Relevant bibliographies by topics / Jesus christ, descent into hell

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Academic literature on the topic 'Jesus christ, descent into hell'

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Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "Jesus christ, descent into hell"

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Lauber, David. "Response to Alyssa Lyra Pitstick,Light in Darkness." Scottish Journal of Theology 62, no. 2 (May 2009): 195–201. http://dx.doi.org/10.1017/s0036930609004682.

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In her remarkably forceful and learned book,Light in Darkness: Hans Urs von Balthasar and the Catholic Doctrine of Christ's Descent into Hell, Alyssa Lyra Pitstick offers a comprehensive critique of Hans Urs von Balthasar's theology of the descent into hell. Pitstick contributes to a sharpening of readings of Balthasar and forces one to make precise interpretative judgements. Clearly, she has produced a work with which anyone interested in Balthasar must engage, and the conversation and debate the book has started will, to be sure, continue for many years ahead. This said, I am afraid that Dr Pitstick's unrelenting and totalising prosecution of Balthasar's theology leads her to disallow any charitable reading and critical appropriation of Balthasar's creative and, at times, sublime theology. Although not necessarily the final evaluative word on Balthasar, or on the doctrine of the descent into hell, Pitstick's book provides a tremendous spark for those interested in Balthasar's theology and for much needed reflection on the significance of the church's confession that Jesus Christ descended into hell.
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Cahill, Jonathan. "The Descent into Solidarity." Journal of Reformed Theology 9, no. 3 (2015): 237–48. http://dx.doi.org/10.1163/15697312-00903015.

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In the Apostle’s Creed, undoubtedly the most enigmatic phrase is Christ “descendit ad inferos,” descended into hell. After surveying various interpretations of the doctrine, this paper seeks to integrate the Reformed tradition’s view of the descent as the subjective experience of God-forsakenness with Hans Urs von Balthasar’s proposal that Christ entered into solidarity with the dead in hell with no hope of being found by God. The paper then draws three ethical implications from this reading of the descent: the importance of self-surrender, the necessity of solidarity with the oppressed and a chastened confidence towards the prospect for social change in our world.
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Bagchi, David. "Christ’s Descent into Hell in Reformation Controversy." Studies in Church History 45 (2009): 228–47. http://dx.doi.org/10.1017/s0424208400002539.

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By far the shortest of the Thirty-nine Articles of the Church of England is the third, ‘Of the going down of Christ into Hell’. In its entirety it reads: ‘As Christ died for us, and was buried, so also is it to be believed, that he went down into Hell’. One might be forgiven for thinking that the brevity of the article, together with the notable absence of polemic, indicates the doctrine’s relative unimportance amid the other great debates of the day. In fact, the descent of Christ into hell was one of the most controverted of all the creedal articles in the Reformation era. Article III is so short, not because it was a routine recital of the Apostles’ Creed, but because no further elaboration or explanation of the doctrine could command consent in the febrile climate of early Elizabethan England: disagreement over what was meant by ‘hell’, what was meant by Christ’s ‘descent’, and over the doctrine’s fundamental significance, was rife. This particular manifestation of the afterlife – be it only Christ’s afterlife, and only a temporary destination at that – is not the most obvious candidate as a theological cause célèbre of the Reformation era. But the intensity and the longevity of trie debates it fuelled make it at least an intriguing footnote to the study of the period.
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Karpenko, Gennady. "THE ITALIAN-STYLE AL FRESCO PAINTING THE RESURRECTION OF CHRIST IN I. S. TURGENEV’S FATHERS AND CHILDREN." Проблемы исторической поэтики 19, no. 1 (February 2021): 140–72. http://dx.doi.org/10.15393/j9.art.2021.8922.

