the test of time as one of Jesus’ most famous parables? One possible answer is that the story carries enduring appeal because of the underlying structure of the parable, a recurring pattern in literature called the monomyth. Peeling back the layers of the parable, one may uncover the foundational archetypes of the parable that make it timeless. Hidden significance of the parable may be illuminated by comparing its narrative to the hero quest of Joseph Campbell and the monomyth archetypes of Northrop Frye and Leland Ryken, both of which emphasize a cyclical movement that unifies all of literature. Also important are the specific archetypes within the general monomyth archetype, such as father and mother, bread and water. The parable also contains the four elements (mythoi) of the circular monomyth: romance, tragedy, anti-romance, and comedy. Using archetypal and myth criticism, this article demonstrates that the parable has enduring attraction because its underlying archetypes appeal to a deep layer of the human psyche and to what is elemental to the human experience.

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Cox, Kendall. "The Parable of God." Journal of Reformed Theology 13, no. 3-4 (December 6, 2019): 215–37. http://dx.doi.org/10.1163/15697312-01303009.

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Abstract In the middle of his account of justification and sanctification, Karl Barth turns to Luke 15:11–32, the Parable of the Lost or Prodigal Son. Interpreting it in the context of the whole Gospel, he draws an apparently unprecedented association between Jesus Christ and the younger son, who goes into the far country and squanders his existence. This provocative christological reading arises from a profoundly intertextual imagination, and its coherence emerges as it is aligned along the referential correlates Barth evokes. In his comprehensive theological retelling, this paradigmatic tale of grace becomes the parable not only of reconciliation, but also of election, and finally of God.

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Колмакова, Оксана Анатольевна. "The motives of the parable of the prodigal son in novels “Number One, or In the Gardens of Other Opportunities” by L. S. Petrushevskaya and “Twins’ House” by A. V. Korolev." Tomsk state pedagogical university bulletin, no. 6(230) (November 30, 2023): 143–51. http://dx.doi.org/10.23951/1609-624x-2023-6-143-151.

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Предметом анализа в статье является авторская рецепция сюжета притчи о блудном сыне в творчестве современных русских писателей Л. С. Петрушевской и А. В. Королева. Материалы, использованные в исследовании: романы «Номер Один, или В садах других возможностей» Л. Петрушевской и «Дом близнецов» А. Королева. В результате исследования выявлено, что проблематика и поэтика романов «Номер Один, или В садах других возможностей» и «Дом близнецов» определяется центральной коллизией «сын – отец», реализованной посредством узловых для евангельской притчи мотивов ухода, возвращения, прощения, любви. Анализ указанных романов позволяет говорить о различных типах диалогических отношений современных писателей с евангельским текстом. Если в романе Л. Петрушевской можно наблюдать инверсию сюжета притчи, то у А. Королева притча в значительной степени символизируется. Специфика художественной интерпретации притчи о блудном сыне связана с актуализацией смыслов профанного и сакрального уровней. Профанное, десакрализованное, содержание сводится к теме внутрисемейных отношений. В каноническом христианском толковании притчи центральным ее событием является «воскресение» блудного сына, рождение в нем «нового человека». Номер Один Петрушевской открывает в себе Героя, Валентин Драго А. Королева – Личность. Евангельский мотив возвращения у современных писателей репрезентирует их индивидуально-авторские метафоры. В романе Л. Петрушевской – это обретение человеком своего идентифицирующего начала, находящегося вне материально-гедонистических ценностей. У А. Королева авторской метафорой становится возвращение человеку его субъектности, потерянной под влиянием процессов усреднения в современном массовом обществе. В целом сюжет о блудном сыне осмысливается современными авторами как модель разрешения конфликта поколений, как вместилище глубинных сакральных смыслов, а также как средство воплощения индивидуально-авторских метафор. The evangelical parable about the return of the prodigal son was repeatedly used as the subject of literary contemplation in the Russian classical literature of the 19th and the 20th centuries. The plot of the prodigal son parable is still popular in contemporary Russian literature. For example, the plot was originally interpreted in the novels “Number One, or In the Gardens of Other Opportunities” by L. S. Petrushevskaya and “Twins’ house” by A. V. Korolev. The central conflict “son – father” realized through key evangelical parable motifs of departure, return, forgiveness and love determine the issues raised in these works and their poetics. The analysis of these novels helps to distinguish various types of “dialogue” between contemporary writers and the evangelical text. L. Petrushevskaya inverts the plot of the parable, A. Korolev redefines the evangelical parable in a symbolic way. In general, the plot of the prodigal son parable is comprehended by the contemporary authors as a model for resolving the conflict of the generation gap, as a space for profound sacred meanings, and as a means of expressing the author’s genuine metaphor. The plot variants of the prodigal son parable explicate the meanings realized by the Gospel text on the “profane” and deep levels. Desacralized meaning of the parable can be reduced to the issue of ideal family relationships, which the contemporary writers yearn for and are trying to portray. The deep, Christian understanding of the parable is connected to the idea of the prodigal son’s resurrection understood as a discovery of a “new man” within himself. Number One in Petrushevskaya’s novel becomes the Hero, Valentin Drago of Korolev becomes the Personality. In addition, the evangelical motif of return in the contemporary works represents the authors’ genuine metaphors. The genuine metaphor in the novel of L. Petrushevskaya is the modern person’s acquiring his/her original identity, which is not related to material and hedonistic values. A. Korolev’s genuine metaphor consists in recovering the person’s subjectivity that had been lost because of the processes of standardization in modern society.

