Journal articles on the topic 'Depiction of God'
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John - Wawa, Victoria. "The Depiction of God in the Book of Revelation." Bible and the Contemporary World 3, no. 1 (March 9, 2021): 89–97. http://dx.doi.org/10.15664/bcw.v3i1.2175.
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Widya Sena, I. Gusti Made. "MENINGKATKAN MUTU UMAT MELALUI PEMAHAMAN YANG BENAR TERHADAP SIMBOL ACINTYA (PERSPEKTIF SIWA SIDDHANTA)." Jurnal Penjaminan Mutu 2, no. 1 (February 13, 2016): 1. http://dx.doi.org/10.25078/jpm.v2i1.56.
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<p><em>God is very difficult to understand with eyes. In order to know God, His nature, and His personification, use of various symbols can be helpful, which suggests the unification of two elements, namely the physical and spiritual ones. Acintya is the symbol or manifestation of God 's Omnipotence. It is the “unimaginable” that turns to be the “imaginable" through potraits, reliefs, or statues. All of these symbols are manifestation of the Acintya that takes the form of the dance of Shiva Nataraja, as the depiction of the Omnipotence of God, to bring in the actual symbol of the "Unthinkable " that have a meaning that people are in a situation where emotions religinya very close with God.</em></p>
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Macaskill, Grant. "Review Article: The Deliverance of God." Journal for the Study of the New Testament 34, no. 2 (December 2011): 150–61. http://dx.doi.org/10.1177/0142064x11424852.
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Douglas Campbell’s recent work The Deliverance of God represents a major rereading of Paul’s letter to the Romans, especially its early chapters, and through this offers a broader reinterpretation of Pauline soteriology, deliberately set in dialogue with theological traditions, particularly those founded on forensic understandings of atonement. This article evaluates the key elements of Campbell’s argument, particularly (1) his depiction of Jewish soteriology (2) his suggestion that much of Rom. 1.18–3.20 utilizes the rhetorical device of ‘speech-in-character’, and therefore represents the opinion of Paul’s opponent rather than that of the apostle himself, and (3) his treatment of historical theology. The Deliverance of God is found to be stimulating and provocative at points, and to be a significant contribution to the field, but unconvincing in its major moves.
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Milvert, Kaitlynn N. "Becoming God: Cycles of Rebirth and Resurrection in Their Eyes Were Watching God." IU Journal of Undergraduate Research 2, no. 1 (May 31, 2016): 13–18. http://dx.doi.org/10.14434/iujur.v2i1.20920.
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This paper reexamines African-American writer and anthropologist Zora Neale Hurston’s presentation of the self in Their Eyes Were Watching God (1937), generally considered one of the most important African-American novels of the twentieth century. Originally criticized by Hurston’s contemporaries as a retrograde folk portrait of African-American life, Their Eyes presents the oral narrative of Hurston’s protagonist, Janie, a woman surrounded by natural and social cycles. Building on the novel’s allusive title and the convergent Biblical and folkloric frameworks of the work, I trace the evolving concept of “God” throughout the novel as external forces continually shape and reshape Janie’s world for her, questioning whether she can retain any individual agency navigating through these cyclical, predetermined pathways. The redefined vision of the individual that emerges from this reading counters the criticism of Hurston’s contemporaries, as Janie herself assumes the role of “God” at the novel’s conclusion and gains the power to create her own cycles, free from external control. I thus argue that the novel transcends its supposed function as a depiction of the African-American self to make a broader, humanistic claim for the power of the individual, not contingent on social distinctions.
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Wilson, Brittany E. "Imaging the Divine: Idolatry and God's Body in the Book of Acts." New Testament Studies 65, no. 3 (May 2, 2019): 353–70. http://dx.doi.org/10.1017/s0028688519000109.
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This article problematises the widespread assumption that the God of early Christianity is an invisible God. This assumption is found in both popular and academic discourse and often appeals to biblical critiques of divine images to make its case. Yet while Hebrew Bible scholars have recently questioned this axiomatic belief, New Testament scholars have yet to do the same. To address this oversight, this article first looks at divine images and idol polemic in the ancient world and then turns to Luke's depiction of divine images in the book of Acts as a test case. Here I demonstrate how Acts depicts God as a visible – and even embodied – being, while at the same time critiquing visual representations of the divine. With Acts, we find that not all Christians ‘imaged’ God as invisible.
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Wynne, Jeremy J. "Serving the Coming God: The Insights of Jürgen Moltmann's Eschatology for Contemporary Theology of Mission." Missiology: An International Review 35, no. 4 (October 2007): 437–52. http://dx.doi.org/10.1177/009182960703500407.
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A critical and mutually enriching conversation may be facilitated between Jürgen Moltmann's eschatology and some of the concerns of contemporary theologians of mission. In the service of greater theological clarity, the following essay suggests four distinct lines of inquiry: how Moltmann's understanding of an “eschatologically open future” challenges the modern doctrine of cause and effect; the importance of a Trinitarian depiction of God as a sending God; Moltmann's proposal for a robust, Christian theology of history; and the scope of God's salvation, particularly as it is related to Moltmann's complicated and creative panentheism.
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Pausacker, Helen. "Presidents as Punakawan: Portrayal of National Leaders as Clown-Servants in Central Javanese Wayang." Journal of Southeast Asian Studies 35, no. 2 (June 2004): 213–33. http://dx.doi.org/10.1017/s0022463404000128.
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The trend to portray Indonesian presidents as punakawan (clown servants) in wayang (shadow puppetry) was started under the former President Soeharto. Whereas Soeharto chose to be conveyed as Semar, a clown but also a former god, greater artistic freedom post-Soeharto led to a more farcical depiction of Habibie and Gus Dur as Semar's sons, Gareng and Bagong.
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O'Keeffe, Michael E., and Kathleen Waller. "Hollywood's Absent, Impotent, and Avenging God in the Classroom." Horizons 30, no. 1 (2003): 92–110. http://dx.doi.org/10.1017/s0360966900000062.
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ABSTRACTThe focus of this article is twofold. First, recognizing the influence of the mass media on the religious views of many undergraduate students, it examines the negative depiction of God in several popular American films and concludes that the image of God as absent, impotent and demonic ought to be addressed in the classroom. The second issue concerns the use of film in the classroom—both to encourage students to sharpen their understanding of contemporary theology, and to then use this theology as a basis for understanding and evaluating the religious messages carried by contemporary films. The films explored are What Dreams May Come, Dogma, The End of the Affair, The Rapture, and Stigmata.
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Esposito, Teresa. "Ignis artificiosus. Images of God and the Universe in Rubens’s Depiction of Antique Shields." Early Modern Low Countries 2, no. 2 (December 11, 2018): 244. http://dx.doi.org/10.18352/emlc.70.
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Devysa, Nadya, and Siti Nurlaili. "KONSEP TUHAN DALAM SERAT KIDUNGAN KAWEDHAR." Academic Journal of Islamic Principles and Phylosophy 1, no. 1 (April 30, 2020): 15. http://dx.doi.org/10.22515/ajipp.v1i1.2402.
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The concept of God written in "Serat Kidungan Kawedhar" by Sunan Kalijaga is interesting enough to be studied by devotees of Javanese philosophy. Such as the concept of God written in this Serat, particularly regarding the existence of God as "Sangkan Paran" which makes this Serat needs to be reviewed and examined. There are two main problems in this study; concerning the concept of God as Sangkan Paraning Dumadi in the Serat Kidungan Kawedhar and the teachings of the concept of God in Serat Kidungan Kawedhar for todays people life. With a descriptive method, content analysis and verstehen, this research shows that God described in "Serat Kidungan Kawedhar" is called Hartati which is a form of God's manifestation within humans. While to ease the preaching of the messages, it named God by Sang Hyang Guru and Sang Hyang Hayyu. As the depiction of God "Ngadeg Pangawak Teja" which means standing upright with the light, or God is the light path for human life. This Serat is a hymn used by Sunan Kalijaga in Islamizing Java. Furthermore, it contains religious values regarding the seeking of God as a Creator and paths to be united towards God (manunggal marang Gusti). Moreover, Sunan Kalijaga also said in this Serat that humans must be able to understand themselves and their purposes of life by applying tepa slira and keep caring for God through Dhikr, because it will make people closer to God.