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The article focuses on the unsolved mystery of the novel by I. S. Turgenev Fathers and Children — the Italian-style al fresco painting The Resurrection of Christ, located above the entrance to the church at the entrance to the Odintsova estate. None of the researchers and commentators of Turgenev’s novel were puzzled by the question: what does “Italian-style” mean in the Easter image? Meanwhile, Turgenev directly points out that, instead of the gateway Orthodox icon, there is a religious painting The Resurrection of Christ (al fresco painting) in the church, where both the sacrament itself and the outsider witness (“a swarthy warrior in a spiked helmet in the foreground”) are presented. In the Orthodox Easter iconography, however, an outside figure is an unacceptable detail, and the sacrament of the Resurrection as the highest sacred reality in accordance with the spirit and letter of the Gospel was not depicted. The Easter sacrament was replaced by the scene of the Descent into Hell, but such an icon was still called Resurrection. Meanwhile, canonically, the procession of Christ is captured, when the Savior does not descend into hell, but rises from there on the icon of the Resurrection of Christ/Descent into Hell: he leads Adam and other biblical heroes out of the underworld by “grabbing of the wrist.” In this way, the Resurrection of Christ begins with the salvation of man, with co-resurrection. In the value and semantic space of the novel, the Orthodox icon of the Resurrection of Christ/Descent into Hell is concealed behind the “Italian” fresco-veil. If Turgenev knows the “Italian” semantics of the Resurrection, then it is quite natural that the author is more familiar with the semantics of the Orthodox icon from liturgical recollection and makes it covertly actual. The behind-the-scenes presence of the icon of the Resurrection of Christ/Descent into Hell and everything that is liturgically and theologically associated with it and experienced transubs the structure of Fathers and Children. The Easter hierotopy of the novel, outlined by the Orthodox icon and supported by the prayerful hopes of the finale 1) creates a very special, breathtaking and enlightening value space, correlated with eternity, the infinity of the spiritual, which affirms, elevating all present to endless life through participation; 2) sets up the supertext dimension, gives rise to the motive of transcendental hope: “You will not leave my soul in hell”; 3) and also strengthens the Russian word as the Christocentric foundation of Russian culture.
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Jones, Mark. "John Calvin’s Reception at the Westminster Assembly (1643–1649)." Church History and Religious Culture 91, no. 1-2 (2011): 215–27. http://dx.doi.org/10.1163/187124111x557872.

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Of all the Reformation theologians, John Calvin exerted arguably the most influence on the English Puritans. That did not mean, however, that his theology was uncritically accepted. This chapter considers the reception of Calvin’s theology at the Westminster Assembly on two doctrines that were debated among the Westminster divines, namely, the eternal generation of the Son of God and the so-called descent of Christ into Hell. Calvin’s somewhat unique position on the Son’s aseity and his interpretation of Christ’s descent were considered by the Assembly, but ultimately rejected by the majority, though not all, of the Westminster divines. Nevertheless, the Westminster documents are not quite detailed enough to contradict Calvin’s position on the Son’s aseity, but the Larger Catechism definitely departs from Calvin’s teaching on Christ’s descent into Hell. Moreover, the relation of the Apostles’ Creed and Nicene Creed to Reformed theology in the sixteenth and seventeenth centuries also comes under consideration in this chapter.
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Friedman, Jerome. "Christ' Descent into Hell and Redemption Through Evil. A Radical Reformation Perspective." Archiv für Reformationsgeschichte - Archive for Reformation History 76, jg (December 1, 1985): 217–30. http://dx.doi.org/10.14315/arg-1985-jg09.

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Ivanova, Svetlana. "Iconography of the Resurrection in the Russian art of the 16th — 18th centuries: sources of formation of the new canon." St.Tikhons' University Review. Series V. Christian Art 45 (March 31, 2022): 28–44. http://dx.doi.org/10.15382/sturv202245.28-44.

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The article deals with the study of the development of the new iconography "Resurrection with the Descent into Hell", which appeared in Russian art in the 16th century. Variants of new iconography are considered on the examples of certain monuments. Iconographic types are distinguished by the arrangement of the two main plots, sequential or vertical. At the same time, in the first iconographic type, it is possible to see either a literal adherence to the Dutch engraving, or a rethinking: the placement of the image "Resurrection" below, under the main stage.The influence of the Old Believers' work "The Passion of Christ" on the iconography "Resurrection with the Descent into Hell" is investigated. This influence is evident not only in the new storylines that become commonplace for the new image. This can be seen both in the text on the icon and in the stamps of monuments. Examples of citing the text are given. Certain iconographic features associated with this influence are noted.
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Evlampiev, Igor I., and Vladimir N. Smirnov. "Dostoevsky's Christianity." RUDN Journal of Philosophy 25, no. 1 (December 15, 2021): 44–58. http://dx.doi.org/10.22363/2313-2302-2021-25-1-44-58.