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Karlik, N. A. "The Modification of Mythological Archetypes “son” and “father” in Joyce's Novel “Ulysses”." Discourse 10, no. 2 (April 23, 2024): 117–30. http://dx.doi.org/10.32603/2412-8562-2024-10-2-117-130.

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Introduction. This article delves into the analysis of modifications of mythological and Christian archetypes in Joyce's work, particularly focusing on the novel “Ulysses” and examining characters playing familial roles of “son” and “father”. The interest in family ties is explored considering the atmosphere of creating the novel and biographical aspects. Family roles are viewed through the modifications of a significant biblical narrative for the author – the story of the prodigal son. The goal of the analysis was to showcase which vector the author chose and why to develop this archetypal theme in “Ulysses”. The main role, adapted to the familial setting through a new interpretation of the parable, was identified and analyzed as the role of the “prodigal father”. Methodology and sources. The textual analysis in the article was conducted in the traditions of post-structuralism: additional intertexts were used to augment the familial relationships of the novel's characters with new meanings. Results and discussion. Through the modernization of familial archetypes in the novel, this article demonstrates how Joyce, as a representative of world literature, treated these templates. His myth-making involved selectively drawing from source materials that suited his specific purposes, whether it was the story of Odysseus or the parable of the prodigal son. He approached the archetypal text liberally, using it as a systematizing mechanism to elevate contemporary issues to a more universal level. Conclusion. The article sequentially examines canonical archetypal roles and various possible readings of the source text, influenced by the author's personal experiences (biographical) as well as the cultural-historical context, shifting peripheral components of the parable to dominant positions.

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Jack, Alison. "Henry James’s “The Jolly Corner”1: Revisiting the Parable of the Prodigal Son (Luke 15:11–32)." Journal of the Bible and its Reception 1, no. 2 (October 1, 2014): 253–62. http://dx.doi.org/10.1515/jbr-2014-0014.

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Abstract In this article, various reception-historical analyses of Henry James’s short story “The Jolly Corner” and its use of the Bible are subjected to critique. The parable of the Prodigal Son is offered as a convincing and significant intertext which is clearly signalled in the story. Reading this parable in the narrative yields useful insights into the dynamics between the characters, and suggests a psychological rather than supernatural interpretation of events.

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Eng, Daniel K. "The Widening Circle: Honour, Shame, and Collectivism in the Parable of the Prodigal Son." Expository Times 130, no. 5 (July 24, 2018): 193–201. http://dx.doi.org/10.1177/0014524618792177.

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This study presents a reading of Jesus’ parable of the Prodigal Son through the context of collectivism. After a brief survey of how honour and shame function in a collectivistic society, the essay examines the parable using Luke’s expressed occasion of the story as a starting point. The three characters are examined, as each display behaviour that is outside the accepted norms of Jewish and Greco-Roman society. The study reveals that a major element of the message of Jesus lies in the re-definition of boundaries. The Lukan Jesus remarkably does not abolish the community-first value of the Pharisees and scribes, but upholds the priority of the collective through expanding the boundaries of those who are honoured. The parable is then situated into the grand Lukan narrative, showing how the Jesus movement as described in Luke-Acts widens the circle of the collective.

