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Journal articles on the topic 'Garden of Gethsemane'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 January 2023

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1

Babcox, Wendy. "Every Olive Tree in the Garden of Gethsemane." Departures in Critical Qualitative Research 3, no. 2 (2013): 111–15. http://dx.doi.org/10.1525/dcqr.2014.3.2.111.

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Every Olive Tree in the Garden of Gethsemane is a suite of photographic images of each of the twenty-three olive trees in the garden. Situated at the foot of the Mount of Olives in Jerusalem, the Garden of Gethsemane is known to many as the site where Jesus and his disciples prayed the night before his crucifixion. The oldest trees in the garden date to 1092 and are recognized as some of the oldest olive trees in existence. The older trees are a living and symbolic connection to the distant past, while younger trees serve as a link to the future. The gnarled trunks seem written with the many conflicts that have been waged in an effort to control this most-contested city; a city constantly on the threshold of radical transformation.

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2

COVINGTON, SARAH. "The Garden of Anguish: Gethsemane in Early Modern England." Journal of Ecclesiastical History 65, no. 2 (March 13, 2014): 280–308. http://dx.doi.org/10.1017/s0022046912003648.

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Few biblical episodes have generated more theological interpretation across the centuries than that of Jesus praying in the Garden of Gethsemane, where he appears fearfully to resist the divine will in the moments before the passion sequence is initiated. Scholars of the early modern period, however, have tended not to notice how central the scene became in the wake of Protestant and Catholic reformation developments, renewed calls for spiritual self-examination and the resurgent phenomenon of martyrdom. This article addresses this lacuna by arguing that, in the case of England, Jesus in Gethsemane not only held acute resonances across different confessions, but resulted in interpretations that perpetuated a new kind of subjectivity, and one that influenced modernity and its notions of the divided self in a state of faith and doubt.

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3

Prysiazhniuk, Oleksii. "Basic stages of history of the underground gethsemane garden monastery in the context of monument protection." Bulletin of Mariupol State University. Series: History. Political Studies 10, no. 27 (2020): 37–45. http://dx.doi.org/10.34079/2226-2830-2020-10-27-37-45.

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This research examines and identifies the main stages of the history of an underground monastery in the Gethsemane Garden, from the appearance of the object to the status of a cultural heritage monument. The author draws conclusions about the legal norms enshrined in the regulations that form a system of requirements for procedural actions that turn a cultural heritage object into a monument. The article describes the legal acts that regulate the field of cultural heritage protection and directly influence the process of institutionalization of cultural heritage objects. The process of institutionalization of a monument selected as an example is considered against the background of the history of the object itself in the context of important historical events and historiography of its study. Turning cultural heritage into a monument that is governed by regulations in modern conservation legislation is a complex process. Examples of completing formal procedures and obtaining cultural heritage status are monuments. That is why the author, on the example of cultural heritage – monuments of history, architecture of the underground monastery in the tract «Gethsemane Garden» describes the process of institutionalization of such objects. The institutionalization of cultural heritage means the process of defining and consolidating legal norms, rules, statuses, bringing them into a system capable of acting in the direction of satisfying the need of modern society for the preservation of cultural heritage objects.

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4

Lonich Ryan, Elise. "Gardens of Grief: Lucy Hutchinson’s “Elegies,” the Garden of Gethsemane, and Formal Uses of Betrayal." Exemplaria 28, no. 3 (May 24, 2016): 212–29. http://dx.doi.org/10.1080/10412573.2016.1178450.

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5

Bernabei, Mauro. "The age of the olive trees in the Garden of Gethsemane." Journal of Archaeological Science 53 (January 2015): 43–48. http://dx.doi.org/10.1016/j.jas.2014.10.011.

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6

Markuliak, L. "MEANS OF CHARACTER FORMATION IN IVAN BAHRIANYI’S NOVEL “THE GARDEN OF GETHSEMANE”." International Humanitarian University Herald. Philology 2, no. 48 (2021): 144–48. http://dx.doi.org/10.32841/2409-1154.2021.48-2.33.

