Journal articles on the topic 'Symbols in the Bible'
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1
Pérez Venero, Miriam. "Inversion of biblical symbols in The Grapes of Wrath." Literatura y Lingüística, no. 26 (December 21, 2012): 167. http://dx.doi.org/10.29344/0717621x.26.43.
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Although it is agreed that Steinbeck’s The Grapes of Wrath (1939) is full ofallusions and symbols connected to the Bible, no consensus has been reachedyet about their nature. In this article an analysis is described which aims atdemonstrating that the allusions and symbols found are better interpreted asinversions of the traditional biblical symbols, in such a way that the novel canbe considered a new ‘bible for the people’.
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Stasyk, Mykola. "Bible motifs in the novel «V.I.N.» by Valentyn Terletsky." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 12, no. 21 (2019): 84–90. http://dx.doi.org/10.34079/2226-3055-2019-12-21-84-90.
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The article examines the text-forming role of biblical images-symbols in Valentyn Terletsky's novel «V.I.N.». The analysis of the text reveals the peculiarities of the poetics, the creative personality of the author. It is stated that the writer actively uses biblical symbols and motifs in his novel that allow him to go beyond the scope of the investigative detective. The presence of Christian motifs in the work increases the number of possible interpretations, enables to depart from its literal explanation and gives the reader the opportunity to speculate events. The very title of the work contains hints of biblical parallels. In this way, the author creates a multidimensional space in which reality receives philosophical and religious reflection. Numbered symbols, which are endowed with biblical semantic connotations, also contribute to this. The article focuses on the fact that the life of the characters of the novel is «related» to such numbers as ten (the symbol of the beginning and the end of the case), forty (related to the completeness of the trials, a turning point in human life) and more. Special attention is drawn to the main character's sleep. It is known that dreaming is a technique often used in fiction. Sleep becomes a source of thoughts and analogies. It contributes to the decoding of the novel and the use of such a symbol as a circle that most readers perceive as an element that has magical protective content. In the novel this symbol is polysemantic, and the characters try to break the circle in order to «find» themselves, to play their vital role. It is stated that the work can draw clear parallels between the protagonist of the novel (He) and Jesus Christ, but such a comparison is rather conditional, since the focus of the writer is not «action», but the spiritual beginning of his characters. The use of biblical allusions in the novel enhances the meaning of the story. It helps to understand the characters who are trying to find themselves, to understand themselves, to believe in themselves. The investigation into the disappearance of the main character leads to an unexpected open finale, where everyone has a chance to be «reborn» to become themselves. It can be stated that the use of biblical symbols and motifs by the writer is characterized by freedom and flexibility. The biblical images in the work are ambivalent. In the novel «V.I.N.», Valentyn Terletsky abstracts biblical motifs and images from their theological understanding, that makes them universal. This enables to reveal writer's interest in Christianity solely as an aesthetic concept.
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Ruskulis, Lilia, Inna Rodionova, and Rymma Maiboroda. "The symbol of «heart» in the linguophilosophical concept of H. Skovoroda." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 23 (2020): 211–17. http://dx.doi.org/10.34079/2226-3055-2020-13-23-211-217.
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The article examines the linguistic and philosophical research of H. Skovoroda – a symbolic perception and interpretation of the world around. It was found out that the thinker sought to allegorically interpret the Bible, which he perceived as the only reliable source of happiness, he believed that the world of the Bible is the ideal otherness of the human world (microcosmos) and the universe (macrocosmos). The authors of the article analyzed one of the brightest symbols of the linguist – the symbol of the heart, which is the basis of all human actions, bad and good thoughts, the place where thoughts and feelings are born and grow, where the truth opens, this symbol is the center of human moral actions, his inherent thinking and will.
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Лисенко, Наталія, and Надія Тендітна. "СЛОВА-СИМВОЛИ У ТВОРАХ ГРИГОРІЯ СКОВОРОДИ ЯК ОЗНАКА ХУДОЖНЬОГО МИСЛЕННЯ." Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe 4, no. 1 (2022): 15–22. http://dx.doi.org/10.15804/ppusn.2022.01.01.
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The article analyzes the words-symbols in the artistic and philosophical world of Gryhoriy Skovoroda. Based on the classification of D. Chizhevsky, in the symbolism of the Ukrainian Baroque poet considered concepts-symbols by the following meanings: biblical words-symbols, archetypal symbols, cosmogonic words-symbols, symbols-names of creatures, natural phenomena, to denote the peculiarities of the environment. The poet-philosopher in his works uses such biblical words-symbols as God, Christ, the Bible, the heart, the angel, the prophet, the cross. In the works of G. Skovoroda there are archetypal images-symbols of fire, light, water, blood, circles. In the works analyzed by us, G. Skovoroda uses such cosmogonic words-symbols as: sun, moon, star, star. The word-symbol of the wing in the poet’s works is closely connected with biblical symbols, creates a positive characteristic and means «take-off». In the works of G. Skovoroda the main function of symbolic names of birds, such as: crow, dove, nightingale, eagle and hawk, characterological, it carries an emotional load. In the collection «Fairy Tales of Kharkiv» words-symbols to denote the names of animals represent certain human qualities. Gryhoriy Skovoroda also used symbols-names of natural phenomena in his work, in particular, such as: thunder, lightning, clouds, rainbow. Quite often in the works of G.S. Skovoroda there are such words-symbols to denote the features of the natural environment, such as forest, sea, roads. According to research, Christian symbols were of great importance to Gryhoriy Skovoroda, but a significant part of the symbols came to his worldview from the ideas of the ancient Slavs.
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Hong-An, Pham Thi. "Intertextuality in Emily Dickinson's poetry." Science & Technology Development Journal - Social Sciences & Humanities 5, no. 2 (May 7, 2021): first. http://dx.doi.org/10.32508/stdjssh.v5i2.608.