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Shervarly, Daria G. "The Father’s Curse in Fyodor Dostoevsky’s Novel The Humiliated and the Insulted." Dostoevsky and world culture. Philological journal, no. 2 (2021): 172–79. http://dx.doi.org/10.22455/2541-7894-2021-2-172-179.

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One of the significant themes of the novel The Humiliated and the Insulted is the father’s curse, marked throughout the text by a high degree of emotionality. The novel describes two similar stories: the one of Nelly’s mother and Natasha’s. Both escaped from home, both were cursed by their fathers. However, there are also differences: while one father forgave, the other not. In the article, the theme of the father’s curse is revealed by comparing these two stories with the famous parable of the prodigal son, with which the novel presents visible parallels. The parable is presented as a standard for proper behavior, and in its comparison, we can say how the hero should have behaved and how he did in the novel. While the images of “prodigal children” recall each other, it is the behavior of parents that draws a significant difference between Dostoevsky’s plot and the parable. The presence or absence of the father’s curse is revealed as one of the main factors determining the fate of all the characters of the story.

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Shervarly, Daria G. "The Father’s Curse in Fyodor Dostoevsky’s Novel The Humiliated and the Insulted." Dostoevsky and world culture. Philological journal, no. 2 (2021): 172–79. http://dx.doi.org/10.22455/2619-0311-2021-2-172-179.

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One of the significant themes of the novel The Humiliated and the Insulted is the father’s curse, marked throughout the text by a high degree of emotionality. The novel describes two similar stories: the one of Nelly’s mother and Natasha’s. Both escaped from home, both were cursed by their fathers. However, there are also differences: while one father forgave, the other not. In the article, the theme of the father’s curse is revealed by comparing these two stories with the famous parable of the prodigal son, with which the novel presents visible parallels. The parable is presented as a standard for proper behavior, and in its comparison, we can say how the hero should have behaved and how he did in the novel. While the images of “prodigal children” recall each other, it is the behavior of parents that draws a significant difference between Dostoevsky’s plot and the parable. The presence or absence of the father’s curse is revealed as one of the main factors determining the fate of all the characters of the story.

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25

Varvatsoulias, George. "The Parable of the Prodigal Son as a Modern Psychological Reading." Philotheos 10 (2010): 68–81. http://dx.doi.org/10.5840/philotheos2010106.

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Dooley, Patrick. "The Prodigal Son Parable and Maclean's A River Runs Through It." Renascence 58, no. 2 (2005): 165–75. http://dx.doi.org/10.5840/renascence20055829.

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Rastoin, Marc. "Le génie littéraire et théologique de Luc en Lc 15.11–32 éclairé par le parallèle avec Mt 21.28–32." New Testament Studies 60, no. 1 (December 16, 2013): 1–19. http://dx.doi.org/10.1017/s0028688513000313.

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The parable of the prodigal son is considered by most commentators to be part of Luke's special tradition (L). Nevertheless some exegetes, struck by its strongly Lucan character, consider it Luke's creation. Another option should be considered – that Luke rewrote a parable that was originally analogous to Matthew 21.28–32. Even if this hypothesis cannot be conclusively proven, it helps heuristically to reveal more fully Luke's literary and theological genius. In line with our increasingly clear conviction that the evangelists were not mere compilers of traditions, this suggestion deserves to be discussed afresh.

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Charles, Ronald. "Traveling Sons." Novum Testamentum 60, no. 3 (May 28, 2018): 247–67. http://dx.doi.org/10.1163/15685365-12341608.

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Abstract In both Tobit and the parable of the Prodigal Son in Luke 15:11-32 there is featured a father-son relationship that revolves around the extended journey of the son and the son’s return to his father. This paper explores the figure of the traveling son in Tobit in close parallel with that of the traveling son in Luke 15:11-32. The aim is to indicate not solely similarities and contrasts between the two narratives but to show how Tobit might have been used as a source for the Lukan composition.