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The article refutes the widespread view that Dostoevsky's Christian beliefs were strictly Orthodox. It is proved that Dostoevsky's religious and philosophical searches' central tendency is the criticism of historical, ecclesiastical Christianity as a false, distorted form of the teaching of Jesus Christ and the desire to restore this teaching in its original purity. Modern researchers of the history of early Christianity find more and more arguments in favor of the fact that the actual teaching of Jesus Christ is contained in that religious movement, which the church called the Gnostic heresy. The exact philosophical expression of the teaching of Christ was received in the later works of J.G. Fichte, whose ideas had a strong influence on the Russian writer. Like Fichte, Dostoevsky understands Christ as the first person who showed the possibility of revealing God in himself and gaining divine omnipotence and eternal life directly in earthly reality. In this sense, every person can become like Christ. Dostoevsky's main characters walk the path of Christ and show how difficult this path is. The article shows that Dostoevsky used in his work not only the philosophical version of true (Gnostic) Christianity developed by German philosophy (Fichte, Schelling, Hegel), but also the key motives of the Gnostic myth, primarily the idea that our world, filled with evil and suffering, is created not by the supreme, good God-Father, but by the evil Demiurge, the Devil (in this sense, it is hell).
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Kapic, Kelly M., and Wesley Vander Lugt. "The ascension of Jesus and the descent of the Holy Spirit in patristic perspective: a theological reading." Evangelical Quarterly 79, no. 1 (April 30, 2007): 23–33. http://dx.doi.org/10.1163/27725472-07901002.

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Scripture is replete with the antithesis of descent and ascent, and the early Church Fathers often employed this framework for understanding the relationship between the ascension of Jesus and the sending (descent) of the Holy Spirit. This essay outlines how many of the early Fathers saw an inseparable connection between the bodily ascension of Christ and the gift of the Spirit at Pentecost. While not normally denying the historical reality of these events, their main emphasis was theological rather than merely historical. In this way the Fathers creatively attempted to relate their Christology to their pneumatology without allowing one to swallow the other.
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Smith, William E. "Unintended Bigamies: Holy Widowhood, Marriage, andSponsa Christiin Erasmus'sDe Vidua Christiana." Harvard Theological Review 110, no. 2 (March 23, 2017): 241–64. http://dx.doi.org/10.1017/s0017816017000062.

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Christ's brides were hell bound by the end of the Middle Ages, when women—in the figure of the witch—were increasingly seen as Satan's spouses. Such is the narrative arc of Dyan Elliott's significant recent study ofsponsa Christi(bride of Christ),The Bride of Christ Goes to Hell. Elliott points toward the incarnational logic of Christianity in general and the type of physically immanent bridal mysticism that flourished among late medieval women in particular to locate some of the dynamic forces that helped make possible the theological ideas about witches that flourished from the fifteenth century onward. Elliott has done much to enrich our understanding of the development of an embodied version of the bride of Christ. Medieval and early modern Christianity held out an option, for women at least, to marry Jesus—to become asponsa Christi—in a literal sense, a form of marriage sustained by such things as legal mechanisms, theological visions, particular emotions, religious rituals, and spiritual practices. But Elliott's argument, stopping as it does right before the tumultuous sixteenth century, lends itself to a reading that the literalizedsponsa Christiwas bound henceforth to the early modern witch craze. Desiderius Erasmus's 1529 treatiseDe vidua christianaprovides us evidence that the literalizedsponsa Christideveloped in alternative ways in the early modern period, including the creation of a distinctive vision of the Christian widow who is, at times, bigamous.De vidua, then, can serve as the basis for expanding upon an alternative historical trajectory for the bride of Christ that Elliott mentions in passing in her study.
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Dissertations / Theses on the topic "Jesus christ, descent into hell"

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Tran, Nha Trong. "Christ's descent into hell a study of 1 Peter 3:18-20 /." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.

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Brenton, Robert M. "Calvin's confession of Christ's descent into hell in the context of the doctrine of redemption an historical and hermeneutical inquiry /." Theological Research Exchange Network (TREN), 2005. http://www.tren.com.