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Pelser, G. M. M. "Die ontmitologiseringsprogram van Rudolf Bultmann." HTS Teologiese Studies / Theological Studies 43, no. 1/2 (June 29, 1987): 162–91. http://dx.doi.org/10.4102/hts.v43i1/2.5738.
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Rudolf Bultmann's program of demythologizingAs the heading above indicates, the main purpose of this essay is an endeavour to give an exposition of Bultmann's program of demythologizing. Attention is consecutively given to Bultmann's definition of myth; the problem, according to Bultmann, created for modem man by the mythic worldview of the New Testament and the mythological depiction of the salvation event therein; the impossibility of upholding this view in modem times; the necessity for demythologizing; demythologizing through existential interpretation; results, such as Bultmann's views on speaking about God; the acts of God; God's revelation; the Christ-event and eschatology. The essay is concluded with a short, mainly appreciative evaluation.
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Codsi, Stephanie. "‘Father, father, where are you going?’: Epicurean Deism and Absent Fathers in Blake’s Songs of Innocence and of Experience." Literature and Theology 33, no. 4 (September 13, 2019): 357–75. http://dx.doi.org/10.1093/litthe/frz028.
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Abstract This article explores the connection between the absent deity of Epicurean Deism and the father figure in Blake's Songs of Innocence and of Experience (1789–1794). The absent, elusive or indifferent God – which I trace back to Epicurean theology and its theory of atoms – plays out in Blake's depiction of a father whose absence or neglect is an implied cause of man's alienation. The article firstly looks at the inheritance of Epicureanism in 17–18th century Deist texts, then considers Blake s references to Epicureanism in his works, and finally argues that Blake critiques such concepts of God and fatherhood in a selection of Songs.
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SKYGGEBJERG, ANNA KARLSKOV. "God, King and Country: The Depiction of National Identity in Danish Historical Novels for Children." International Research in Children's Literature 1, no. 1 (July 2008): 27–37. http://dx.doi.org/10.3366/e1755619808000082.
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This article charts the depiction of national identity in the historical novel for children. The introduction defines the historical novel in general (with a review of theories by Georg Lukács and Hayden White), and then reflects upon the function of this genre in children's literature (drawing on studies by John Stephens, Åsfrid Svensen and Anna Adamik Jáscó). To cast light on the structure and development of national identity there is an analysis of two Danish historical novels for children: Marius Dahlsgaard's Thorkilds Træl[Thorkild's slave] (1932) and Lars-Henrik Olsen's Sagaen om Svend Pindehugger [The saga of Svend Pindehugger] (1993). These books deal with the same historical event – the conquest of Estonia in the thirteenth-century – and both novels are based on a national historical legend about the Danish flag. The article argues that the historical novel for children has moved away from purely heroic images and eulogies of king and nation, but is still rooted in national history and incorporates a strong emphasis on power relations fought out in wars.
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Ditchfield, Simon. "Introduction." Studies in Church History 53 (May 26, 2017): 1–14. http://dx.doi.org/10.1017/stc.2016.2.
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This archetypal depiction of the divine, Pentecostal solution to the challenge posed by linguistic diversity to the spread of Christianity lies at the heart of this volume. How was the curse placed on the citizens of monolingual Babel, who had the temerity to attempt to build a tower that reached heaven (Gen. 11: 1–9), so that God made their speech mutually incomprehensible and scattered them to the winds, to be exorcised, or at least best coped with?
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Ranieri, John. "The Quranic Jesus: Prophet and Scapegoat." Forum Philosophicum 24, no. 1 (December 5, 2019): 183–220. http://dx.doi.org/10.35765/forphil.2019.2401.07.
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A major theme in René Girard’s work involves the role of the Bible in exposing the scapegoating practices at the basis of culture. The God of the Bible is understood to be a God who takes the side of victims. The God of the Qur’an is also a defender of victims, an idea that recurs throughout the text in the stories of messengers and prophets. In a number of ways, Jesus is unique among the prophets mentioned in the Qur’an. It is argued here that while the Quranic Jesus is distinctly Islamic, and not a Christian derivative, he functions in the Qur’an in a way analogous to the role Jesus plays in the gospels. In its depiction of Jesus, the Qur’an is acutely aware of mimetic rivalry, scapegoating, and the God who comes to the aid of the persecuted. Despite the significant differences between the Christian understanding of Jesus as savior and the way he is understood in the Qur’an, a Girardian interpretation of the Qur’anic Jesus will suggest ways in which Jesus can be a bridge rather than an obstacle in Christian/Muslim dialogue.
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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 istorija ir kontroversijos leidžia dar kartą apsvarstyti meninio atvaizdo ontologinį statusą.Pagrindiniai žodžiai: Švč. Trejybė, slėpinys, atvaizdas, ikonografija, Nikėjos II susirinkimas, Tridento susirinkimas. IMAGES OF THE HOLY TRINITY: ORIGINS, ICONOGRAPHIC FEATURES, DEFORMATIONSSigita Maslauskaitė SummaryThe history of the image of the Holy Trinity reveals that the interpretation of this Christian mystery posed and still poses a challenge Christianity has attempted to face during general meetings encouraging the publishing of theological tracts and enlightening artists as well as those who commission works of art. Meanwhile, artists have tried to depict the glory of one God in three persons, distorting the image to a greater or lesser degree. Christian images often attributed human qualities to theTrinity of God and bestowed Him with an anthropomorphic silhouette. Some of them went so far as to portray the three-faced Trinity revealing a three-theistic thinking, which was a complete diversion from searching for the image of God in three persons. However, in the Christian iconographic tradition it would have been an absurd thing to do. On the contrary, the majority of the images of the Holy Trinity are worthy of respect even though they do pose a problem that needs to be faced.The doctrine of incarnation enables the portrayal of the face of God the Son. In the Old Testament, God does not disclose His face, whereas in the New Testament He reveals the face of the eternal Incarnate Word, i.e. Jesus Christ. The Church permitted the depiction of both the human form of Christ and His biographic events. Around 730, John of Damascus quoted Basilius the Great and emphasized that image worshipping was not a pagan cult as it was not the matter that was being celebrated but rather that which was being depicted, thus “we honour not the sacred image, but the prototype of which the artistic object is only a reflection.” Subsequently, the latter phrase comprised the base of all defenders of Christian images and was often being repeated in order to prove that the cult of images was based on the worshipping of the depicted persons but not the depictions themselves. Christians followed the conviction that the Son was the consubstantial image of the prototype and that only the Son “is the image of the invisible God” (Col. 1:15) and “the expressed image of his person” (Heb. 1:3). Thus, the Holy Spirit, in its turn, is also the image of the Son: “and no one can say “Jesus is Lord,” except the Holy Spirit” (1 Cor. 12:3). It is only through the Holy Spirit that we know the Son of God, God the Christ, and see the Father in the Son. By nature, the Word is the proclaimer of the thought, whereas the Spirit is the revealer of the Word. Therefore, only the Son is the living, true and everlasting image of the invisible God containing the Father in Himself, absolutely identical to the Father and only differing in that He has a cause. However, the christomorphic position has not always been gratifying, and it is sometimes thought that Latin Christianity went too far by depicting God humanly. According to French sociologists, such “human, all too human” (Nietzsche) images of God might have contributed to “discrediting” the very idea of God or even the “exculturation” of Christianity. Contemporary art has also been unable to find the means of depicting the Holy Trinity in such a way that both believers and non-believers would not consider it to be provocative. The problem will never be solved if all traditions, doctrines and disciplines, principles and facts, successes and failures in the field are not accepted.The article considers only some of the interpretation aspects of the mystery of the Holy Trinity. The portrayal of the glory of God in three persons, iconographic interpretations and deformations have revealed that throughout the history of Christianity much effort has been made to express “clearly” the essence of the Holy Trinity, and yet the mystery has remained both a mystery and a challenge. As the result, the iconographic history of the Holy Trinity and all the related controversies allow us to reconsider the ontological status of its artistic image.Keywords: the Holy Trinity, mystery, image, iconography, the Second Council of Nicaea, Council of Trent.