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A text is absolutely not a writer’s genuine creation, but it principly receives the material and is altered from another text. The concept of intertextuality is constructed by Julia Kristeva (1941-), stressing the interconnection between a text and other prior ones. Intertextuality can be in the form of topics, motifs, images, symbols, and so on, constantly employed by the writer either unconsciously, as believed by Freud, or consciously. In so doing, intertextuality, however, does not mean to diminish creativity in writing; on the contrary, it diversifies the process. Emily Dickinson (1830 – 1886), a talented but reclusive American poet, has utilized quite a number of images, symbols, and tales in the Bible, the text of considerable influence in her culture and society, in her poems. Her intertextuality with the Bible sophisticatedly proves her thoughts of the religion and its practice. Her religious experiences, which are interwoven in her poetry, reveal the spirit of liberty and sensitiveness she possesses. Bearing such philosophy in poetry and life, Dickinson can be regarded as a symbol of American soul, with unique and creative individualism. This paper will analyze and clarify the aforementioned proposition, principly using the method of intertextual criticism.
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Dillon, Amanda. "“I Am the Nail”: A Multimodal Analysis of a Contemporary Reception of Isaiah 53." Religions 14, no. 3 (March 10, 2023): 370. http://dx.doi.org/10.3390/rel14030370.
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The Arma Christi, the instruments of the Passion of Christ, are a fascinating collection of symbols evident throughout the history of Christian art. This article considers the striking re-emergence of visual depictions of the Arma Christi in the contemporary spiritual practice of Bible Journaling. How have these symbols of the Passion made their way back into the popular Christian imaginary and creative expression of Bible readers today? The creative, devotional practice of Bible Journaling is gaining popularity in many countries, notably the US. Almost exclusively practiced by women, Bible Journaling involves making artistic interventions directly in the material artefact of the printed Bible, with different creative media. In considering the value of this practice for women’s spirituality, this article employs a social semiotic approach, multimodal analysis, to survey their visual representations and to analyse in detail one specific creative intervention, “I AM THE NAIL”, as a reception of a contemporary understanding of salvation through the suffering of Jesus Christ on the cross. Also considered are intertextual readings of the Hebrew Bible (Isaiah 53: 3–5) and the NT. The semiotic influence of popular cultural products such as The Passion of the Christ movie on the visual idiom embraced by the journalers forms part of this analysis.
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Çitaku, Muhamed. "The Influence of the Bible on Albanian Literature." Obnovljeni život 78, no. 1 (January 9, 2023): 81–91. http://dx.doi.org/10.31337/oz.78.1.6.
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Just as the Bible has had a great influence on world literature, so too has it influenced Albanian literature. The impact of this book is evident in all literary periods throughout the history of Albanian literature. Albanian authors have taken stories, characters, motifs, and themes from the Bible and have conveyed these in a variety of artistic forms. Through biblical symbols Albanian authors have expressed ideas about themselves, society, culture, and politics and have demonstrated that these symbols have different meanings in Albanian literature. They have achieved this by giving biblical stories a unique structure, modifying them partially by adding new characters and events, etc. Therefore, as a result, biblical stories and characters in Albanian literature have a new distinctive quality as compared to those in the Bible. The purpose of this study is to demonstrate the influence that the Bible has had on principal Albanian authors, as well as the peculiarities that biblical events and characters acquire in Albanian literature. The authors have used quantitative and hermeneutic analysis to help identify biblical elements in Albanian literature.
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Gevorgyan, Gourgen. "Metaphor in the Bible." Armenian Folia Anglistika 2, no. 1-2 (2) (October 16, 2006): 31–35. http://dx.doi.org/10.46991/afa/2006.2.1-2.031.
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Metaphor as a stylistic device is widely used in fiction. Writers can usually be easily identified due to the metaphors they use in their works. Metaphor is one of the basic devices of imagery. The Bible abounds in metaphors and the system of imagery in the Holy Book is heavily dependent on this device. Here, metaphors appear not only in the form of words, but of sentences, as well. Symbols, which are specific to the Bible, communicate a special meaning to the events and phenomena described.
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Yamat, Ezuoke, Chukwudinma O., and IJIOMA, Patricia Ngozi. "The Semiotics of Christian Theological Translation and Interpreting." International Journal of Linguistics, Literature and Translation 4, no. 4 (April 27, 2021): 27–33. http://dx.doi.org/10.32996/ijllt.2021.4.4.5.
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The Christian theological text, whether written or oral is a derivative of a sacred text called The Bible, thus, making the theological text a second order text. This makes it possible for the Christian theological text to adopt first of all, the semiotic forms of The Bible: signs, symbols, vestments and colours as well as those of the modern church. Semiotic translation which implies a decoding of signs and symbols, interprets textual signs and symbols in a source text (ST) to the target audience (TA). Hence, translation is an interpretative activity. The translation of Christian theological semiotics could be done in-text, in footnotes or in notes and references as a form of elucidation to the target audience. Theology is a discipline and as such, most of its signs and symbols are technical. To deal with its semiotics is part of the deverbalisation process which its translator must engage in, in order to understand the source text (ST) and to reverbalise the same. The paper aims at furnishing Christian theological translators with the meanings of selected Christian theological signs and symbols. This is a plunge into the dynamic equivalence of the signs and symbols, since formal equivalence, calque and loaning do not deliver the relevant comprehension needed by the translator for adequate reverbalisation of the source text. The paper highlights the importance of semiotic research in the translation of Christian theological texts.
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Bardski, Krzysztof. "Symbol – ikona tajemnicy." Verbum Vitae 16 (December 14, 2009): 201–10. http://dx.doi.org/10.31743/vv.1531.
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Throughout the centuries, the more-than-literal interpretation of the Bible was present in the tradition of the Church. Symbols made out of biblical literary motifs expressed deep theological and human concepts. They made visible what otherwise was invisible. Our article presents three symbols rooted in the biblical text that acquired new spiritual meanings in the ancient and medieval interpretation of the Scripture: wings, tree and bow.
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Loveridge, Mark. "Rasselas : The Enigma and the “Agile Music”." Studies in Philology 121, no. 2 (March 2024): 298–325. http://dx.doi.org/10.1353/sip.2024.a923968.