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Carlson, James Andrew. "The descent of Christ an exegetical examination of Ephesians 4:8-10 /." Theological Research Exchange Network (TREN), 1993. http://www.tren.com.

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Sieh, Dan. "A theological examination of Jesus' activities following his death on the cross." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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Du, Toit Marietjie. "A study of 1 Peter 3:18-4:6 an investigation into the historical background of the doctrine of Christ's descent into Hades /." Pretoria : [S.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-08112008-094957/.

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Gonzalez, Julie. "Etude iconographique de la gueule d'enfer au Moyen Age. Origines et symboliques : iconographie et sources textuelles." Thesis, Pau, 2015. http://www.theses.fr/2015PAUU1004/document.

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À l'opposé du Paradis céleste que rejoignent les élus, les artistes romans ont imaginé le monde de tourments qui attend les pécheurs. Ce lieu de terreur, duquel s'élèvent « des pleurs et des grincements de dents » (Matth. 22, 13), ne peut être illustré sous des formes simples et communes. L'imagerie médiévale, précocement, dès le IXe siècle dans le domaine anglo-saxon, donne à l'Enfer l'apparence d'une tête hybride, la Gueule d'Enfer. Sculpteurs et enlumineurs se sont-ils inspirés de monstres issus des mythologies païennes anciennes et contemporaines ? Sur quelles sources textuelles se sont-ils appuyés pour élaborer ce motif ? Aisément reconnaissable, l'image de la Gueule s'inscrit dans les nombreuses représentations du Jugement Dernier et de la Descente du Christ aux Enfers. Une étude typologique pourra déterminer l'influence de la présence et de l'aspect de la Gueule d'Enfer sur la signification de ces épisodes fondateurs du Christianisme. La Gueule terrifiante devient le symbole même d'un Enfer fantasmagorique et vivant ; elle envahit progressivement toute l'iconographie religieuse et il convient de voir si elle ne modifie pas le sens de nombreux épisodes bibliques. Présente encore à l'époque gothique, la Gueule d'Enfer est transformée par les artistes de la fin du Moyen Âge, avant de disparaître progressivement de l'iconographie religieuse. Si l'Enfer médiéval a suscité de nombreuses études, le motif de la Gueule dévorante a paradoxalement peu attiré l'attention des Historiens de l'Art. Cette thèse tend à combler, au moins en partie, cette lacune
Opposed to the Celestial Heaven waiting for the blessed, the roman artists invented a netherworld waiting for the sinners. This terrifying place, from where « tears and gnashing of the teeth » arrive (Matth, 22 , 13 ) cannot be illustrated in simple and common ways. As soon as the 11th century, in the anglo-saxon world, Hell was represented as an hybrid head, the Maw of Hell, in the medieval imagery. Did the sculptors and the illuminators get their inspiration from the monsters belonging to the oldest and contemporary pagan mythology ? Which textual sources did they use to elaborate this pattern ? Easily recognisable, the image of the Maw is one of the many representations of the Last Judgment and of Christ's Descent to Hell. A typological study will determine the influence of the presence and the aspect of the Maw of Hell on the meaning of those founding episodes of Christianism. The terrifying Maw became the symbol of a fantasmagoric and real hell slowly invading the whole religious iconography and it is worth wondering if it didn't change the meaning of many biblical episodes. Still present during the Gothic period, the Maw of Hell was changed by the artists of the late Middle Ages, before disappearing slowly from religious iconography. If medieval Hell was the subject of many studies, the Maw of Hell surprisingly attracted few Art History researchers. This thesis partially tries to fill this gap
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Books on the topic "Jesus christ, descent into hell"

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Hell's destruction: An exploration of Christ's descent to the dead. Farnham, Surrey: Ashgate, 2013.

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Balthasar, Hans Urs von. Mysterium Paschale: The mystery of Easter. Edinburgh, Scotland: T&T Clark, 1990.

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Balthasar, Hans Urs von. Theologie der drei Tage. Freiburg: Johannes, 1990.

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Balthasar, Hans Urs von. Mysterium Paschale: The mystery of Easter. Grand Rapids, Mich: W.B. Eerdmans Pub. Co., 1993.