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Kim, Young Hoon. "Theodicy, Undeserved Suffering, and Compassionate Solidarity: An Interdisciplinary Reading of Hwang Sok-Yong’s The Guest." Religions 11, no. 9 (September 10, 2020): 463. http://dx.doi.org/10.3390/rel11090463.
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The author explores theological questions regarding the Korean novelist Hwang Sok-yong’s The Guest from interdisciplinary perspectives. This paper analyzes the novel in relation to the emotional complex of han as understood in Korean minjung theology, the political theology of Johann Baptist Metz, and Ignacio Ellacuría’s liberation theology. Drawing upon the perspectives of Korean, German, and Latin American scholars, this approach invites us to construct a discourse of theodicy in a fresh light, to reach a deeper level of theodical engagement with the universal problem of suffering, and to nurture the courage of hope for human beings in today’s stressed world. Contemplating the concrete depiction of human suffering in The Guest, the paper invites readers to deepen their understanding of God in terms of minjung theology’s thrust of resolving the painful feelings of han of the oppressed, Metz’s insight of suffering unto God as a sacramental encounter with God, and Ellacuría’s idea of giving witness to God’s power of the resurrection in eschatological hope. The paper concludes that the immensity of today’s human suffering asks for that compassionate solidarity with the crucified today which can generate hope in the contemporary milieu.
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Nieft, Jared Kenrick. "The Voice That Crieth in the Wilderness: F. W. J. Schelling and Toni Morrison’s Primordial Longing." Journal for the History of Modern Theology / Zeitschrift für Neuere Theologiegeschichte 25, no. 1-2 (May 25, 2018): 70–82. http://dx.doi.org/10.1515/znth-2018-0004.
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Abstract This paper explores the relationship between Toni Morrison’s 1987 novel, Beloved, and F. W. J. Schelling’s 1813 draft of Ages of the World (Die Weltalter). It shows that Die Weltalter, contrary to much recent scholarship, which often stresses the many ways Schelling anticipated the antimetaphysical trends of post-Hegelian thought, should be first approached as a genuine attempt tobe faithful to the event of first creation and time’s “indivisible remainders”. The paper will show that Schelling’s “indivisible remainders”, the forgotten and “disremembered” of history, force his thought to the limits of Romantic and idealist reflection and toward the traumatic encounters of Beloved. Morrison’s depiction of the irrepressible longing for life and recognition amid the pain and ugliness of American slavery parallels Schelling’s efforts to understand the tremendous need for life and fellowship that first urged god toward creation, when primordial longing was overcome in a child and a god entered time.
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Marno and Marhamah. "The Concept of Calm Soul in The Qur’an." Journal of Sosial Science 2, no. 1 (January 25, 2021): 55–61. http://dx.doi.org/10.46799/jsss.v2i1.88.
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This study aims to discover the influence of a calm soul to human life through Allah’s guidance and to take the lessons from Quranic verses about a calm soul. The method of study is descriptive qualitative with the library research (literature) which is compiled by the concept of Tafsir Maudhu’i. The results of this study show that muthmainnah verses more revealed after the prophet migrated (hijrah). According to the word of muthmainnahin the Quran that related to the Nasr Hamid’s idea in the pre-emigration phase, it is focused on the understanding or depiction of muthmainnah and its characteristics are that the quiet soul is the soul that returns to its blessed and blessed God, the soul that belongs to the servant of God and will enter heaven. Whereas the post-hijrah period, which contains in the muthmainnah word is more focused on the application of muthmainnah in dealing with various problems.
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Nadobnik, Wojciech. "Między Platonem a Plotynem. Wątki erotyczne w Dziejach miłości Bożej Teodoreta z Cyru = Between Plato and Plotinus. Erotic motifs in the Religious History of Theodoret of Cyrrhus." U Schyłku Starożytności : studia źródłoznawcze, no. 17/18 (April 2, 2020): 61–89. http://dx.doi.org/10.36389/uw.uss.18-19.1.3.
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In the article, the author examines the importance of erotic terminology for the depiction of the relationship between monk and God in the hagiographical Religious History of Theodoret, bishop of Cyrrhus. He tries to prove that Theodoret made a conscious use of philosophical concepts of Eros in order to make the phenomenon of Syriac monasticism more intelligible for the contemporary pagan intellectuals. In the argument, the author first discusses Theodoret’s knowledge of Plato’s Symposium and Phaedrus, and the Enneads of Plotinus. Secondly, he examines the possible use Theodoret makes of those texts in the six topics where the erotic terminology appears (object and subject of love, contemplation, ascetism, contrition, community).
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Thiel, G. "An unusual encounter between Man and Death in the Middle Ages as portrayed in Der Ackermann aus Boehmen." Literator 8, no. 3 (May 7, 1987): 39–50. http://dx.doi.org/10.4102/lit.v8i3.869.
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This article tries to establish the uniqueness of the relationship between man and Death in Der Ackermann aus Boehmen. This is achieved by comparing Der Ackermann to disputes between man and Death of a similar kind and by resorting to possible sources for the depiction of the figure of Death. While Death’s right to kill is in the end confirmed by God, man nevertheless has made inroads into Death’s universal and indiscriminatory powers by emotional and intellectual accusations as well as physical threats. This was facilitated by personifying Death to such an extent that Death was brought close to the level of man rather than remaining a pseudo-transcendental power.
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von Minnigerode, Elisa. ""Because No One Can Seize me from Behind": Sir Christopher Hatton's Double Portrait and Elizabethan Textual Paintings." ATHENS JOURNAL OF HUMANITIES & ARTS 8, no. 4 (September 9, 2021): 325–40. http://dx.doi.org/10.30958/ajha.8-4-3.
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Many researchers have emphasised the special use of inscriptions and texts in Tudor paintings. Especially in Elizabethan times, emblematic images emerge and contain texts which present riddles to their audience, address an implicit or explicit beholder, and also give information about their own function. The enigmatic double-sided portrait of Christopher Hatton serves as an outstanding example of the various relations that texts and images form in this era. Two elements of its composition will be discussed here: the inscription and the depiction of Father Time, both on the verso-side. One, a textual element, forms a unit with the other, a pictorial element. On their own and in combination, both built up a reference to emblem books and sources outside the picture and contextualise themselves in humanistic discourses about opportunity and time. Thus, their exclusive presentation forms a dialogue with the beholder and opens up a meta-level of artistic expression. The ancient pictorial tradition of the God Kairos is addressed in the combination, while it labels itself as a depiction of time. Overall, the object briefly examined in this study is an outstanding example of Elizabethan artistic culture and remains a desideratum in art history.
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Bulgakovsky, Dmitry, and Nick Mayhew. "Xenia the Servant of God, or Andrey Fyodorovich the Holy Fool." TSQ: Transgender Studies Quarterly 7, no. 1 (February 1, 2020): 114–20. http://dx.doi.org/10.1215/23289252-7914570.