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Shcherbakov, Vitaly Yu. "THE GOSPEL PARABLE OF THE PRODIGAL SON: ITS MORAL AND PEDAGOGICAL ASPECT." Богословский сборник Тамбовской духовной семинарии, no. 3 (2021): 140–51. http://dx.doi.org/10.51216/2687-072x_2021_3_140.

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Shcherbakov, Vitaly Yu. "THE GOSPEL PARABLE OF THE PRODIGAL SON: ITS MORAL AND PEDAGOGICAL ASPECT." Богословский сборник Тамбовской духовной семинарии, no. 3 (2021): 140–51. http://dx.doi.org/10.51216/2687-072x_2021_3_140.

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31

Lim, Byung-Duk. "God and Man: Kierkegaard’s Interpretation of the Parable of the Prodigal Son." Korean Society for the Study of Moral Education 28, no. 3 (December 31, 2016): 91–113. http://dx.doi.org/10.17715/jme.2016.12.28.3.91.

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Haeger, Barbara. "Philips Galle's engravings after Maarten van Heemskerck's Parable of the Prodigal Son." Oud Holland - Quarterly for Dutch Art History 102, no. 2 (1988): 127–40. http://dx.doi.org/10.1163/187501788x00366.

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Hill, E. Wayne. "A Collaborative Pastoral Care and Counseling Supervisory Model." Journal of Pastoral Care 55, no. 1 (March 2001): 69–80. http://dx.doi.org/10.1177/002234090105500108.

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Presents a collaborative pastoral care and counseling supervisory model based on constructivism and attachment theories. Addresses issues concerning cognition, learning theory, and anxiety. Identifies the stages in the supervisory process. Discusses ways in which cognitive, emotional, and social development are linked to attachment theory and places this in the context of supervision in pastoral counseling. Reflects on the theological relevance of attachment theory utilizing the biblical parable of the prodigal son.

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Kolmakova, O. A. "CHRISTIAN DISCOURSE IN YU. BUIDA’S NOVEL «THIEF, SPY AND MURDERER»." Bulletin of Kemerovo State University, no. 1 (March 20, 2017): 164–68. http://dx.doi.org/10.21603/2078-8975-2017-1-164-168.

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In the modern Russian writer Yuri Buida’s novel "Thief, Spy and Murderer" (2014), Christian discourse reveals itself at different levels of the text’s organization: genre (autobiography / confession), imaginative (marginal, mad / poor in spirit), motivic (imperfection of human nature / sin), plot (the hard way the son to the father / parable of the prodigal son) and others. On the one hand, Christian allusions in the novel are a manifestation of intertextual poetics, creating a cultural context for the perception of the postmodern text. On the other hand, the Christian "code" is the most relevant for the disclosure of the philosophical and psychological content of the novel, as in Christian categories expressed by the author's attitude to the leading cultural meanings of the era, to modern man, and to himself.

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Adkin, Neil. "Crux in the Proem of Henry of Avranches’ Bordo-Siler (R 129–144,17–18)." Acta Classica Universitatis Scientiarum Debreceniensis 58 (September 1, 2022): 155–59. http://dx.doi.org/10.22315/acd/2022/8.

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The 13th-century poet Henry of Avranches has given us in the form of his Bordo-Siler what is a chef-d’oeuvre of poetic vituperation. The proem of this important poem is marred by textual corruption in the view of its editor and commentator, A. G. Rigg. The present article endeavours to show that the text is sound. Here we in fact have a reference to the parable of the Prodigal Son. We also have a clever jeu grammatical in the matter of metrical quantity.

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Melnikova, M. V. "The parable of the sower and the parable of the prodigal son in Margaret Drabble’s novel "Jerusalem the Golden”." Science and School, no. 2 (2022): 18–24. http://dx.doi.org/10.31862/1819-463x-2022-2-18-24.

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Balashova, Elena Yurievna. "Discourse Specifics of the New Testament Parable Genre (on the Material of the Analysis of the Prodigal Son Parable)." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 13, no. 2 (2013): 17–20. http://dx.doi.org/10.18500/1817-7115-2013-13-2-17-20.