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7

Gelfond, M. M. "Semantics of the Fictional Draft: Once again about B. L. Pasternak’s poem “A Fairy Tale” (“Skazka”)." Critique and Semiotics 38, no. 1 (2020): 351–62. http://dx.doi.org/10.25205/2307-1737-2020-1-351-362.

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The article deals with the fictional creative story of Boris Pasternak’s poem “The Fairy Tale” (“Skazka”), described in the novel “Doctor Zhivago”. It is fundamentally different from the real story: if Pasternak changed the plot and partly the genre of “The Fairy Tale”, as evidenced by his letter to Nina Tabidze, Yuri Zhivago in the novel changes the poetic meter twice – and at the same time comprehends its semantics. The differences between the real and the “novelistic” creative history focus on the semantic halo both of trochaic trimeter – the meter of “The Fairy Tale”, and of trochaic pentameter and trochaic tetrameter, used at starting of the first and intermediate edition. The article shows how the first edition, written in pentameter (trochaic or iambic), connects “The Fairy Tale” with “Hamlet” and “The Gethsemane Garden”. The assumption of a genetic link between the three texts and a few significant plot coincidences enables to find invariant embodiments of one lyrical plot in different genres in them. The triangle: “Hamlet” – “The Fairy Tale” – “The Gethsemane Garden” built within the cycle varies the most important topic of the cycle and the novel – the strategy of individual, personal confrontation with “the twilight of night” and “the years of timelessness”. The study of the second stage of the fictional story “The Fairy Tale” clarifies a number of Pushkin’s contexts, not only in the “Poems of Yuri Zhivago”, but also in the novel as a whole. The study of semantic halos arising at different stages of Zhivago’s work on “The Fairy Tale” allows including it in the context of Russian lyrics.

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8

Petruccelli, Raffaella, Cristiana Giordano, Maria Cristina Salvatici, Laura Capozzoli, Leonardo Ciaccheri, Massimo Pazzini, Orietta Lain, Raffaele Testolin, and Antonio Cimato. "Observation of eight ancient olive trees (Olea europaea L.) growing in the Garden of Gethsemane." Comptes Rendus Biologies 337, no. 5 (May 2014): 311–17. http://dx.doi.org/10.1016/j.crvi.2014.03.002.

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9

Koterski, Joseph. "Thomas More and the “Prayer for Detachment”." Moreana 52 (Number 199-, no. 1-2 (June 2015): 61–82. http://dx.doi.org/10.3366/more.2015.52.1-2.6.

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This paper focuses on a theme of special importance in The Sadness of Christ, one of the last writings of Thomas More. While awaiting execution in the Tower of London, he wrote this book as a way to reflect on passages from the Gospel that depict the agony of Christ in the Garden of Gethsemane. In looking upon Christ as a model for virtue in the face of suffering and persecution, More commented at length on how to treat those who wrong us and how to cultivate a proper sense of detachment. This essay will compare More’s advice with that of his contemporary, Ignatius Loyola, with special reference to such passages from the Spiritual Exercises as the “First Principle and Foundation” and the “Three Degrees of Humility.”

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10

Makaradze, Khrystyna. "Means of the comic as a way of representing ideology in I. Bahrianyi`s novel “The Garden of Gethsemane”." Current issues of social sciences and history of medicine, no. 3 (31) (March 7, 2022): 40–43. http://dx.doi.org/10.24061/2411-6181.3.2021.290.