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Abstract Xenia the Servant of God, or Andrey Fyodorovich the Holy Fool is a hagiography written by Russian Orthodox priest and publicist Dmitry Bulgakovsy (1843–ca. 1918). Published in Russia in 1890, it is one of the first full accounts of the life of a saint variably referred to by two names: one feminine, Xenia, and the other masculine, Andrey. The saint ostensibly lived in St. Petersburg in the eighteenth century. Identified female at birth and named Xenia, after the death of their husband Andrey, at the age of twenty-six the saint took on the identity of their deceased husband. The saint is popular in Russia today, and stories about their life are disseminated widely. Although they were canonized in 1988 as St. Xenia and are now venerated as a holy woman, accounts of their life always include the story of their gender transformation. In twenty-first-century narratives, this episode tends to be glossed over briefly as proof of the saint's extraordinary love for their husband, serving to embellish their role as a devoted wife. However, in the original nineteenth-century stories of the saint's life—such as the one translated below—there is greater ambiguity in the depiction of their gender.
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Van der Westhuizen, B., and J. Van der Elst. "Die Clarens-inspirasie en ruimtebeelding in Plek van die bruin geeste (Elsabe Steenberg)." Literator 19, no. 3 (April 30, 1998): 119–38. http://dx.doi.org/10.4102/lit.v19i3.562.
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Clarens as literary inspiration. The depiction of space in Elsabe Steenberg’s novel Plek van die bruin geeste (Place of the brown spirits) It is clear that much of Elsabe Steen berg’s artistic work was inspired by the mountainous Clarens in the Eastern Free State. Such is the case with her 1975 novel for adults - Plek van die bruin geeste (Place of the brown spirits). In this novel a city girl is abducted by a young man, an individualistic, outsider character who wants to get money to leave South Africa for a place like an island in the Pacific where race and colour will not be of such crucial importance as in South Africa. The importance of the possibilities of inner healing of the human being by spending time in nature is represented in this novel in the finest detail in various narrative patterns. The intention of the author is represented in a fundamentalist view of reality, namely that God is the Origin, the Giver of insight into the diversity, interrelatedness and meaning of reality, and that God is the real regenerating Force.
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Weaver, John B. "Narratives of Reading in Luke-Acts." Theological Librarianship 1, no. 1 (June 3, 2008): 22–37. http://dx.doi.org/10.31046/tl.v1i1.27.
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The six narrations of reading in the Gospel of Luke and Acts of the Apostles reflect an oral/aural culture in which texts and traditions were routinely experienced through verbal recitation and reading. These narratives of reading also participate in ancient moral discourses that highlight the importance of the reader’s character in the event of reading. When read within their cultural and narrative contexts, Luke’s accounts are seen to represent reading as a practice that shapes community by virtue of the reader. This insight is of special significance to the depiction of Jesus and the people of God in Luke-Acts. These conclusions raise a number of questions for theological librarians about present-day approaches to reading and research.
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Bakewell, Geoffrey. "Agamemnon 437: Chrysamoibos Ares, Athens and Empire." Journal of Hellenic Studies 127 (November 2007): 123–32. http://dx.doi.org/10.1017/s0075426900001646.
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Abstract:The chorus' depiction of Ares as a ‘gold-changer of bodies’ and trader in precious metals underscores the increased intersection of finances and war in fifth-century Athens. The metaphor's details point to three contemporary developments (in addition to the patrios nomos allusion noted by Fraenkel): the increased conscription of citizens, the institution of pay for military service, and the payment of financial support for war orphans. And as leader of the Delian League, Athens itself resembled the war-god, establishing equivalents between men and money, and profiting from its acceptance of tribute payments in a variety of currencies. Taken together, the metaphor's contemporary dimensions probably had an unsettling effect on the Athenian audience.
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Murdihastomo, Ashar. "ARCA TOKOH DEWA BERSORBAN DI MUSEUM NASIONAL INDONESIA." Forum Arkeologi 34, no. 1 (April 30, 2021): 1. http://dx.doi.org/10.24832/fa.v34i1.688.
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The National Museum of Indonesia has a unique statue of a god depicted wearing a turban. The museum manager named this statue Shiva Mahadeva based on the third eye’s presence on his forehead. Based on this uniqueness, a more in-depth study carried out by taking the question What is the meaning of the turban-shaped head covering the statue’s depiction? Is there a connection between the depiction and the arts and culture of the community? This study aims to know the meaning implied in depicting the turban and trying to find out the social picture of the statuemaking community. This study conducted using descriptive research methods with contextual analysis. This study indicates that the statue depicted is not a statue of Shiva Mahadeva but a combination of Shiva and Vishnu known as Hariharamurti. The turban’s meaning is similar to the crown carved on the statue, which shows the character’s dignity and majesty. The life of the community’s arts and culture influences the depiction of the Hariharamurti statue, which is synonymous with freedom without leaving religious rules. In general, the arts and cultural aspects of the community that affect the statue are indicated as a community environment closely related to the priest/rishi’s activities. Museum Nasional Indonesia memiliki arca tokoh dewa unik yang digambarkan mengenakan sorban. Pengelola museum memberi nama tokoh tersebut adalah Siwa Mahadewa berdasarkan pada keberadaan mata ketiga yang ada di dahinya. Atas dasar keunikan inilah maka dilakukan kajian lebih mendalam lagi dengan mengambil pertanyaan, apa makna penutup kepala berbentuk sorban dalam penggambaran arca tersebut? adakah keterkaitan penggambaran tersebut dengan kehidupan seni-budaya masyarakat? tujuan yang ingin dicapai dari kajian ini adalah mengetahui makna yang tersirat dalam penggambaran sorban dan mencoba untuk mengetahui gambaran sosial masyarakat pembuat arca. Untuk mencapai tujuan tersebut maka kajian ini dilakukan dengan menggunakan metode penelitian deskriptif dengan analisis secara kontekstual. Hasil dari kajian ini menunjukkan bahwa arca yang digambarkan bukanlah arca Siwa Mahadewa melainkan gabungan antara Siwa dengan Wisnu yang dikenal sebagai Hariharamurti. Pemaknaan sorban yang dikenakan oleh arca tersebut memiliki kesamaan dengan mahkota yang biasa dipahatkan pada arca yaitu menunjukkan kemuliaan dan keagungan dari tokoh tersebut. Kehidupan senibudaya masyarakat jelas mempengaruhi gaya penggambaran arca Hariharamurti tersebut yang identik dengan kebebasan tanpa meninggalkan aturan agama. Secara umum, aspek seni-budaya masyarakat yang mempengaruhi arca tersebut diindikasikan sebagai lingkungan masyarakat yang erat terkait dengan aktivitas pada pendeta/resi.
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Amusin, M. "THE CINEMA’S UNITY AND RIVALRY WITH LITERATURE. ON ALEXEY GERMAN’S CREATIVE EVOLUTION." Voprosy literatury, no. 2 (September 30, 2018): 7–37. http://dx.doi.org/10.31425/0042-8795-2018-2-7-37.
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The article considers the works of Alexey German in their semantic and stylistic aspects. In his earlier films, in the spirit of the Sixtiers, German advocated for an objective and uncompromised truthfulness, especially in war pictures. In the 1980s (e. g. in My Friend Ivan Lapshin [Moy drug Ivan Lapshin]), the director moves on to a more personalized, ‘transformative’ and fantastic depiction of reality. This approach is epitomized in his film Khrustalev, My Car! [Khrustalev, mashinu!], only to be followed by a complete rejection of a historical sense and a belief in humanity’s enduring corruption in It’s Hard to Be a God [Trudno byt’ bogom]. Another topic examined in the article is German’s treatment of original literary sources during script writing and filming. Despite the fact that almost all of his projects were based on well-known stories and novels, German would systematically expunge any narrative quality, or semantic certainty, or plot continuity, opting instead for an involved sonic register. He liked to stress independently valuable visual imagery, associative aspects, and the overall character of the image: this approach proved highly beneficial in Khrustalev, My Car!, but failed entirely in the flop It’s Hard to Be a God.