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Barth on the Descent into Hell: God, Atonement and the Christian Life. London: Taylor and Francis, 2017.

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Christ the conqueror of hell: The descent into Hades from an Orthodox perspective. Crestwood, N.Y: St. Vladimir's Seminary Press, 2009.

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Ilarion. Christ the conqueror of hell: The descent into Hades from an Orthodox perspective. Crestwood, N.Y: St. Vladimir's Seminary Press, 2009.

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Ilarion. Christ the conqueror of hell: The descent into Hades from the Orthodox perspective. Crestwood, N.Y: St. Vladimir's Seminary Press, 2009.

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Ilarion. Christ the conqueror of hell: The descent into Hades from an Orthodox perspective. Crestwood, N.Y: St. Vladimir's Seminary Press, 2009.

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Dalton, William J. Christ's proclamation to the spirits: A study of 1 Peter 3:18-4:6. 2nd ed. Roma: Editrice Pontifico Istituto Biblico, 1989.

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Book chapters on the topic "Jesus christ, descent into hell"

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Lauber, David. "Karl Barth: Jesus Christ's death in God-abandonment as the descent into hell." In Barth on the Descent into Hell, 1–41. Routledge, 2017. http://dx.doi.org/10.4324/9781315096612-1.

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"Chapter 7. Descent into Hell." In The Bride of Christ Goes to Hell, 233–79. University of Pennsylvania Press, 2012. http://dx.doi.org/10.9783/9780812206937.233.

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"The Descent of Christ into the Underworld in Early Christian Liturgy." In The Apostles’ Creed ‘He Descended Into Hell’, 54–78. BRILL, 2018. http://dx.doi.org/10.1163/9789004366633_005.

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Copenhaver, Brian P. "Humanism Goes to Hell." In Pico della Mirandola on Trial, 7–42. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192858375.003.0002.

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The ‘Harrowing of Hell’ was an article of the Christian creed, and when Jesus went down to Hell, his body was still buried. But Christians thought of Hell as a place—or a place containing many places. How could Christ, without a body, be in a place, any place at all? The person who took this trip to the underworld was God—a pure spirit, eternal, and changeless. But God had taken on a human body, as Jesus, in order to save other embodied humans. Yet Pico knew that human bodies were material and imperfect—changing, suffering, and dying. Then how could a changeless God be both perfect and embodied? To understand the dogma of incarnation—the embodiment of God—in a philosophical way, the inquiring prince needed a theory of divine embodiment. But the version that he proposed offended the authorities, and they ruled that his ideas were heretical.
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"Theologies of Salvation in the Middle Ages." In Christian Theologies of Salvation, edited by David Hogg. NYU Press, 2017. http://dx.doi.org/10.18574/nyu/9780814724439.003.0008.

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This overview chapter for the second part of the book covers the Middle Ages and includes chapters on Anselm, Thomas Aquinas, and Julian of Norwich. This chapter recounts the development of the theology of salvation through this period, where the life of Christ as the payment to the Devil for the souls under his authority became an increasingly popular notion. Over the course of the Middle Ages, this doctrine became known as the harrowing of Hell, due to the belief that when Jesus rose from the grave, the righteous were let out of Hell itself.
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Marsden, George M. "Introduction." In Fundamentalism and American Culture, 1–8. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197599488.003.0001.

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From its origins fundamentalism was primarily a religious movement. It was a movement among American “evangelical” Christians, people professing complete confidence in the Bible and preoccupied with the message of God’s salvation of sinners through the death of Jesus Christ. Evangelicals were convinced that sincere acceptance of this “Gospel” message was the key to virtue in this life and to eternal life in heaven; its rejection meant following the broad path that ended with the tortures of hell. Unless we appreciate the immense implications of a deep religious commitment to such beliefs—implications for one’s own life and for attitudes toward others—we cannot appreciate the dynamics of fundamentalist thought and action....
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Talbott, Thomas. "Universalism." In The Oxford Handbook of Eschatology, 446–61. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780195170498.003.26.