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Yakimova, Lyudmila P. "Vagrancy Motive in the Gender Aspect of Russian Literature of the 1920s." Studies in Theory of Literary Plot and Narratology, no. 1 (2024): 58–69. http://dx.doi.org/10.25205/2713-3133-2024-1-58-69.

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The content of the article is a comparative analysis of the stories in Vs. Ivanov’s “The Life of Smokotinin”, L. Leonov’s “The Tramp”, A. Platonov’s novella “The Potudan River”, united by the authors’ common attention to the motive of vagrancy. The article considers the general structuring of the text, the similarity and overlap in the use of artistic means, in this case, first of all, the poetic and semantic potential of the parable of the prodigal son. In the theoretical aspect, the potential involvement of the consideration of works with this kind of motive-plot connections as an integral literary cycle is revealed.

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Bolin, John. ""This is not a parable": Transformations of the Prodigal Son in Turgenev, Dostoevsky, and Coetzee." Studies in the Novel 50, no. 2 (2018): 233–54. http://dx.doi.org/10.1353/sdn.2018.0013.

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Pascual Gay, Juan. "De Ulises al Hijo Pródigo: un proceso de sustitución en la literatura mexicana hacia 1920." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 23 (December 24, 2014): 372. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.201523765.

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El artículo quiere dar cuenta del motivo del Hijo Pródigo en la literatura mexicana de la década de los años veinte del siglo pasado. El personaje de la parábola desde su aparición fue relegando a otro viajero que había concitado el interés y la curiosidad en los primeros años de esa década, Ulises, de resonancias vasconcelistas. La complejidad del pródigo explica la seducción que operó sobre jóvenes poetas mexicanos, en particular, Xavier Villaurrutia, Gilbeto Owen y Salvador Novo. The article wants to give an account of the reason for the prodigal son in Mexican literature of the Decade of the twenties of the last century. The character of the parable from his appearance was relegating another traveller who had aroused interest and curiosity in the early years of that decade, Ulysses, of resonance vasconcelistas. The complexity of the prodigal explains the seduction that operated on young Mexican poets, in particular, Xavier Villaurrutia, Gilbeto Owen and Salvador Novo.

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Luszczynska, Magdalena. "From the Prodigal Son to the Last Judgement: Arian Parables of Conversion to Catholicism." Journal of Religion in Europe 11, no. 1 (April 16, 2018): 1–19. http://dx.doi.org/10.1163/18748929-01101001.

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Sixteenth-century Polish-Lithuania was a multicultural country that took pride in its policy of religious tolerance. Among its many denominations was an Anabaptist sect known as the Polish Brethren or Arians. The relative openness of the society to conversion allowed individuals to explore a spectrum of religious options in search of a denomination that would fulfil their personal spiritual needs. Yet, such choices could sever friendships and family ties. The story of an Arian, Balcer Wilkowski, whose son Gaspar converted to Roman Catholicism, serves as a poignant example. Through literary analysis of his writing, this paper demonstrates how Wilkowski senior deployed scriptural references, and in particular the Parable of the Prodigal Son, to express his reaction to his son’s apostasy. While obligated by his own spiritual commitments to condemn Gaspar’s conversion, as a father he continued to search for a theological justification for the hope that his son might return to the Arian fold.

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Xi, Liu. "The metaphorical representations of the parable of Prodigal Son in dramatic works of Nicolay Kolyada." Science of the Person: Humanitarian Researches 15, no. 4 (2021): 83–91. http://dx.doi.org/10.17238/issn1998-5320.2021.15.4.9.

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Jeffery, Robert. "10th March: 4th Sunday in Lent Two Sermons on the Parable of the Prodigal Son." Expository Times 124, no. 5 (January 11, 2013): 237–38. http://dx.doi.org/10.1177/0014524612467720.

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Vos, C. J. A. "Die evangelie as pragmaties-kommunikatiewe gebeure: ’n Perspektief op evangelistiek." Verbum et Ecclesia 10, no. 2 (July 18, 1989): 183–90. http://dx.doi.org/10.4102/ve.v10i2.1006.