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Howard, Elizabeth. "“Gorged with Proof”." Religion and the Arts 22, no. 4 (September 10, 2018): 469–87. http://dx.doi.org/10.1163/15685292-02204005.
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Abstract This essay examines the narrated recollections of the spy in Gerard Manley Hopkins’s unfinished poem “A soliloquy of one of the spies left in the wilderness” (1863). Particular attention is paid to the spy’s account of the Israelites’ wilderness wanderings and slavery in Egypt in order to examine Hopkins’s depiction of a will in rebellion against God. After considering the poem’s relationship to Hopkins’s undergraduate years in light of his imminent conversion to Catholicism, the essay investigates the ways in which the soliloquy’s confused chronologies and emendations call attention to the spy’s spiritual disorders. By reading the spy’s internal disorder as a corollary to the social disintegration in Eden that Hopkins identified in Adam and Eve’s rebellion, the essay argues that the soliloquy attributes the speaker’s inner disorientation to his rebellious will set against God. Although the soliloquy appropriates descriptions of the lush Canaanite landscape to describe Egyptian slavery as comfortable, even luxurious, the vestiges of violence repeatedly interrupt the soliloquy’s relentless insistence on Egypt’s “pleasance.” As the soliloquy’s rhetorical maneuvers repeatedly fail to justify the spy’s rebellion, Hopkins explores and displays the impact of spiritual rebellion on the human psyche.
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Taasob, Razieh. "Representation of Wēś in early Kushan coinage: Royal or local cult?" Afghanistan 3, no. 1 (April 2020): 83–106. http://dx.doi.org/10.3366/afg.2020.0046.
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The religious significance of Wēś is a widely debated topic in the historical and numismatic study of Central Asia, including contributions from several scholars who claimed that the representation of Wēś in early Kushan coinage, particularly in the coins of Vima Kadphises (ca. ce 113–127), was an allusion to the conversion of the king to Shivaism. This paper contests the claim that the certain attributes depicted with Wēś should not be construed as belonging to the Indian god Śiva or the Greek god Heracles. The royal portrait on the obverse of the coinage of Vima Kadphises shows the king taking part in the Iranian practice of sacrificing at a fire altar, which further supports the claim that the depiction on the reverse is of the Iranian god Wēś. This paper also challenges recent studies, which suggest that the representation of Wēś may have served only as a royal cult or merely to announce the personal faith of the king. Therefore, this account seeks to remedy this misconception by pointing to the absence of other types of coins used for normal transactions by ordinary people which could have likewise represented their religious cults. Consequently, this article shows that Wēś was a religiously syncretic phenomenon that displays the religious practice of all levels of Kushan society including both the king and the locals who were mostly Bactrian-Iranian during the early Kushan period rather than Indian.
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Pickard, Stephen. "Church of the In-Between God: Recovering an Ecclesial Sense of Place Down-under." Journal of Anglican Studies 7, no. 1 (May 2009): 35–54. http://dx.doi.org/10.1017/s1740355309000047.
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AbstractThis article examines the significance of ‘place’ as a theme in ecclesiology in the interests of developing an ecclesial sense of place within my own context of Australian Anglicanism. To talk about ecclesiology is to talk about place, about God’s place, about our placement in the world, about how and why our social life operates as it does, about what engenders optimal life enhancing community. From this perspective, place can be a critical concept through which theology, ecclesiology, mission and ministry can be organized and better understood. The primary discipline that has deployed the concept of place is geography. Accordingly, in this article, I consider the theme of place as it is discussed in professional geography and briefly examine some implications for being church and the Anglican Church in particular. This provides the framework for consideration of place within an Australian cultural and ecclesial context. In doing so, I examine the motif of verandah as a depiction of ecclesial place down-under. The key concept of the ‘in-between place’ to depict a post-colonial way of being church is deployed in order to recover an ecclesial sense of place down-under. Underpinning such an approach is the theological concept of the in-between God.
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Nkongmenec, Vivian Ntemgwa. "The Eco-space and Female Agency in Bole Butake’s Lake God." Mediterranean Journal of Social Sciences 9, no. 3 (May 1, 2018): 27–36. http://dx.doi.org/10.2478/mjss-2018-0045.
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Abstract The ever-increasing environmental crises and the subsequent decay of the earth is a veritable call for concern which has stimulated man’s consciousness vis-à-vis his own very existence and his natural surroundings. There is therefore, the need for continuous resistance against the socio-cultural, political and economic manoeuvres that place man and his environment at extreme ends. This paper, therefore, focuses on the study of Bole Butake’s play: Lake God. It adopts both the eco-critical and eco-feminist approaches and hypothesizes that Butake’s depiction of a panoply of issues that centre around the female body and the land foreshadow a quest to overcome ecological and female oppression in order to render the land a more fertile ground for sustainable development and female empowerment. The paper contends that Butake’s play resonates a feminist self-consciousness which is suggestive of the need to seek alternative means of combating land exploitation in order to sustain a symbiotic relationship between man and his eco-space. In reading Butake’s work from an eco-feminist perspective, this paper intends to show that the characters he creates and the milieu in which they are positioned place the woman in a precarious state. Drawing therefore, from the global tenets of eco-feminism which posit that the woman and nature are related based on their history of domination and exploitation, this paper intends to revisit the eco-space and female agency in Butake’s work to postulate that the woman has the power to preserve the land and to create a healthy and conducive atmosphere. The paper, thus, exemplifies the author’s admiration for one’s native land which must be treasured and protected.
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Shifinan, Pinhas. "Artificial Techniques of Procreation: Legal and Moral Aspects." Israel Law Review 27, no. 4 (1993): 600–609. http://dx.doi.org/10.1017/s0021223700011523.
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The Psalmist's wrote: “For my father and my mother have forsaken me, but the Lord will take me up”. The eleventh-century commentator Rashi explains that this abandoned child, forsaken by his father and mother, is actually a fetus. “For my mother and father have forsaken me— [i.e.] during coition, they thought of their own enjoyment, and having finished their enjoyment, he turns away and she turns away;But the Lord will take me up— [i.e.] the Holy One Blessed Be He protects the semen and creates the fetus”. This graphic and surprisingly poignant depiction of the bedroom is an attempt to portray man's existential solitude from the very moment of conception. He is abandoned by his parents, who were partners to his conception. They forsake him as soon as they complete their sexual intercourse, since their exertions were meant for pleasure, not for childbirth. At this point, intercession comes from God, whom the Sages elsewhere say is the third partner to the creation of man. God assumes responsibility for the continued development of the embryo from conception onward. The underlying assumption of this view is that childbirth is an incidental byproduct of sexual relations, which are primarily intended for mutual pleasure.
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Hatcher, John, Amrollah Hemmat, and Ehsanollah Hemmat. "Bahá’u’lláh’s Symbolic Use of the Veiled Ḥúríyyih." Journal of Bahá’í Studies 29, no. 3 (September 1, 2019): 9–41. http://dx.doi.org/10.31581/jbs-29.3.2(2019).