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Abstract Universalism is the religious doctrine that every created person will sooner or later be reconciled to God, the loving source of all that is, and will in the process be reconciled to all other persons as well. Insofar as Christianity is a historical religion and includes substantive beliefs about the death and resurrection of Jesus Christ, Christians are indeed committed to the view that anyone who denies this historical event is mistaken and anyone who does not understand its theological significance has not yet grasped the full truth of the matter. John Hick, the best-known proponent of universalism among twentieth-century philosophers of religion, has also been one of the most outspoken defenders of religious pluralism. This article discusses universalism and other Christian doctrines, including salvation. It also examines free will and the problem of hell, libertarian free will, and the role of human freedom in universal reconciliation.
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Field, Clive D. "Believing—Part 1." In Counting Religion in Britain, 1970-2020, 183–211. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192849328.003.0008.

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Orthodox beliefs, alternative beliefs, and religious experience, as evidenced by sample surveys, are the focus of this chapter. Belief in God, particularly in a personal God, has declined significantly, as has belief in Jesus Christ as the Son of God. Belief in an afterlife, which was stable until the 2000s, is also now falling; so, too, is belief in heaven, hell, and reincarnation. However, a myriad of alternative beliefs, stoked nowadays by social media and fake news, remain pervasive, including among young people and orthodox believers, but they are often highly individualized, rather than forming a coherent intellectual system. Moreover, the extent to which, collectively or severally, they can be considered as ‘religious’ is a matter of debate (especially with imported beliefs that have tended to secularize in the United Kingdom). A similar consideration applies to religious experience, an active field of quantitative research before the millennium, albeit, regrettably, not since.
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"first appear when Calidore’s courteous behaviour to noble child raised as a shepherdess – see ‘romance’ in Calepine after inadvertently interrupting his love-the SEnc – and its stories with their aura of indefinite, making with Serena results in her being wounded by mysterious meanings that seem to invite incompat-the Blatant Beast. ible interpretations even while they resist them. One The next five cantos explore the various states of example is the story of Serena about to be divided art (i.e. nurture) in relation to nature (i.e. either and eaten by the Salvage Nation: it may be seen as a noble or base blood). Courtesy is shown to be nat-romance motif that draws on Spenser’s knowledge of ural to the Salvage Man, as evident in his courteous human sacrifice practised by the Irish Celts (McNeir behaviour to Calepine and Serena after he pities 1968:130–35, 143), and on his experience of the them in their distress (iv 1–16), for though he lacks Munster famine (View 104; see Gray 1930:423–24); nurture, he is of ‘gentle bloud’ (v 1.2). In contrast, or it may be interpreted as mocking the Petrarchan the savage bear’s ‘son’ may become a knight or rhetorical dismemberment of women (Krier philosopher (iv 35.4–36.9) through nurture alone. 1990:114–15); or parodying the Roman Catholic In contrast to both, Turpine, a ‘most discourteous concept of the Real Presence in the eucharist crauen’ (iv 2.6), being of ‘base kind’ (vii 1.9), may (Nohrnberg 1976:712–13); or satirizing Protestant not be reformed even by Arthur. And in contrast to extremists who threaten to dismember the Church him, Mirabella, though of ‘kindred base’, is ‘deckt of England (Borris 1990). Another example is with wondrous giftes of natures grace’ (vii 28). The Calidore’s rescue of Pastorella from the brigants’ lowest level of nature is seen in the Salvage Nation: underground cave: the story is closer to myth than its attempt to divide and eat Serena is the demonic to allegory, for her descent into the cave evokes parody of courtly behaviour. For an analysis of these Proserpina’s descent into the underworld, and her states, see Oram 1997: 252–54, and Tonkin rescue a resurrection from death to life. It has been 1989:176–81. interpreted (for example, by M. Evans 1970:224) as The four concluding cantos describe Calidore’s an allegory of Christ harrowing hell, but preserved adventures after he abandons his quest and enters the as a myth or fiction, its potential meanings remain pastoral world. His vision of Pastorella culminates in inexhaustible. See Hamilton 1959:352–54. his vision of the Graces, and his courtship of her culminates in their union (x 38); and only after he rescues her from the brigants, and restores her to her Cantos of Mutabilitie." In Spenser: The Faerie Queene, 38. Routledge, 2014. http://dx.doi.org/10.4324/9781315834696-36.

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