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The article engages in an attempt to survey I. Bahrianyi`s novel “The Garden of Gethsemane” on the subject of comic elements. The novel is perceived as a realistic depiction of inhumane Soviet reality, so the question of how risorial culture is blended seamlessly with the text is relevant. The aim of the article is to find out the nature of the comic as an aesthetic category, in particular its varieties: irony, sarcasm, grotesque, and to analyze how the comic functions in the novel, what forms it takes, what functions performs. The descriptive method was used during the work. In I. Bahrianyi`s novel the most frequent manifestation of the comic is irony, which is used on different levels: in journalistic excursus, in depicting the interior, exterior, and most of all – in the dialogues between characters. Humor is also an inalienable part of prisoners’ lives. As a result of processing the material, we came to the following conclusions: the theme of I. Bahrianyi`s novel “The Garden of Gethsemane” envisages a profound pathos, but the comic elements are harmoniously woven into the fabric of the text. With the help of irony and sarcasm the author supports the anti-Soviet ideology and exposes the drawbacks of the Soviet system. The discrepancy between reality and the image, created employing irony draws attention to the issue, foregrounds it. In the dialogues between the two antagonists: the investigator and the prisoner – the irony serves as a means of characterizing the depicted world and the nature of the relationship between them, outlining the author's attitude to what is being said. Irony reduces the significance of Soviet reality as if depriving it of power because it recategorizes everything: now the absurd reality inspires not terror, but disdain. This way of reacting in a borderline situation protects the psyche of prisoners from feelings of doom and persecution. For prisoners irony and humor are one of the available ways of escapism, as well as the ability to preserve the integrity of one's self.

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11

K., MAKARADZE. "IDEOLOGICAL DISCOURSE OF THE IVAN BAGRANYI’S NOVEL “THE GARDEN OF GETHSEMANE” AND THE FILM OF R. SINKO." South archive (philological sciences), no. 77 (March 25, 2019): 26–29. http://dx.doi.org/10.32999/ksu2663-2691/2019-77-5.

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12

Billings, Bradly S. "From the Angels of Mons to the Garden of Gethsemane: Some Theological Reflections on the Western Front." War & Society 35, no. 2 (April 2, 2016): 75–91. http://dx.doi.org/10.1080/07292473.2016.1182353.

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13

Madigan, Kevin. "Ancient and High-Medieval Interpretations of Jesus in Gethsemane: Some Reflections on Tradition and Continuity in Christian Thought." Harvard Theological Review 88, no. 1 (January 1995): 157–73. http://dx.doi.org/10.1017/s001781600003042x.

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Although Jesus' agony in the garden (Matt 26:36–46; Mark 14:32–42; Luke 22:40–46) may be powerful and even inexpressibly poignant to modern readers, it was a plague and embarrassment to patristic and medieval interpreters. Few narratives in the New Testament were so inimical to received christological assumptions. Ancient and medieval interpreters, at least those ultimately judged to be orthodox, ascribed to the Incarnate Word the qualities of divine consubstantiality, omnipotence, omniscience, obedience, and impassibility. The pericope, at least in its Markan and Matthean versions, however, presents a figure who appears in utterly human form—powerless, ignorant, recalcitrant, and passible.

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14

MAKARADZE, CHRISTINA. "SOVIET «JUSTICE» THROUGH THE PRISM OF THE IDEOLOGY OF IVAN BAGRYANY (BASED ON THE NOVEL «THE GARDEN OF GETHSEMANE»)." Scientific papers of Berdiansk State Pedagogical University. Series: Philological sciences 18 (April 2019): 90–101. http://dx.doi.org/10.31494/2412-933x-2019-1-8-90-101.

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15

Satterlee, Thom. "“The Soldiers Fall before Christ in the Garden of Gethsemane”: From Tres Riches Heures of John Duc De Berry." Christianity & Literature 53, no. 4 (September 2004): 538. http://dx.doi.org/10.1177/014833310405300407.

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16

Voit, Petr. "Albrecht Dürer and the Beginnings of Czech Illustration." Acta Musei Nationalis Pragae – Historia litterarum 64, no. 1-2 (2019): 45–55. http://dx.doi.org/10.2478/amnpsc-2019-0004.