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The gospel as a pragmatic-communicative act: A perspective on evangelism The article focuses on the gospel as a pragmatic-communicative act. The answer to the question of what is communicated by the gospel, is determined by examining the relationship between evangelism and mission. Certain models for determining the difference between evangelism and mission are examined. The scope of the term gospel is analysed at the hand of Luke chapter 4, and its application in the Missiology and Practical Theology is elucidated in the light of the above finding. The gospel as a pragmatic-communicative act is, lastly, illustrated at the hand of the parable of the prodigal son.

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Darmawan, Andreas James, I. Nyoman Sedana, and Martinus Dwi Marianto. "Unveiling the aesthetic connection: Balinese wayang characters and the 'prodigal son' bible story." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 18, no. 1 (June 3, 2023): 56–68. http://dx.doi.org/10.33153/dewaruci.v18i1.4674.

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The Prodigal Son, a well-known biblical parable cherished by children, has never been depicted using Balinese wayang, presenting an opportunity for cultural enrichment. This research aims to select appropriate Balinese wayang characters for the Bible story "The Lost Child." The motivation behind this study is to bridge the gap between the western visual style often associated with biblical depictions and the captivating Balinese wayang tradition, rekindling children's interest and appreciation for the narrative. The qualitative research method utilizes Thomas Aquinas' Christian theoretical literature and Balinese aesthetic theory, complemented by interviews and FGDs with fellow Doctoral students. The findings yield a deep correlation between the aesthetic theories, laying the foundation for selecting wayang characters. Wayang Tualen represents the father's kind traits, while Merdah embodies the adventurous youngest son. Sangut portrays the passionate firstborn, Cenk and Blonk represent dynamic and critical aspects, and Delem embodies arrogance and cunning. The research discussions enrich the study's scope, contributing to Balinese cultural preservation and its fusion with global characterizations. This artistic amalgamation fosters cross-cultural appreciation and artistic regeneration among younger generations with both the characters in the story and the characters in the Balinese wayang.

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Gosker, Margriet. "Woord en beeld." Acta Neerlandica, no. 16-17 (March 1, 2021): 159–95. http://dx.doi.org/10.36392/actaneerl/2020/16-17/9.

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As an ecumenical theologian I studied all my life the words of the Holy Scriptures. I am also interested in images, strengthening the power of expression of words and the Word, and the other way around. In our present time the culture of images seems to be more and more important. One image can tell you more in a minute than many words can do. The Bible is interpreted by many interpreters and preachers in books, sermons and meditations. How can images interpret these Bible Stories? It is a challenge to show the correlation between the words of the Bible and its images. In this essay, I focus on the parable of the prodigal son. It shows three personalities: the father and his two sons. This raises the question: what about the mother? What is the interference between this story and the way individual artists managed to shape it in paint, pencil, stone, woodcut, and other materials? The youngest son is a spoiler. His life is adventure and pleasure and he has no limits. The eldest son is responsible and obedient, but he also has his dark side. Both of them could be a question to us. With whom could we identify ourselves? Some artists in their finest imagination did not stick to the story and made images of the mother or even of a prodigal daughter.

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Taggard, Mindy Nancarrow. "A Source for the Interpretation of Murillo’s Parable of the Prodigal Son: The Golden Age Stage." RACAR : Revue d'art canadienne 14, no. 1-2 (1987): 90. http://dx.doi.org/10.7202/1073454ar.

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48

Karris, Robert J. "Francis of Meyronnes' Sermon 57 on the Parable of the Prodigal Son (Luke 15:11-32)." Franciscan Studies 63, no. 1 (2005): 131–58. http://dx.doi.org/10.1353/frc.2005.0010.

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Nikonova, Natalia Ye. "Vasily Zhukovsky and Friedrich Wilhelm von Schadow: Based on Materials From the Painter’s Unpublished Letters." Imagologiya i komparativistika, no. 14 (2020): 37–61. http://dx.doi.org/10.17223/24099554/14/2.