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Abstract: This essay reads Samuel Johnson’s Rasselas (1759) against the background of negative or apophatic theology and argues that it is unique among Johnson’s works in expressing a sense of life as an enigma . The silent or hidden symbol of the story is the Giza Sphinx, one of the foundational symbols of such theology: the second-century Church Father Clement of Alexandria, whose works Johnson owned, associated the enigmas of the Hebrew Bible with the mystery of the Egyptian sphinxes. More widely, Rasselas contains absent objects and symbols, enigmatic silences and responses, hidden images and paradoxes, self-defeating dualisms and habits of style, apophatic philosophy (“philosophy can tell no more”), and an enigmatic conclusion (“ nothing ”). The apophatic quality is embodied in the text through what Jorge Luis Borges refers to as Rasselas ’s “agile music,” the subtle, flexible management of narrative voices, which generates a distinctive kind of attention in the reader.
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Pavlinchuk, Tetiana. "Emptiness Effect, or What Lost Symbols Say (on the Basis of the Drama Seven Steps to Golgotha by Oleg Goncharov)." Perspektywy Kultury 28, no. 1 (March 1, 2020): 15–24. http://dx.doi.org/10.35765/pk.2020.2801.04.
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Bible themes and story lines have always been of interest in Ukrainian literature. In recent decades, creative rethinking of biblical codes and symbols has taken place, especially in themes connected with questions of faith, truth, prophecy, sacrifice, kindness, malice, etc. The contemporary Ukrainian writer Oleh Goncharov gives coverage to this issue in his drama Seven Steps to Golgotha. This article deals with the problem of a biblical symbol, experiencing alienation, losing its own symbolic meaning, and creating emptiness. This emptiness, however, is only visible because a new meaning replaces it, gains another meaning, and becomes a new symbol. Phantasmagoria—the genre of the play chosen by its author—makes it possible to use various approaches and experiments, to organize the plot’s chronology, to justifying the characters’ actions, and arrange a story line, in particular.
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Hutchins, Zachary McLeod. "Rejecting the Root." Nineteenth-Century Literature 68, no. 3 (December 1, 2013): 292–322. http://dx.doi.org/10.1525/ncl.2013.68.3.292.
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Investigations of Frederick Douglass’s religiosity too frequently neglect his 1845 Narrative, perhaps because readers continue to accept that the Narrative should be understood as a critique of specific individuals or denominations rather than a challenge to core Christian principles. But in the Narrative Douglass deploys a series of subtle biblical symbols to rewrite the Bible and subvert “Christianity proper.” Most controversially, I claim that the root that Douglass eventually rejects as an impotent totem of “ignorant slaves” is both a representation of hoodoo rootwork and, crucially, Jesus Christ; nineteenth-century readers of the Narrative, including Harriet Beecher Stowe, recognized the atheistic potency of this symbol, but biblical illiteracy has elided it from modern readings.
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Bardski, Krzysztof. "Biblia sakramentem miłości Boga i Kościoła." Verbum Vitae 7 (January 14, 2005): 201–14. http://dx.doi.org/10.31743/vv.1383.
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In the christian antiquity the word sacrament designated any sacred sign. The Bible can be considered as a sign of the love between God and the Church. In our article we analyze the symbols created in connection with the more-than-literal interpretation ofthe Song of Songs. The different aspects o f the loving relation between the Bridegroom and the Bride have been interpreted by the ancient and medieval commentators in the light of the role that the Bible plays in the relation between Jesus and the Church or Jesus and the human soul.
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Вевюрко and I. Vevyurko. "The Bible Intussusception in Ancient Rus’." Socio-Humanitarian Research and Technology 4, no. 4 (December 20, 2015): 72–76. http://dx.doi.org/10.12737/17203.
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Translated into language of Slavs in the IX century, the
Bible began to appear in Rus’ along with adoption of Christianity,
not as one book, but as the whole collection of books, quite often
separated materially, but owing to their authoritativeness acting as
a uniform core of the spiritual culture which began its transforma -
tion. For founders of written Ancient Russian culture the Bible was
a source not only quotes and links, but also that isn´t less important,
hints and meanings, that’s why without sufficient level of this
source’s knowledge it is often impossible to understand the Russian
culture’s fundamental symbols.
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Levchenko, N. "Skovoroda’s prefiguration in the context of biblical heuristics and noematic." New Collegium 4, no. 109 (November 14, 2022): 74–82. http://dx.doi.org/10.30837/nc.2022.4.74.
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Biblical noematic, that is, the science of the meanings of the Holy Scriptures, and heuristics, the science of finding these meanings, were central to the exegesis of Hrygorii Skovoroda. Under the influence of the teachings of the fathers of the Alexandrian school, they changed their methodological principles, transformed to a certain extent and moved towards a comprehensive allegory of the Holy Scriptures in the author's system of its interpretation.
The true meaning of the Word of God lies under the tinsel of the material shell of the word, which Skovoroda calls figures, signs, symbols. Using images and symbols, Skovoroda explained the invisible nature, that is, the existence of God, Truth. To decipher the meaning of the figures means to discover the truth hidden in the Holy Scriptures.
Trying to find the truth in the Holy Scriptures, Skovoroda superimposes his own already transformed allegorical constructions on biblical allegories, that is, he talks about allegories in terms of allegories, thereby not simplifying but complicating their meaning.
For example, the image of a snake coiling in a ring and having a sharp look is a metaphorical personification of self-knowledge, self-view of the world. So, the image of a snake coiled in a ring symbolizes the general meaning of human life.
It is difficult to understand, the philosopher notes, where the beginning and where is the end of a snake coiled in a ring, if you do not notice its head. It is equally difficult to understand eternity – it is everywhere and nowhere, because it is invisible and covers its hypostasis. Skovoroda regards the coils and rings of the snake as symbols of eternity, and therefore also symbols of the Bible itself. That is why the writer calls the Bible a snake and God at the same time.
Biblical noematic, that is, the science of the meanings of the Holy Scriptures, and heuristics, the science of finding these meanings, were central to the exegesis of Hrygorii Skovoroda. Under the influence of the teachings of the fathers of the Alexandrian school, they changed their methodological principles, transformed to a certain extent and moved towards a comprehensive allegory of the Holy Scriptures in the author's system of its interpretation.