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This article deals with printed graphic sheets, cycles and illustrations by Albrecht Dürer, which penetrated into book printing in the Czech language (Nuremberg) and in Bohemia (Prague, Litomyšl) through original printing blocks as well as copies in the first half of the 16th century. Dürer’s graphic sheets were distributed by the Nuremberg printers Hieronymus Höltzel (1509, 1511) and Friedrich Peypus (1534), the Litomyšl printing workshop working for the Unity of the Brethren (Unitas fratrum) in Litomyšl (1520), and the so-called Severin Workshop, connected to the Prague printing workshop of Pavel Severin of Kapí Hora (1529, 1539). Eleven works of religious character associated with Dürer have been discovered among Czech illustrations so far – they were made by means of seven original printing blocks and four copies, which is not so much. In this respect, Dürer was greatly surpassed by his Nuremberg successor, Erhard Schön. After Schön died in 1542, the printer Jan Günther received roughly one quarter of workshop printing blocks (approximately 340 pieces). Two years later, he moved them to Moravia, where they were coming to life in Prostějov, then in Olomouc and eventually in popular books, brochures and broadsides from Skalice until the end of the 19th century. Dürer’s printing blocks that functioned in the context of Czech book printing depict: [1a] the Nativity, [2c] the apocalyptic Woman Clothed with the Sun, and [5a–e] the Saints (James the Greater, Peter, John the Evangelist, John the Baptist and Judas Thaddaeus). The following subjects were copied: [2b] the apocalyptic Woman Clothed with the Sun, [3b] Christ in the Garden of Gethsemane, [4c] Two Angels (Geniuses), and [6b] the Holy Trinity. The woodcut copies are not exact replicas. The poor artistry and craftsmanship of the copyists, whose names are not known, led to the omission of details. The problem is that the copyists were not trying to present Dürer’s graphic art but needed a cheap and simple acquisition of the biblical scene required. More detailed information on the printing blocks and copies is available in the catalogue attached.

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17

Vasylenko, Vadym. "IN THE INSIDE-OUT WORLD: MADNESS AS A THEME AND PLOT." Слово і Час, no. 4 (August 3, 2021): 57–75. http://dx.doi.org/10.33608/0236-1477.2021.04.57-75.

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The paper focuses on the madness as a theme and plot in Ukrainian literature of the 1st half of the 20th century. The researcher analyzes ideological and aesthetic tendencies associated with the understanding of the madness phenomenon, clarifies its functional features, symbolic and ideological significance, and emphasizes the connection between the psychological atmosphere of the totalitarian reality and literary interpretations of madness. The analysis involves works of different genres, styles, and dates of writing in which the theme of madness acquires ideologically engaged and symbolically significant content. In “Sanatorium Zone” by M. Khvylovyi the madness phenomenon is associated with the problems of split personality and suicide. It may be explained in a modernist context, as a reflection of the internally conflicting nature of a man, incapable of changing the existing world or getting adjusted to it. In the tragicomedy “People’s Malakhiy”, M. Kulish introduced the idea of madness into the complex sociopolitical context of the soviet reality which he revealed in various forms (from mythological to social-political) using satirical and grotesque images, philosophical generalization, etc. An episode of madness in the novel “The Garden of Gethsemane” by I. Bahrianyi emphasizes the anomality of the soviet world which is symbolized by the punishment cell and characterized as a “conveyor belt for dismantling human souls”. The story of the romantic poet Hӧlderlin in the novel by V. Domontovych is socially and politically conditioned. It reveals the state of a man and the world in a difficult transitional era. In “The Enameled Bowl”, Domontovych elaborates the theme of illness through the idea of the lack of consistency between the internal and external and understands it as an artistic convention that marks the absurdity of the world. T. Osmachka in his prose was especially focused on the theme of madness. He was interested in mental disorders both as a form of the character’s self-awareness and as a clinical story. The mythological and ideological image of a mentally ill man, reflecting a creative person subjected to repression and persecution, is a symbol of his own biography. In general, the changes in the interpretation of mental disorders are associated with the renewal of the modernist poetics and caused by the writers’ attempts to clarify the connection between the external and internal.

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18

Mujić, Munir. "Document on Buying Gethsemane Garden by Three Brothers from Bosnia in 1681 - Text and Context." Edinost in dialog 74, no. 2 (2019). http://dx.doi.org/10.34291/edinost/74/02/mujic.