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The article presents, for the first time, an attempt to reconstruct the context and the object of creative contacts of Vasily Zhukovsky and Friedrich Wilhelm von Schadow (1788–1862), a theorist of painting and head of the Academy of Arts in Dusseldorf. The sources for the reconstruction were the previously unpublished eight letters by the German artist written in the period from 1838 to 1846 and now stored in the Manuscript Department of the Institute of Russian Literature and materials from the creative heritage of the Russian poet and artist. The article establishes new facts about the institutional role of Zhukovsky in the Russian-German cultural ties in the 19th century. Von Schadow gave some of his paintings in the original, in copies or prints for Zhukovsky’s personal collection and for the imperial collection of the future Hermitage. The list of these paintings is, for the first time, compiled in the article. The textual material is illustrated with images from von Schadow’s works discussed in the epistolary dialogue. Von Schadow’s published manifestos on the theory and criticism of Christian religious painting, which Zhukovsky read and which influenced his artistic worldview in the 1840s, are attributed. The article presents, for the first time, the most significant fragments from von Schadow’s letters of 1838–1845 translated into Russian. The fragments fill in the gaps in the objective representation of the scale of Zhukovsky’s activities at court on compiling a collection of Russian paintings both in the institutional and ideological artistic aspects. At the same time, the communication between the German artist and the Russian poet found reflection in Zhukovsky’s creative heritage of the late period: in his criticism, works on art theory, prose, and reflections. Von Schadow, in his last letters, and Zhukovsky, in his diary entries, pay special attention to reflections on pedagogical activities and works on the theory of fine arts, as well as on their social and political activities. The parable of the prodigal son was the final touch in the creative dialogue of the poet and the artist. Zhukovsky reflected this parable in his unfinished poem about the Wandering Jew. The lines of the poem paint in words fragments from the Sacred History quite in the spirit of von Schadow’s paintings: Zhukovsky compares the Wandering Jew who ascended Calvary with the prodigal son and depicts the holistic canvas of the inner and outer space of the character through his eyes. The conclusion is made that the discovered letters from von Schadow to Zhukovsky reveal the adherence of the both to the lofty romantic idea of a synthesis of arts based on the poetics of heartfelt feelings, artistic imagination, active teaching, and religious and mystical experience. Fine arts, science and history, issues of faith and politics of the mid-19th century were a background for the concentration of the correspondents on the rethinking of substantial religious and philosophical issues on the material of eternal biblical plots on the entombment of Christ, taking Christ down from the cross, on reasonable and unreasonable maidens, and, finally, on two parables about the lost sheep and the prodigal son, which became the ultimate embodiment of the dialogue of a poet and an artist in fine arts.

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Fedorova, Elena. "CHURCH CALENDAR, GOSPEL AND LITURGICAL TEXT IN THE NOVEL THE RAW YOUTH AND A WRITER'S DIARY (1876) BY FYODOR DOSTOEVSKY." Проблемы исторической поэтики 19, no. 1 (February 2021): 258–82. http://dx.doi.org/10.15393/j9.art.2021.9182.

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F. M. Dostoevsky's novel The Raw Youth (1874-1875) and A Writer's Diary (1876) were created in the tradition of Christian calendar prose, which is aligned with sacred time. The two works are united by the idea of the religious transformation of personality, the salvation of the soul and unification around the Gospel Truth, the search for ideal foundations in the Russian people, and reflections on their purpose. Dostoevsky introduces Easter narratives into the novel and into A Writer's Diary in 1876: the story of Makar Dolgoruky about the merchant Skotoboinikov, the opera by Trishatov, the story The Peasant Marey. The plot and storyline motives of these works and the novel go back to the parable of the Prodigal Son and the Book of Job. They share the motives of suffering, redemption and resurrection. A Writer's Diary of 1876, which utilizes a system of references to the novel, starts from January and contains a reference to the celebration of the Nativity (the Christmas story The Beggar Boy at Christ's Christmas Tree, quotes from a Christmas worship service), and ends in December, at the beginning of advent. A Writer's Diary contains an appeal to Christmas and Easter as the most significant dates of the church calendar and the writer's personal biographical time. In the chapter More on a simple but tricky case (December), Dostoevsky recalls how he survived the December 22 execution on the Semyonovsky parade ground and a revival on Christmas Eve; in the Easter story The Peasant Marey (February), he tells the story of how he acquired faith in the Russian people in penal servitude during Easter. The author's position in the novel The Raw Youth and A Writer's Diary of 1876 can’t be comprehended without referring to the gospel and liturgical text. The Gospel parable of the Prodigal Son and the Book of Job, which are referenced in the novel and A Writer's Diary, are read in church before and during Great Lent.

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