The true meaning of the Word of God lies under the tinsel of the material shell of the word, which Skovoroda calls figures, signs, symbols. Using images and symbols, Skovoroda explained the invisible nature, that is, the existence of God, Truth. To decipher the meaning of the figures means to discover the truth hidden in the Holy Scriptures.
Trying to find the truth in the Holy Scriptures, Skovoroda superimposes his own already transformed allegorical constructions on biblical allegories, that is, he talks about allegories in terms of allegories, thereby not simplifying but complicating their meaning.
For example, the image of a snake coiling in a ring and having a sharp look is a metaphorical personification of self-knowledge, self-view of the world. So, the image of a snake coiled in a ring symbolizes the general meaning of human life.
It is difficult to understand, the philosopher notes, where the beginning and where is the end of a snake coiled in a ring, if you do not notice its head. It is equally difficult to understand eternity – it is everywhere and nowhere, because it is invisible and covers its hypostasis. Skovoroda regards the coils and rings of the snake as symbols of eternity, and therefore also symbols of the Bible itself. That is why the writer calls the Bible a snake and God at the same time.
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Hatcher, Mark J. "Contextualizing the Creed through Structured Bible Study." Missiology: An International Review 26, no. 3 (July 1998): 315–28. http://dx.doi.org/10.1177/009182969802600304.
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The relationship of abstract creedal statements and articles of faith to the particular cultural concerns of Koreans is not always grasped. Authentic contextualization of the creed will occur only through encounters with Christian revelation that build narrative roots from which the abstract claims of the creed can be perceived and grasped. It is in the midst of encounters with Christian revelation that the theological tradition of the church and specific cultural concerns can meet in fruitful dialogue. Study and interaction with biblical passages present opportunities for the needed encounters with Christian revelation. The biblical passages also provide images that may become symbols through which the meaning of Christian revelation may be grasped, connected to the creed, and serve as a guide for contemporary living.
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Tetyana SHAMSUTDYNOVA-LEBEDYUK, Tetyana SHAMSUTDYNOVA-LEBEDYUK. "BIBLICAL NARRATIVES IN THE WORKS OF HRYHORIY SKOVORODA." Almanac of Ukrainian Studies, no. 31 (2022): 53–58. http://dx.doi.org/10.17721/2520-2626/2022.31.7.
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The article reveals the place of the Bible in the formation and confirmation of Grigory Skovoroda's worldview. It occupied a special place among the sources of knowledge of the surrounding world in the life and work of a prominent Ukrainian philosopher, our national pride. Biblical themes, quotations from the Bible are present in all works of Grigoriy Skovoroda, including in his private letters. In his explanations, questions or answers, he always referred to the biblical text. Despite the fact that the thinker knew the Holy Scriptures perfectly, he constantly read and studied them, thought about every word, every detail of the text, interpreted and said that in the simplest, at first glance, statement very often hidden a deep meaning that is not accessible to everyone and understanding. H. Skovoroda, seeing symbolic images in the Bible, expressed the opinion, which is the basis of his philosophy, about the need for a higher, spiritual, allegorical understanding of the Bible and advised to read it without haste, to carefully consider what was read, so as not to mindlessly perceive the stories and sayings contained in long past times. His position on the interpretation of the Holy Scriptures was based on allegorical-symbolic concepts, based on the method of early Christian exegesis. In view of this, G. Skovoroda did not accept either a dogmatic, once-and-for-all established interpretation of Biblical texts, or its literal understanding, considering such an approach to be far from the search for the precious truth contained in the Bible. He expressed the opinion, which is the basis of his philosophy, about the need for a higher, spiritual, allegorical understanding of the Bible. In his works, the philosopher also reinterprets biblical images, giving them a different meaning. Thanks to biblical characters, the author reveals such human traits as truthfulness, sincerity, kindness, mercy, love for one's neighbor. The philosopher believed that the Bible is a "field of God's signs", where each sign is a symbol. It is these symbols, according to Grigory Skovoroda, that open the best part of our mind, prompting it to know the fullness of divine Truth. It was the Bible that became for him an important source of knowledge, a spiritual imperative that determined the development of H. Skovoroda as a philosopher and religious thinker.
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Kozar, Kateryna. "MISOGYNY AND APOLOGY OF THE FEMININE IN THE BIBLICAL CHRISTIAN TRADITION." Sophia. Human and Religious Studies Bulletin 20, no. 2 (2022): 25–27. http://dx.doi.org/10.17721/sophia.2022.20.5.
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The article considers the Bible as the most thorough and basic source for studying the concept of femininity in the religious tradition of Christianity. According to many feminist researchers, it is the Bible that makes it possible to trace the ontological status of women in the Christian tradition and to understand the specifics of Christian religious views on masculine and feminine. The opinion is proved that thanks to the analysis of biblical figures, it is possible to identify the necessary models of human behavior (A. Milano), to understand the images-symbols in their variability from the point of view of gender studies (A. Bilyka, N. Chukhim and O. Gomilko). Moreover, numerous feminist theologians and philosophers willingly refer to the Bible as the most criticized, "anti-feminist" source (E. Fiorenza). Therefore, it became necessary to study those aspects related to the raised issues for the analysis of the correct interpretation of the texts of the Bible, especially the first three chapters of the Book of Genesis. The article presents an attempt to reconstruct the real status of women in the Bible. The issue of the Christian understanding of the status and historical significance of the biblical explanations of the feminine is considered (E. Bianchi and A-M. Peletier).
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Jose, Chiramel Paul. "Blake’s Songs, Their Introductions and the Bible." English Language and Literature Studies 7, no. 2 (May 30, 2017): 43. http://dx.doi.org/10.5539/ells.v7n2p43.
