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Journal articles on the topic 'St. Luke's Gospel'

Author: Grafiati

Published: 2 June 2025

Last updated: 19 July 2025

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1

White, William G. "Non-Theological Reflections on St. Luke's Gospel." Linacre Quarterly 53, no. 1 (1986): 9–13. http://dx.doi.org/10.1080/00243639.1986.11877628.

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2

Kachouh, Hikmat. "Sinai Ar. N.F. Parchment 8 and 28: Its Contribution to Textual Criticism of the Gospel of Luke." Novum Testamentum 50, no. 1 (2008): 28–57. http://dx.doi.org/10.1163/156853607x229448.

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

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3

Padgett, Jacqueline Olson. "Ekphrasis, Lorenzo Lotto's Annunciation, and the Hermeneutics of Suspicion." Religion and the Arts 10, no. 2 (2006): 191–218. http://dx.doi.org/10.1163/156852906777977761.

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AbstractLorenzo Lotto's Recanati Annunciation develops the second of the traditional pericopes in St. Luke's narrative of the Annunciation, presenting to the spectator the Virgin's startled reaction to the arrival of the angel Gabriel and suggesting that we might employ a hermeneutics of suspicion in reading the Gospel text. Recent literary responses to Lotto's painting and to the Lukan text engage in a similar hermeneutics to offer an understanding of personal and cultural responses to the Annunciation narrative and to present at times a counter-narrative.

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4

Stein, Robert. "James MacMillan St Luke Passion, Barbican Centre, London." Tempo 69, no. 274 (2015): 65–66. http://dx.doi.org/10.1017/s004029821500039x.

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

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5

Darr, John A. "Book Review: Jesus and the New Age: A Commentary on St. Luke's Gospel." Interpretation: A Journal of Bible and Theology 44, no. 1 (1990): 88–89. http://dx.doi.org/10.1177/002096438904400118.

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6

Victor, Onyango Ouno. "Things Falling Apart: Societies in Irreversible Transition in Achebe's Things Fall Apart and St. Luke's Gospel." International Journal of Social Science and Human Research 08, no. 05 (2025): 2960–68. https://doi.org/10.5281/zenodo.15421427.

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A text interacts with and references other texts. Meaning is a dialogue between different works. No text, as such, exists in isolation. This study is a critical reading of Chinua Achebe’s Things Fall Apart as a representation of communities on the verge of irreversible transition. Achebe’s novel is read as an imitation, though ‘not quite,’ of Judeo-Christian societies. The kernel of the argument in this study is that Achebe’s story, in many ways, bears a close semblance to Judaic and Christian societies in St. Luke’s Gospel. Using deconstructionist theory, I

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7

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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8

Markovic, Miodrag. "An example of the influence of the gospel lectionary on the iconography of medieval wall painting." Zbornik radova Vizantoloskog instituta, no. 44 (2007): 353–62. http://dx.doi.org/10.2298/zrvi0744353m.

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The influence of the Gospel lectionary (evangelistarion) on the iconography of medieval wall painting was rather sporadic. One of the rare testimonies that it did exist, nevertheless, is the specific iconographic formula for the scene of Christ in the house of Martha and Mary, preserved in a number of King Milutin's foundations - Gracanica (ca. 1320), Chilandar katholikon (1321) and St. Nicetas near Skopje (ca. 1324). In all three churches, the iconographic formula corresponds for the most part to the description in the Gospel (Lk 10, 38-42). A large number of figures were painted against an a

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9

Birdsall, J. Neville. "A New Edition of Luke's Gospel - The American and British Committees of the International Greek New Testament Project: The New Testament in Greek, 3: The Gospel according to St. Luke, Part Two, Chapters 13–24. Pp. 262. Oxford: Clarendon Press, 1987. £65.00." Classical Review 39, no. 2 (1989): 198–200. http://dx.doi.org/10.1017/s0009840x00271369.

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10

I. B. Onuigbo, Wilson. "Women Empowerment in Christendom in St Luke’s Gospel." Journal of Religion and Theology 2, no. 4 (2018): 24–28. http://dx.doi.org/10.22259/2637-5907.0204005.

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11

Mihaljević, Ana, and Milan Mihaljević. "St. Jerome’s Homilies on Luke’s Gospel in Croatian Glagolitic Breviaries." Konštantínove listy/Constantine's Letters 13, no. 1 (2020): 51–82. http://dx.doi.org/10.17846/cl.2020.13.1.51-82.