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“Ḥúríyyih,” a term whose roots can be found in the Qur’án (44–54, 52:20, 56–22, and 55:72), refers to angelic female figures that reside in paradise and accompany the believers. In the Bahá’í Writings, the word has often been translated as “the Maid of Heaven,” a symbolic personifi cation of the divine reality of Bahá’u’lláh. In this article we explore how Bahá’u’lláh employs this figurative device to portray the forces at work in the context of His appearance as a Manifestation of God. In particular, we wish to examine the crucial symbolic role the unveiling of the Ḥúríyyih plays in relation to Bahá’u’lláh’s gradual unfolding of His mission. While some readers might believe the portrayal of this figure to be a literal depiction of the Holy Spirit appearing to Bahá’u’lláh, we hope to demonstrate that Bahá’u’lláh has, instead, created a figurative or symbolic portrayal of how He gradually reveals His guidance for this long-awaited era in human history—the “Day of Days,” the culmination of all previous revelations. Put simply, we feel that the image of the Ḥúríyyih does not represent a force separate from Bahá’u’lláh, but rather an expression of the Holy Spirit operating through the inherent spiritual capacity unique to a Manifestation of God.
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Sonderegger, Katherine. "Barth and the divine perfections." Scottish Journal of Theology 67, no. 4 (October 10, 2014): 450–63. http://dx.doi.org/10.1017/s0036930614000210.
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AbstractColin Gunton advanced the radical claim that Christians have univocal knowledge of God. Just this, he said in Act and Being, was the fruit of Christ's ministry and passion. Now, was Gunton right to find this teaching in Karl Barth – or at least, as an implication of Barth's celebrated rejection of ‘hellenist metaphysics’? This article aims to answer this question by examining Gunton's own claim in Act and Being, followed by a closer inspection of Barth's analysis of the doctrine of analogy in a long excursus in Church Dogmatics II/1.Contrary to some readings of Barth, I find Barth to be remarkably well-informed about the sophisticated terms of contemporary Roman Catholic debate about analogy, including the work of G. Sohngen and E. Pryzwara. Barth's central objection to the doctrine of analogy in this section appears to be the doctrine's reckless division (in Barth's eyes) of the Being of God into a ‘bare’ God, the subject of natural knowledge, and the God of the Gospel, known in Jesus Christ. But such reckless abstraction cannot be laid at the feet of Roman theologians alone! Barth extensively examines, and finds wanting, J. A. Quenstedt's doctrine of analogy, and the knowledge of God it affords, all stripped, Barth charges, of the justifying grace of Jesus Christ. From these pieces, Barth builds his own ‘doctrine of similarity’, a complex and near-baroque account, which seeks to ground knowledge of God in the living act of his revelation and redemption of sinners. All this makes one tempted to say that Gunton must be wrong in his assessment either of univocal predication or of its roots in the theology of Karl Barth.But passages from the same volume of the Church Dogmatics make one second-guess that first conclusion. When Barth turns from his methodological sections in volume II/1 to the material depiction of the divine perfections, he appears to lay aside every hesitation and speak as directly, as plainly and, it seems, as ‘univocally’ as Gunton could ever desire. Some examples from the perfection of divine righteousness point to Barth's startling use of frank and direct human terms for God's own reality and his unembarrassed use of such terms to set out the very ‘heart of God’.Yet things are never quite what they seem in Barth. A brief comparison between Gunton's univocal predication and Barth's own use of christological predication reveals some fault-lines between the two, and an explanation, based on Barth's own doctrine of justification, is offered in its place.
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Olsthoorn, Johan. "SELF-OWNERSHIP AND DESPOTISM: LOCKE ON PROPERTY IN THE PERSON, DIVINE DOMINIUM OF HUMAN LIFE, AND RIGHTS-FORFEITURE." Social Philosophy and Policy 36, no. 2 (2019): 242–63. http://dx.doi.org/10.1017/s0265052519000438.
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Abstract:This essay explores the meaning and normative significance of Locke’s depiction of individuals as proprietors of their own person. I begin by reconsidering the long-standing puzzle concerning Locke’s simultaneous endorsement of divine proprietorship and self-ownership. Befuddlement vanishes, I contend, once we reject concurrent ownership in the same object: while God fully owns our lives, humans are initially sole proprietors of their own person. (Our property rights in our life and body are restricted to possession, use, and usufruct.) Locke employs two conceptions of “personhood”: as expressing legal independence vis-à-vis humans and moral accountability vis-à-vis God. Humans own their person in the first sense. As original proprietors of their own person, individuals are entitled to subject themselves to self-chosen authorities, thereby incurring obligations of obedience. But they may not choose just any authority. Divine ownership of human life delimits personal self-ownership by restricting the ways in which humans can dispose of their persons: we cannot possibly consensually subject ourselves to absolute and arbitrary power. Locke’s rights-forfeiture theory for crime makes slavery and despotism nonetheless potentially rightful conditions. I argue that, paradoxically, divine dominium of human life underpins both the impermissibility of voluntary enslavement and the justifiability of penal slavery. My analysis helps explain why modern Lockean theories of self-ownership that reject Locke’s theological premises have adopted an ambiguous stance toward despotic rule.
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Van der Snickt, Geert, Kathryn A. Dooley, Jana Sanyova, Hélène Dubois, John K. Delaney, E. Melanie Gifford, Stijn Legrand, Nathalie Laquiere, and Koen Janssens. "Dual mode standoff imaging spectroscopy documents the painting process of the Lamb of God in the Ghent Altarpiece by J. and H. Van Eyck." Science Advances 6, no. 31 (July 2020): eabb3379. http://dx.doi.org/10.1126/sciadv.abb3379.
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The ongoing conservation treatment program of the Ghent Altarpiece by Hubert and Jan Van Eyck, one of the iconic paintings of the west, has revealed that the designs of the paintings were changed several times, first by the original artists, and then during later restorations. The central motif, The Lamb of God, representing Christ, plays an essential iconographic role, and its depiction is important. Because of the prevalence of lead white, it was not possible to visualize the Van Eycks’ original underdrawing of the Lamb, their design changes, and the overpaint by later restorers with a single spectral imaging modality. However, by using elemental (x-ray fluorescence) and molecular (infrared reflectance) imaging spectroscopies, followed by analysis of the resulting data cubes, the necessary chemical contrast could be achieved. In this way, the two complementary modalities provided a more complete picture of the development and changes made to the Lamb.
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Chapman, G. Clarke. "Jung and Christology." Journal of Psychology and Theology 25, no. 4 (December 1997): 414–26. http://dx.doi.org/10.1177/009164719702500402.
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Can Jungian thought help revitalize Christology for modern believers? First, a survey of Jung's comments on Jesus shows his portrayal of a charismatic young rabbi who came to embody the cardinal archetype of the Self. But he lost contact with his shadow side (the figure of Satan thus gaining differentiation) and on the cross was forsaken by Yahweh. So the incarnation, incomplete in Jesus, yearns for fulfillment through the individuation (“Christification”) of each Christian. Second, a mixed evaluation seems required by theology. Jung offers valuable resources to Christology by his depiction of Jesus’ suffering and true humanity in a cross-cultural setting and by his summons to a responsible imitatio Christi. But theology must object to Jung's idiosyncratic exegesis, his docetic figure of Christ, the absence of any resurrection, and the disjuncture of Jesus both from earthly evil and from a sadistic God of wrath.
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Segal, Michael. "From Joseph to Daniel: The Literary Development of the Narrative in Daniel 2." Vetus Testamentum 59, no. 1 (2009): 123–49. http://dx.doi.org/10.1163/156853308x388110.
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AbstractScholars have recognized the composite nature of the narrative in Daniel 2 based upon certain contradictions within the story. Additional evidence will be marshaled to bolster this claim, including variation in the use of divine names according to the evidence of the Old Greek version. Furthermore, I suggest that a more precise division of the source material can be obtained based upon a philological analysis of the expression (v. 14), and its Akkadian cognates. The earlier stratum of the story presents Daniel as a “second” Joseph, and closely parallels both the story of Genesis 41 and the tale in Daniel 5. The secondary section is analyzed in an appendix in an attempt to identify its literary and historical context, with special attention given to the relationship between the description of God in 2:21 and the depiction of Antiochus IV Epiphanes in Daniel 7:24-26.