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Although William Blake was highly eclectic and drawing from multifarious sources, religious system, philosophical thoughts and traditions, the Bible was Blake’s most predominant concern. Throughout his life of meticulous and tedious composite art Blake aimed at decoding the Bible as the Great Code of Art for helping people to be imaginative and visionary like Jesus Christ. Both in his complex and sophisticated prophetic works, meant for the illuminated people, and in his deceptively simple lyrics of the Songs of Innocence and of Experience, meant for the rank and file of society, Blake did keep this up. The present study is an attempt to focus on this element, by delving deep into the texts and designs of the Introductions of Songs of Innocence as well as of Songs of Experience, inevitably considering the totality of Blake’s works and in the special context of their marked allegiance or affinity to the themes and symbols from the Bible. Blake visualized a blend of lamblike meekness and mildness with the ferocity of tigers of wrath for having the human form divine perfect.
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Prasetya, Ignasius Gede Aldo Dani, and I. Wayan Mudra. "Kajian Semiotika C.S. Pierce pada Salib Altar Interior Gereja Katolik Roh Kudus Katedral Denpasar Bali." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 8, no. 02 (November 3, 2022): 156–67. http://dx.doi.org/10.33633/andharupa.v8i02.4394.
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Abstrak Gereja Katolik Roh Kudus Katedral Denpasar memiliki simbol yang digunakan sebagai dekorasi interior. Penelitian ini bertujuan untuk menjelaskan dekorasi salib Gereja Katolik Roh Kudus Katedral Denpasar Bali dengan teori C.S. Peirce. Penelitian ini menggunakan pendekatan deskriptif kualitatif, dengan metode pengumpulan data observasi, wawancara, dan dokumentasi. Sumber data utama penelitian ini adalah Salib Altar pada salib Gereja Katolik Roh Kudus Katedral Denpasar. Hasil penelitian menunjukan bahwa salib altar gereja tersebut menyerupai bentuk Kayon Bali. Salib altar ini ditempatkan di belakang altar menghadap ke umat, berwarna keemasan dengan ornamen tanaman anggur, dan enam bentuk manusia malaikat. Interpretantnya salib altar menyerupai kayon Bali, memiliki tiga fungsi sesuai isi Alkitab, bagian awal kayon Bali adalah pembuka dan penutup pementasan wayang sedangkan di Alkitab melambangkan Yesus pada Awal dan Akhir. Kedua, kayon Bali berfungsi sebagai tanda pergantian babak sedangkan di Alkitab sebagai pengganti kurban persembahan pada perjanjian lama. Ketiga, kayon Bali sebagai lambang gunung, angin, hutan, dan lainnya, pada Alkitab melambangkan tempat Yesus disalibkan di Bukit Golgota. Representamentnya salib altar mengabungkan kebudayaan Bali dan simbol kekristenan, terjadi akulturasi dengan budaya lokal Bali. Simpulannya salib altar menyerupai bentuk kayon Bali yang memiliki makna sesuai dengan isi Alkitab, dan merupakan akulturasi budaya lokal Bali dengan kekristenan. Kata Kunci: Gereja Katedral, Kayon Bali, Semiotika Peirce, Salib Altar AbstractIn the Denpasar Cathedral Holy Spirit Catholic Church there are symbols used as interior decorations. This study aims to explain the decoration of the cross of the Holy Spirit Catholic Church, Denpasar Bali Cathedral, with the theory of C.S. Peirce. This study uses a qualitative descriptive approach, with data collection methods of observation, interviews, and documentation. The main data source of this research is the Altar Cross on the cross of the Holy Spirit Catholic Church, Denpasar Cathedral. The results showed that the church altar cross resembled the shape of a Balinese Kayon. This altar cross is placed behind the altar facing the congregation, golden in color with vine ornaments, and six human angelic shapes. The interpretation of the altar cross resembles a Balinese kayon, has three functions according to the Bible, the beginning of the Balinese kayon is the opening and closing of the wayang performance, while in the Bible it symbolizes Jesus at the Beginning and the End. Second, the Balinese kayon serves as a sign of changing stages, while in the Bible it is a substitute for sacrifices in the Old Testament. Third, the Balinese kayon as a symbol of mountains, wind, forests, and others, in the Bible symbolizes the place where Jesus was crucified on Golgotha Hill. The representation of the altar cross combines Balinese culture and symbols of Christianity, acculturating local Balinese culture. In conclusion, the altar cross resembles the shape of a Balinese kayon which has a meaning according to the Bible, and is an acculturation of local Balinese culture with Christianity. Keywords: Altar Cross, Cathedral Church, Kayon Bali, Peirce Semiotics
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Slipushko, O. М., R. Fan, and M. Huan. "OUTLOOK BASIC OF "GARDEN OF GOD SONGS" OF HRYHORII SKOVORODA." Literary Studies, no. 63 (2022): 132–46. http://dx.doi.org/10.17721/2520-6346.2(63).132-146.
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In this article the fundamental outlook basic of poetical book “Garden of God songs” of Hryhorii Skovoroda is investigated. It is underlined the new character of formation of modern methods of poetic representation, partly poetic. It is represented understanding and interpretation by Skovoroda of difficult and important philosophical categories. It is underlined the formation by poet individual symbols, allegories and metaphor. It is analysed the join it his outlook the Ancient, Middle Ages and Renaissance traditions. The outlook basic of book “Garden of God Songs” is characterised as Baroque. The general symbols in the art outlook of Hryhorii Skovoroda is mirror, way, nom, snake, stone, circle, sea, plant, garden, theatre. Symbols and emblems of poetic texts represent his Baroque outlook, that was formed in the basic of Bible, Ancient traditions and philosophical thinking. Poetic texts of book and its ideas in this book represented its connection with European literature traditions. That is why we can analysed literary heritage of writer in the context of the world literature and philosophy. In general in book of Hryhorii Skovoroda “Garden of God songs” we can observe the Baroque complicate art conception and outlook system. The outlook context is based on the reinterpretation of Middle Ages and Renaissance traditions. The text of author represent the interpretation of Bible texts and Ancient culture. These two equal sources for inspiration and looking texts. The outlook system of Skovoroda is represented through reading not only exterior text but interior text too. Author formed individual interpretation model interpretation model of outlook thinking. It is presented through system of art images with Baroque character.