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12

Wojda, Jacek. "Czytać historię Jezusa z Nazaretu w Ewangelii wg św. Łukasza." Teologiczne Studia Siedleckie X (2013) 10, no. 2013 (2021): 11–30. https://doi.org/10.5281/zenodo.5558438.

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<strong>Reading the history of Jesus Christ in the Gospel according to St. Luke</strong> The history of Jesus of Nazareth makes always the very important subject of Theology and practice of the Church. Taking the criterion of events as the key of interpretation of Gospel according to Luke, the author proposes the analysis of work of Luke. Biblical exegesis doesn’t often lay an accentuation on the history which constitutes one of essential elements of Gospel – in this case the one according to St. Luke. A lot of events narrated there allow to follow the evangelical narration. The ev

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13

Mikołajczak, Mieczysław. "Obraz życia społeczno-religijnego Maryi w Ewangelii Dziecięctwa Jezusa (Łk 1-2)." Studia Warmińskie 48 (December 31, 2011): 51–61. http://dx.doi.org/10.31648/sw.286.

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Recent discoveries in the realm of cultural anthropology and social psychology have had repercussions in our interpretation of the New Testament texts and particularly of the Gospel of the Infancy of Jesus (Lk 1-2). The author of this article has attempted to prove that scientific approach and scholarly models should be applied to these texts only in the context of broad theory of their origin and interpretation of the literary meaning. The author has narrowed down the scope of his interest to the presentation of the socio-religious status of Mary in Luke’s account (Lk 1-2). The research has s

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14

Asmus, Michael. "Homily of Leontius presbyter of Constantinople on the beginning of the third chapter of St. Luke’s Gospel (“In Decollationem Praecursoris” — CPG 4862; BHG 843n)." St.Tikhons' University Review 92 (December 31, 2020): 125–58. http://dx.doi.org/10.15382/sturi202092.125-158.

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15

Agapina, T. "Zmiya skorpiya in the Russian North Handwritten Charms Tradition." Slavianovedenie, no. 6 (2022): 53. http://dx.doi.org/10.31857/s0869544x0023261-0.

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The article is devoted to the study of a folklore cliche zmiya skorpiya ‘a serpent and a scorpion’ in the Russian North handwritten charms tradition. It was discovered that the source of the cliche is the Gospel of Luke’s quote (Luke 10:19), which was included in the oral charms of the Southern Russian, Eastern Belarusian and Eastern Ukrainian regions, as well as in the Russian North handwritten herdsman charms, most likely through liturgical texts. In herdsman charms this cliche fits organically the list of wild animals from which a charm was supposed to protect the livestock while grazing it

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16

Shchetynsky, O. S. "Musical iconography of Annunciation: personal experience." Aspects of Historical Musicology 17, no. 17 (2019): 74–89. http://dx.doi.org/10.34064/khnum2-17.05.

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Background. The objective of the article is to analyze the interaction, for sake of artistic unity of a work, of the musical, textural and theatrical structures and solutions in the contemporary opera as in a synthetic genre. The author uses his chamber opera “Annunciation” as an example of these processes and shows the ways certain dramatic and theatrical ideas determine musical solutions. Although since the middle of the 19th century composers sometimes wrote an opera text themselves, the common case was still a collaboration of two (sometimes more) creators: a composer and a librettist, eac

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17

Ouno, Victor Onyango. "Things Falling Apart: Societies in Irreversible Transition in Achebe’s Things Fall Apart and St. Luke’s Gospel." International Journal of Social Science and Human Research 08, no. 05 (2025). https://doi.org/10.47191/ijsshr/v8-i5-39.

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Abstract:

A text interacts with and references other texts. Meaning is a dialogue between different works. No text, as such, exists in isolation. This study is a critical reading of Chinua Achebe’s Things Fall Apart as a representation of communities on the verge of irreversible transition. Achebe’s novel is read as an imitation, though ‘not quite,’ of Judeo-Christian societies. The kernel of the argument in this study is that Achebe’s story, in many ways, bears a close semblance to Judaic and Christian societies in St. Luke’s Gospel. Using deconstructionist theory, I critique the novel as a composite o

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