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Piwowar, Andrzej. "Respect for the Doctor (Sir 38:1-3)." Biblical Annals 10, no. 1 (March 21, 2019): 31–62. http://dx.doi.org/10.31743/biban.291.
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The first part of the article synthetically presents the Old Testament Israelites’ attitude to doctors and their activities. It is an essential prerequisite for the depiction of the innovative approach to the issue proposed by Sirach in Sir 38:1-15. Subsequently, the translation of the text’s Greek version into Polish is presented and the pericope’s structure is divided into four parts: I. 38:1-3 – respect for the doctor, II. 38:4-8 – the value of medicine, III. 38:9-11 – the relation of the sick to God, and IV. 38:12-15 – the doctor’s role in treating the sick. The present article is devoted to the exegetico-theological analysis of the first part of the Greek version of Sir 38:1-15, that is of 38:1-3. Even though the article is based primarily on the Greek text of the verses, it takes into account its original Hebrew version as well. Sirach calls the believing Israelites to completely change their perception of doctors and their activities. He encourages his readers not to reject doctors but to treat them with respect and reverence, and, indirectly, not to ignore the doctor’s efforts meant to restore health to the sick one. The sage justifies his novel approach with two arguments. First, doctors were created by God and given the task of aiding the sick in their suffering. They are a mere tool in God’s hands, for God is the only Doctor that can truly heal a person (this aspect is emphasized more by the Hebrew than by the Greek text). Secondly, doctors deserve respect for even kings and dignitaries benefit from their service and treat them with respect and reverence. In 38:1-3 Sirach offers a perfect synthesis of Israel’s traditional belief in God, who is the only doctor able to heal a person, with the Hellenistic influence related to medicine and the people who dabble in it.
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Breedlove, Thomas. "A World Transgressed: Icon and Iconoclasm in Eugene Vodolazkin’s Laurus." Literature and Theology 34, no. 3 (May 9, 2020): 322–46. http://dx.doi.org/10.1093/litthe/fraa008.
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Abstract The subject of this article is the iconic meeting of divine presence and divine absence. In the icon, divine presence is scandalous: the icon speaks of the impossibility of correspondence, the impossibility of making God present, and at the same time of the reality of divine presence. Nothing of or in the icon is commensurable to this divine presence; yet this poverty of the icon is its witness to the nature of a presence that transcends the paradox of compresence and exclusivity. This essay develops this account of divine presence in conversation with a reading of Eugene Vodolazkin’s novel Laurus and its depiction of holy foolery. Drawing parallels between divine presence in the icon and the scandalous and transgressive compresence of profane and sacred in the novel, the essay argues both for the iconic character of the novel and, consequently, for the novel’s illumination of the incarnational logic undergirding the icon itself.
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Vesely, Patricia L. "Virtue and the “Good Life” in the Book of Job." Horizons in Biblical Theology 41, no. 1 (April 22, 2019): 1–24. http://dx.doi.org/10.1163/18712207-12341383.
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Abstract In this article, I argue that Job 29 provides an eudaimonic depiction of human happiness whereby virtue, combined with a number of “external goods” is held up as the best possible life for human beings. I compare Job’s vision of the “good life” with an Aristotelian conception of εὐδαιμονία and conclude that there are numerous parallels between Job and Aristotle with respect to their understanding of the “good life.” While the intimate presence of God distinguishes Job’s expectation of happiness with that of Aristotle, Job is unique among other eudaimonic texts in the Hebrew Bible in that expectations of living well are expressed in terms of virtue, rather than Torah piety. In the second portion of the article, I assess Job’s conception of human flourishing from the perspective of the divine speeches, which enlarge Job’s vision of the “good life” by bringing Job face-to-face with the “wild inhabitants” of the cosmos.
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Komarudin, Komarudin. "PENGALAMAN BERSUA TUHAN: PERSPEKTIF WILLIAM JAMES DAN AL-GHAZALI." Walisongo: Jurnal Penelitian Sosial Keagamaan 20, no. 2 (December 15, 2012): 469. http://dx.doi.org/10.21580/ws.2012.20.2.209.
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<p class="IIABSBARU">Experience of meeting God constitutes an interresting phenomenon and become the focus of interrest of many disciplines. Psychology and tasawuf are two disciplines which focusedly study this phenomenon applying different approaches. Ghazali is the representative of the dicsipline of tasawwuf and William James is the representative of the dicsipline of psychology. The both experts applied the different approaches in studying the religious experiences. Epistemological base on which William James used , has the scientific accountability but less accurate in the source of knowledge. In other side, Ghazali has a deep source of knowledge but less of rationality. An effort to compromise the both approach in order to study about the experience of meeting God will result in a comprehensive, deep, and objective depiction.</p><p class="IKa-ABSTRAK">***</p><p class="IIABSBARU">Pengalaman bersua Tuhan merupakan fenomena yang menarik dan menjadi titik perhatian banyak disiplin ilmu. Psikologi dan tasawuf merupakan dua disiplin ilmu yang memfokuskan kajiannya pada fenomena ini dengan menerapkan pendekatan yang berbeda. Ghazali adalah representasi dari disiplin ilmu tasawuf dan William James adalah representasi disiplin ilmu psikologi. Kedua ahli tersebut menggunakan pendekatan yang berbeda dalam mengkaji pengalaman keagamaan. Basis epistimologi yang digunakan oleh James memiliki akuntabilitas ilmiah namun kurang akurat dalam sumber pengetahuannya. Di sisi lain Ghazali memiliki sumber pengetahuan yang dalam namun kurang dari sisi rasionalitas. Upaya untuk mengkompromikan kedua pendekatan dalam rangka untuk mengkaji pengalaman bersua Tuhan akan menghasilkan penggambaran yang dalam dan obyektif.</p>
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Ziemann, Eugeniusz. "Boże Serce w misterium swojego otwarcia na współczesny świat." Sympozjum 25, no. 1 (40) (2021): 159–84. http://dx.doi.org/10.4467/25443283sym.21.010.13723.
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God’s Heart in the mystery of its opening to the modern world Is the reverence and cult of the Sacred Heart of Jesus still topical in the mission of the Church? The text „God’s Heart in the mystery of its opening to the modern world” is an attempt to answer the question above. Biblical depiction of the word „heart” has basically symbolic and allegoric meaning. Repeatedly this word appears in connection with the word „love” both in regard to God and human. Incarnated God, the Word of the Father, became truly human with the loving heart and he redeemed the world. The Heart of Jesus pierced with the soldier’s spear on the cross is still open to the present day with his love. A special place in this regard is given to spreading the idea of the social kingdom of the Heart of Jesus and the civilization of love. Abstrakt Czy nabożeństwo i kult Najświętszego Serca Pana Jezusa są wciąż aktualne w misji Kościoła? Próbą odpowiedzi na to pytanie jest tekst Boże Serce w misterium swojego otwarcia na współczesny świat. Biblijne ujęcie słowa „serce” ma zasadniczo znaczenie symboliczne i przenośne. Wielokrotnie występuje w połączeniu ze słowem „miłość” zarówno w odniesieniu do Boga, jak i człowieka. Wcielony Bóg, Słowo Ojca, stał się prawdziwym człowiekiem o kochającym sercu i odkupił świat. Serce Jezusa przebite włócznią żołnierza na krzyżu jest wciąż otwarte na współczesność przez swoją miłość. Szczególne miejsce pod tym względem zajmuje szerzenie idei społecznego królestwa Serca Jezusa oraz cywilizacji miłości.
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Dix, Hywel. "Autofiction, Colonial Massacres and the Politics of Memory." University of Bucharest Review. Literary and Cultural Studies Series 9, no. 1 (November 19, 2020): 10–22. http://dx.doi.org/10.31178/ubr.9.1.2.