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Medvedeva, T. S., and D. I. Medvedeva. "REPRESENTATION OF THE CONCEPT GORA (MOUNTAIN) IN THE RUSSIAN LINGUISTIC CULTURE AND ITS ANALOGUES IN THE BULGARIAN AND SERBIAN LINGUISTIC CULTURES." Bulletin of Udmurt University. Series History and Philology 29, no. 6 (December 25, 2019): 933–41. http://dx.doi.org/10.35634/2412-9534-2019-29-6-933-941.
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The article presents the comparative analysis of the concept gora 'mountain' in the Russian linguistic culture and its analogues in the Bulgarian and Serbian linguistic cultures. The analysis revealed both similarities and differences in the conceptualization of mountain as a landform in the linguistic cultures under study. The similarities in the structure and semantics of linguistic units that represent the concepts are due to the fact that a part of these fixed phrases are internationalisms that originate from classical literature and Bible. We explain the presence of similar metaphors and symbols by the universal mechanisms of creating cognitive metaphors and symbols. The differences between Russian, Bulgarian and Serbian fixed phrases are based on purely linguistic specifics as well as on the characteristics of nature and landscape of Russia (Russian Plain), Bulgaria and Serbia.
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Frey, Daniel. "Lecture philosophique et lecture théologique de la Bible chez Paul Ricœur." Études Ricoeuriennes / Ricoeur Studies 3, no. 2 (December 14, 2012): 72–91. http://dx.doi.org/10.5195/errs.2012.152.
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Attention to the Bible, though not central, is constant in Paul Ricœur’s work, which features a succession of several approaches. In Symbolique du mal (1960), Ricœur attempts to think on the basis of biblical symbols with a clear philosophical intent that, however, uses a theological scheme (“believe to understand”). In subsequent essays on biblical hermeneutics, such as Herméneutique de l’idée de révélation (1977), Ricœur chooses to distance himself from theological reading in order to enable his philosophical reading to grasp the Bible’s strangeness. Later on, his quasi-private meditations on death and its imaginary (Vivant jusqu’à la mort, 2007) will lead him to explore anew crossroads of philosophical reading and theological reading of the Bible, so as to offer an astonishing and stimulating critique of biblical resurrection accounts.
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Milinkevičiūtė, Daiva. "TARP DVIEJŲ KOLONŲ: XVIII A. PABAIGOS – XIX A. PRADŽIOS VILNIAUS MASONŲ KASDIENYBĖ SIMBOLIKOJE." Lietuvos Didžioji Kunigaikštystė Visuomenė. Kasdienybės istorija, T. 4 (October 8, 2018): 144–63. http://dx.doi.org/10.33918/xviiiastudijos/t.4/a6.
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The Age of Enlightenment is defined as the period when the universal ideas of progress, deism, humanism, naturalism and others were materialized and became a golden age for freemasons. It is wrong to assume that old and conservative Christian ideas were rejected. Conversely, freemasons put them into new general shapes and expressed them with the help of symbols in their daily routine. Symbols of freemasons had close ties with the past and gave them, on the one hand, a visible instrument, such as rituals and ideas to sense the transcendental, and on the other, intense gnostic aspirations. Freemasons put in a great amount of effort to improve themselves and to create their identity with the help of myths and symbols. It traces its origins to the biblical builders of King Solomon’s Temple, the posterity of the Templar Knights, and associations of the medieval craft guilds, which were also symbolical and became their link not only to each other but also to the secular world. In this work we analysed codified masonic symbols used in their rituals. The subject of our research is the universal Masonic idea and its aspects through the symbols in the daily life of the freemasons in Vilnius. Thanks to freemasons’ signets, we could find continuity, reception, and transformation of universal masonic ideas in the Lithuanian freemasonry and national characteristics of lodges. Taking everything into account, our article shows how the universal idea of freemasonry spread among Lithuanian freemasonry, and which forms and meanings it incorporated in its symbols. The objective of this research is to find a universal Masonic idea throughout their visual and oral symbols and see its impact on the daily life of the masons in Vilnius. Keywords: Freemasonry, Bible, lodge, symbols, rituals, freemasons’ signets.
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Ekezie Obiorah, Kenneth. "Linguistic Strategies in the Translation/Transliteration of the Names of Biblical Books into Igbo and Yoruba." Bible Translator 74, no. 1 (April 2023): 49–62. http://dx.doi.org/10.1177/20516770231155162.
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As discoveries are made, new words are needed to capture and describe the various new realities. These new words and ideas need to be either translated or transliterated into other languages for the benefit of the users of those languages. Consequently, strategies used successfully for previous translations and transliterations need to be studied, understood, and defined in order to maintain consistency in subsequent translations. It is from this perspective that this work seeks to unveil the translation and transliteration strategies employed in expressing the names of the sixty-six books of the Protestant Bible in Igbo and Yoruba. Drawing on the data sourced from Igbo and Yoruba Bibles, this study shows that literal translation, direct translations, and borrowing were used. The borrowed words were adapted into the two indigenous languages using sound substitution, sound insertion, or approximation of Igbo/Yoruba phonetic symbols to English orthography.
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Sukharieva, Svitlana. ""If you knew how important the word is": the latest trends In biblical hermeneutics study in the ukrainian polish-language prose of the baroque period." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 47, no. 2 (July 10, 2020): 345–59. http://dx.doi.org/10.36770/bp.487.
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The article deals with the main trends of modern biblical studies of ancient literature, in particular the Ukrainian Polish-language prose of the Baroque period. Attention is focused on the universal and individual factors of sacral images and motifs interpretation derived from the Scriptures and designed on the background of fiction. Accordingly, the polycultural character of Polish-language works created on the borders of Ukrainian and Polish literatures is underlined. The author analyzes the creative work of baroque writers such as Meletii Smotryckyi, Ipatii Potii, Andrii Muzhylovskyi, Lazar Baranovych, Petro Mohyla, Ioanykii Galiatovskyi, Teofil Rutka, Pahomii Woina Oranskyi, etc. In the context of their bible interpretation a special place is dedicated to the quotation of the Holy Scriptures, as well as concord series of biblical images for which numerous references have been given, biblical paraphrases and repositions of evangelical parables, liturgical symbols, and metaphorical constructions derived from the Bible mentioned by ancient authors as works possessing individual and typological characteristics.