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This paper presents a document dating from 1681 (1092 Hijra year): the document confirms the sale and endowment of figs and olives seedlings as well as the other properties on the land of Madrasa al-Ṣalāḥiyya in Jerusalem, which was implemented by the means of the so-called al-ḥikr. The brothers from Sarajevo, Pavle, Jakov and Antun, purchased this particular property and bequeathed it to the Franciscan monks who lived in the monastery al-‘Amūd (Monastery of the Holy Saviour) in Jerusalem and to the poor Christians that required alms from the brothers. The curious issue in this case is the prevailing opinion of scholars that the space that is the subject of the sale in this document is the space of Gethsemane garden, one of the most important Christian holy sites.

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19

Adamson, Grant. "Luke 22:43-44 and the Mormon Jesus: Protestant Past, KJV-Only Present." Journal of the Bible and its Reception, April 8, 2022. http://dx.doi.org/10.1515/jbr-2021-0016.

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Abstract Joseph Smith’s interpretation of the Lukan agony in the garden fits with Anglophone Protestant commentaries that were popular during his day. In the Book of Mormon and the Doctrine and Covenants (D&C), the Lukan sweat-like-blood simile is understood as if literal, and Jesus atones in Gethsemane. This was standard fare in exegesis in England and America in the late 1600s, 1700s, and early 1800s. What Smith did was re-cast common interpretation as prophetic and dominical while probably defending the verses, known to be absent from the other Gospels and sometimes suspected to be an interpolation into Luke. On the golden plates of the Book of Mormon, he had an ancient Amerindian prophet-king named Benjamin predict Jesus’ hemorrhage more than a hundred years in advance, and he had none other than the risen Christ verify it in a direct revelation in D&C 19. These references to Luke 22:43–44 in Smith’s extra-biblical writings have created a further apologetic imperative to defend his defense of the Bible, one reason for the LDS Church’s King James Version onlyism.

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20

Le Roux, Steve, Rudy A. Denton, Leoné Malan, and Nico T. Malan. "Coping with chronic stress during COVID-19 and beyond – A faith perspective." In die Skriflig/In Luce Verbi 56, no. 1 (May 27, 2022). http://dx.doi.org/10.4102/ids.v56i1.2823.

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Spiritual coping has been defined as an individual’s ability to utilise faith in God combined with certain Christian beliefs and religious practices to appraise, understand, and effectively cope with stress. We aimed to show the Christian how specific spiritual coping strategies and religious practices could be used to effectively assess and handle chronic stress from a faith perspective amid the ongoing coronavirus disease 2019 (COVID-19) pandemic and beyond. A literature study was conducted to identify positive and negative coping strategies during the COVID-19 era and highlighted the adverse effects of chronic stress and defensiveness. Recent findings on religion, the validated bio-engineered chronic stress phenotype, the Coping Strategy Indicator (CSI), Africultural Coping Systems Inventory (ACSI) and the effect of spiritual coping skills were assessed. In addition, certain Bible passages and theological perspectives regarding spiritual coping were explored to identify traces of the fight-or-flight response in the Garden of Gethsemane. The novel chronic stress phenotype reflecting stroke risk, could determine the prevalence of chronic stress. Positive coping strategies were identified, to show how positive spiritual coping skills could be utilised from a faith perspective, in coping with chronic stress amid COVID-19 and beyond. The Believe-Belong-Behave pastoral model, consisting of individual skills, corporate practices, and practical action steps, showed the Christian how certain spiritual coping skills and practices could be implemented during stress coping. The scriptural insights gained from this study, combined with the pastoral model reviewed, could offer a harmonious contribution toward the Christian’s ability to utilise spiritual coping strategies amid COVID-19 chronic stress-induced symptoms and complexities.Contribution: This article used an inter-disciplinary approach to compare recent findings within Theology, Neurophysiology, Bio-engineering, and Psychology regarding religion, stress-phenotyping, positive stress-coping and mental health. The scriptural foundation encouraged a faith-in-action response to chronic stress during the ongoing COVID-19 pandemic and beyond.

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21

Rossi, Christopher. "In the Garden of Gethsemene: US-Sino Relations in the History of International Law during the Republican Period (1912-1949)." SSRN Electronic Journal, 2021. http://dx.doi.org/10.2139/ssrn.3939754.

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