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: I argue that the emerging genre of autofiction provides a number of useful techniques and methods by which postcolonial writers engage with the politics of memory in their depiction of a number of largely forgotten brutalities committed by the European imperial powers during the colonial era. More specifically, two of the elements of autofictional practice that have been of particular interest to postcolonial writers are its capacity to mediate between individual and collective forms of memory on the one hand; while also radically destabilizing notions of absolute truth and authenticity on the other. Drawing on research into the relationship between writing and forms of public commemoration, the article analyses Fred D’Aguiar’s portrayal of the killing of African slaves thrown overboard the slave ship Zong in 1781 in Feeding the Ghosts (1997); Kamila Shamsie’s depiction of the massacre of demonstrators protesting against colonial rule in India in Peshawar in 1930 in A God in Every Stone (2014); and Jackie Kay’s homage to the sinking of the SS Mendi, a ship carrying southern African non-combatant personnel to assist in the British effort in World War One in “Lament for the Mendi Men” (2011). It will suggest that even though these texts are not strictly works of autofiction, the techniques afforded by that genre are useful to those writers seeking to draw attention towards a number of neglected historical events. Colonial massacres, enslavement of people and naval disasters during the imperial period have received far less historical or cultural memorialization than other more widely recognized historical events such as VE Day or the Somme. By establishing these events as being culturally and morally important to remember, the article will argue, autofiction provides a number of tools for engaging with the politics of public memory and commemorative events in the present
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Cobb, Matthew Adam, and Fiona Mitchell. "EROS AT JUNNAR: RECONSIDERING A PIECE OF MEDITERRANEAN ART." Greece and Rome 66, no. 2 (September 19, 2019): 203–26. http://dx.doi.org/10.1017/s0017383519000044.
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In 1969 on a riverside near the Lenyardi caves (about 5 kilometres from present-day Junnar, in the Indian state of Maharashtra), Dr Satish Deshmukh discovered an alabaster object in the form of half an egg (longitudinally cut) with a young male child lying inside it (with small traces of red paint on the right side of the object). This high-quality oval object (figures 1 and 2) measures about 5 cm × 3.4 cm and is usually interpreted as an item that was originally manufactured in the Mediterranean world before being brought to India, rather than a piece of artwork produced in India itself. One possible, and largely accepted, interpretation is that this figure represents the birth of the god Eros. However, identification of the figure within the egg-like structure is not easily made. While the figure does bear similarities to the putto-style representation of Eros in instances of Greek and Roman art, it does not possess any clear identifying features (such as the wings with which Eros is often depicted). The figure's resemblance to Eros in some of his other iconographic depictions and the egg-like structure around him suggest a possible identification of this infant with Eros and the myth of his birth from an egg. However, without evidence from other iconography of a more clearly identifiable Eros in similar contexts, the figure cannot be said to be him with any certainty. As Dhavalikar notes, this object ‘is the only one of its kind among the classical antiquities so far found in the Indian subcontinent and perhaps has no parallel in the classical world’. Thus the identification of this sculpture as a depiction of Eros in the egg is possible, but not certain.
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Thienes, Eric. "Iesus Deus: The Early Christian Depiction of Jesus as a Mediterranean God. By M. David Litwa. Minneapolis: Fortress Press, 2014. Pp. xi + 281. Paper, $39.00." Religious Studies Review 43, no. 2 (June 2017): 169. http://dx.doi.org/10.1111/rsr.12971.
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Yunita, Yuyun. "WAYANG IN ISLAMIC PHILOSOPHY." Ri'ayah: Jurnal Sosial dan Keagamaan 5, no. 01 (August 7, 2020): 83. http://dx.doi.org/10.32332/riayah.v5i01.2330.
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Wayang kulit is named after Javanese wayang which means shadow or taken meaning that wayang is a depiction of life or a reflection of the various human traits found in various souls of the human conscience itself. The universe itself is divided into various types into two basic traits such as wrath and kindness. The history of the story of Dewa Ruci as one of the puppet plays is a cousin of the many ways and rich in philosophical values of religious diversity that is so profound. The history of this story depicts a man or man who has a lot of strong will to find the best ways that can be considered to bring people to happiness. In the search for happiness, it is not easy to do because it will be many and there are obstacles or prevention that may be faced by many. This is where the aesthetic value or beauty is packaged and wrapped up in the history of the gods of Ruci and becomes the first and foremost doctrine of the conception of the divine, humanity, and respect of the human beings with the creator or than. the story of the goddess Ruci outlines or philosophically symbolizes how human beings must go through and make an inner journey to find their true identity or look for paraning dumadi the origin and purpose of life in human beings or tackle the human gusti, the conception of God and how humans lead to God, the wayang kulit is very much, the art of wayang puppets cannot be retracted from history, which the bags are retold through wayang.
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Rajalakshmi. "BEAUTY OF COLORS IN PAINTING." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3656.
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Blue sky, greenery, colorful flowers and beautiful animals and birds spread all around. Amazing work of God and beautiful color combination. It seems as if God as a painter has made a beautiful depiction on the canvas of this world through its colors and lines. If colors are not included in the illustration, then will this world still look so beautiful? maybe no. Everything that a human sees through his eyes is comprised of colors, so it would not be wrong to say that colors are of paramount importance in life and this color gives us to the top of taste or pleasure through its beauty and charm. Take away, because joy is the essence of the whole creation and also the ultimate culmination of heartfelt feelings.
नीला आकाश, चारों तरफ फैली हरियाली रंग-बिरंगे फूल एवं सुंदर-सुंदर पशु-पक्षी। ईश्वर की अद्भुत कृति एवं सुंदर रंग संयोजन। ऐसा प्रतीत होता है कि मानो भगवान चित्रकार के रूप में इस संसार रूपी कैनवास पर अपने रंगों एवं रेखाओं के माध्यम से एक सुंदर चित्रण कर दिया हैं। अगर चित्रण में यदि रंगों का समावेश न हो तो क्या तब भी तब भी यह संसार इतना ही सुंदर दिखेगा? संभवतः नहीं। मनुष्य अपने नेत्रों के माध्यम से जो कुछ भी देखता उनमें रंगों का समावेश होता ही है, अतः यह कहना सर्वथा गलत नहीं होगा कि जीवन में रंगों का स्थान सर्वोपरि है और यही रंग हमें अपने सौन्दर्य व आकर्षण के माध्यम से रसास्वादन या आनंदानुभूति के शीर्ष तक ले जाते हैं, क्योंकि आनन्द भाव सम्पूर्ण सृष्टि का सार है और हृदयगत् भावनाओं की अन्तिम परिणति भी।
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Piwowar, Andrzej. "Znaczenie i rola Izaaka i Jakuba w historii Izraela według Syracha (Syr 44,22-23)." Biblical Annals 9, no. 1 (January 18, 2019): 35–72. http://dx.doi.org/10.31743/biban.3241.
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The article is devoted to the analysis of the Greek text of Sir 44:22-23, but it also takes into account the Hebrew version of the praise of Isaac and Jacob. The main aim of the article is to read Sirach’s depiction of these two patriarchs in his Praise of the Fathers (Sir 44:1 – 50:24) and the role and significance that he attributes to them in Israel’s history. The analysis conducted shows that the Jerusalem sage based his presentation of Isaac and Jacob exclusively on the Book of Genesis, not referring to any theological traditions connected with the patriarchs that were known during the Second Temple period. The principal role played by the two patriarchs in the history of the chosen nation is passing on to the subsequent generation the covenant that God made with Abraham and the promises related to it (Isaac’s substantial passivity in this role has to be pointed out). It is this motif that is emphasized in Sir 44:22-23, as a result of which other important events from the patriarchs’ lives are completely overlooked, including the justification of Jacob’s stealing of Isaac’s blessing for his firstborn son.