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Simeonova-Konach, Galia. "Предмети на културата (музикални инструменти) и музиката в Библията. Към въпроса за музикалността на поетическото слово, за химнографията и лириката на Николай Лилиев." Slavia Meridionalis 16 (October 21, 2016): 399–421. http://dx.doi.org/10.11649/sm.2016.019.
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Cultural artefacts (musical instruments) and music in the Bible: On the question of the music of poetry, hymnography and the lyric poetry of Nikolay LilievThe present paper is dedicated to the symbols of musical culture in semiotic and cultural discourse, as reflected by the category “cultural artefacts” (musical instruments) in the Bible. At the same time, it is as an attempt to demonstrate the literary critical and musicological potential of the problem. The category “musical instruments” in biblical texts has been discussed in a historical perspective. Another issue analysed in the paper are the rhythmic and metric structures of Byzantine and Bulgarian hymnography. Both these questions are viewed from the perspective of musical and poetical homology in Bulgarian symbolist poetry, specifically in the lyric poetry of Nikolay Liliev, and of the connections of Orthodox hymnography with broadly understood musicality of poetry. Artefakty (instrumenty muzyczne) i muzyka w Biblii. O muzyczności tekstu literackiego, hymnografii i liryki Nikołaja LiliewaArtykuł poświęcony jest roli symboli kultury muzycznej w dyskursie semiotycznym i kulturowym na podstawie kategorii artefaktów kulturowych (instrumentów muzycznych) w Biblii oraz stanowi próbę ukazania literacko-krytycznego i muzykologicznego potencjału zagadnienia. Kategoria „instrumenty muzyczne” w tekstach biblijnych została omówiona w perspektywie historycznej. Tekst analizuje również problematykę struktur rytmicznych i metrycznych hymnografii bizantyjskiej i bułgarskiej. W drugiej części artykułu oba zagadnienia rozpatrywane są w aspekcie muzycznej i poetyckiej homologii poezji symbolistów bułgarskich, na podstawie liryki Nikołaja Lilijewa. Inną kwestię podejmowaną w wyżej wymienionym kontekście są niektóre związki i relacje pomiędzy hymnografią prawosławną a szeroko rozumianą muzycznością poezji.
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Deasy Widyastomo and Wika Matana Nion. "The Symbolic Architecture and Meaning of the Church of GKI Jahja Sasari, Biak Numfor Regency, Papua." International Journal of Scientific Research in Science, Engineering and Technology 11, no. 2 (May 25, 2024): 521–29. http://dx.doi.org/10.32628/ijsrset2411268.
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The architecture of the Church of GKI Jahja Sasari building displays symbols and ornaments taken from the Bible, which tell of the presence of the Trinity of God on earth as an expression of faith and a sacred and majestic religious atmosphere. Symbols in the form of two-dimensional and three-dimensional objects are arranged to beautify the church and have a spiritual meaning as a great place of worship. Symbols and symbolic ornaments are placed inside the church (interior) and outside the church (exterior), functioning to support the church atmosphere visually and to help the appreciation of faith aesthetically, psychologically, and religiously. The Church GKI Jahja Sasari in the Aimando Padaido village islands of Biak Numfor Regency is a Protestant Christian Church characterized by traditional and modern architecture, which is equipped with symbols and ornaments on the interior and exterior of the church which tries to maintain the ornaments and symbols of the church built by their ancestors in 1962. The ornaments built by the ancestors were retained in the new church building, reflecting the presence of biblical symbols in the modern architectural principles underlying the church design. The research problem is the existence of symbols and symbolic ornaments in the Church of GKI Jahja Sasari, which combines traditional and modern architecture and presents aesthetic, psychological, and religious aspects. The study was carried out by analyzing secondary data (photos and text), literature studies, and old church buildings formed by the ancestors of the Biak indigenous people, then comparing them with the basic guidelines for Protestant Christian church architecture and the principles of modern architecture. As a result, the Church of GKI Jahja Sasari combines traditional and modern architecture with an expression of an approach to the geography of the Pacific coast and the culture of the Biak people. The presence of the cross and dove symbols visually marks the GKI Protestant Christian church's presence with the Trinity God's presence; the interior symbolic ornaments strengthen its uniqueness as a sacred (religious) space. The shape and number of windows symbolize the number of indigenous peoples who inhabit the Aimando Padaido islands with a modern architectural style and provide space for symbols and symbolic ornaments. There is a mixture of modern traditional architecture with the symbolism of the church as a holy and sacred building of worship.
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Gbadegesin Olusegun Adegboye and Olusanya Philp Siji. "Différance in the French Versions of the Synoptic: A Case for Intralingua Translation." LingLit Journal Scientific Journal for Linguistics and Literature 4, no. 1 (March 29, 2023): 1–11. http://dx.doi.org/10.33258/linglit.v4i1.855.
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This study centers on the intralingua overview of différance in the three French versions of selected verses from the gospels of Jesus Christ as recorded by Mathew, Mark, Luke and John. The objectives of this study are to: describe what différance is in translation studies; examine the meaningfulness of the meaning accorded the selected verses across the three versions of the French Bible to the designated audience; explain variations in the intralingua rendering of the synoptic; analyze the spiritual impression the different meanings generated by the chosen Bible versions could possibly have on the readers; and expound the language movement of French and its strength in communicating the intent of the gospel to the target audience. Skopos theory by Reiss and Vermeer (1984) is adopted to x-ray the purpose of the translation strategy used by each of the three versions of the Bible in French. Seven statements of Jesus Christ across the four gospels were quoted. The verses were compared and the différance examined. Implication of the meaning transfer by each of the versions is viewed in the spirit of intralingua translation and its attending spiritual intelligibility to the target readers. The study finds out that: every version of the French Bible considered makes effort to convey Jesus’ messages in a way it feels the reader should understand; while some versions pay premium to conventional language structure to translate, other shows concern for content and “sacred” transfer of the divine words; symbols used by Jesus Christ are preserved in the three versions but the spiritual impression wanes in favor of language structure in some versions. The study concludes that intralingua approach to translating the Scriptures is to satisfy different categories of readers and différance underlines the essence of variations in communicating the gospel to the readers of the Bible in French.
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Maes, Marieke. "Paul Ricœur: Symbols of Good and Evil in History, the Bible and in our Time." European Journal for Philosophy of Religion 12, no. 4 (December 30, 2020): 161. http://dx.doi.org/10.24204/ejpr.v12i4.3522.
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In his The Symbolism of Evil Ricœur explores the dynamics of human consciousness of evil in different cultures and times. Consciousness of evil is examined by looking at the different prevailing symbols wherein human beings confess their experience with evil. Although appeared in 1960, this study is still cited in recent publications in psychology, cultural anthropology and religion. In this article I describe the context of The Symbolism of Evil as the last part of Ricœur’s study of the will and give a summary of its relevant content.
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Žeňuch, Peter, and Svetlana Šašerina. "Language as a Means of Communication with God." Akropolis: Journal of Hellenic Studies 5 (November 17, 2021): 70–85. http://dx.doi.org/10.35296/jhs.v5i1.73.
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The communicative function of the language of translation, as can be seen from the examples of God's names contained in the oldest Slavic translations of a biblical nature, is an important component of understanding a whole range of liturgical texts and part of the Christian cultural identity of the believer. The need to translate biblical and liturgical texts therefore stems from the needs of believers. One desires to understand as best and as accurately as possible not only the text of the Bible but also the liturgical process itself. The liturgical process contains a number of symbols, actions, gestures and scenes reminiscent of the Divine Performance in the cosmos. In the Bible and in the Divine Liturgy, individual biblical events are constantly present. The understanding of the biblical and liturgical texts is therefore based not only on the correct use of terms but also on a reliable description of the realities. This principle is one of the starting points on which the holy Thessalonian brothers built their translation work.
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Hutahaean, Hasahatan. "Menafsir Genre Apokaliptik Kitab Daniel." ILLUMINATE: Jurnal Teologi dan Pendidikan Kristiani 3, no. 1 (September 22, 2020): 25–39. http://dx.doi.org/10.54024/illuminate.v3i1.81.
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The Apocalyptic genre is one genre that is difficult to understand because of its long intricacies and requires accuracy. One reason for the difficulty in interpreting the apocalyptic genre is the use of symbols that are not uncommon for today's readers. The use of symbols is very close to the speaker and, the first reader. The Book of Daniel is identical to the many uses of the symbolic language of the two Apocalyptic genre Books in the Bible. Readers increasingly need to be careful and careful when classifying symbol languages because there are differences in the use of symbols and language of descriptions. This paper was prepared by searching the literature with a qualitative approach. With the support of data from journal articles and cognate books, the research achieved the expected goals. The discussion begins by describing the apocalyptic genre based on literal facts. Then examine the uses of symbols, images, and others and the need for the interpreter's humility when trying to interpret this genre, especially in the use of symbolic language. The results show that many parts can be understood by following the rules of interpretation of the apocalyptic genre in the use of symbolic language. But some parts are precisely still a mystery to the reader as sealing of their meaning.AbstrakGenre Apokaliptik termasuk salah satu genre yang sulit untuk dipahami karena seluk-beluk yang panjang dan memerlukan ketelitian. Salah satu penyebab sulitnya menafsir genre apokaliptik yakni pemakaian simbol-simbol yang tidak lazim bagi pembaca masa kini. Pemakaian simbol-simbol sangat dekat bagi penutur dan pembaca pertamanya. Kitab Daniel identik dengan banyaknya pemakaian bahasa simbol dari dua Kitab genre apokaliptik dalam Alkitab. Pembaca semakin perlu berhati-hati dan teliti ketika mengelompokkan bahasa-bahasa simbol karena terdapat perbedaan penggunaan simbol dan bahasa penggambaran. Tulisan ini disusun dengan penelusuran kepustakaan dengan pendekatan kualitatif. Dengan dukungan data dari artikel jurnal dan buku-buku serumpun maka penelitian mencapai tujuan yang diharapkan. Pembahasan dimulai dengan memaparkan genre apokaliptik berdasar fakta-fakta literal. Kemudian menelisik penggunaan simbol, gambar dan yang lain serta perlunya kerendahan hati penafsir ketika mencoba menafsirkan genre ini khususnya dalam penggunaan bahasa simbol. Hasilnya menunjukkan banyak bagian yang dapat dipahami dengan mengikuti kaidah penafsiran bagi genre apokaliptik dalam pemakaian bahasa simbol. Namun ada bagian-bagian yang justru masih menjadi misteri bagi pembacanya sebagai penyegelan terhadap maknanya.
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Socha, Krzysztof. "Odniesienia biblijne w twórczości polskich zespołów metalowych." Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura 3, no. 10 (2018): 127–40. http://dx.doi.org/10.24917/20837275.10.3.11.
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Biblical references in the work of Polish metal bands One of the many factors which has been creating the west culture is the Judeo-Christiantradition based on the Bible. Motives, quotations and symbols that are coming from the Biblehave been permeating to the European languages as well as they have influenced both thehigh culture and the popular culture. Moreover, the biblical inspirations can be found in metalmusic as well. The underlying paper constitutes an attempt of brief characterization when itcomes to more original biblical motives that are constantly appearing in the lyrics of metalbands, simultaneously, it emphasizes a slight current interest of this biblical aspect in thescientific researches.
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R Purba, Asriaty, Rosita Ginting, and Melki Oprabo Hutagaol. "Function and Meaning of Symbolism in the Memorial Ornaments of Munson and Lyman Tomb Ornaments: A Semiotic Study." International Journal of Research and Review 11, no. 4 (April 23, 2024): 418–27. http://dx.doi.org/10.52403/ijrr.20240446.
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This article is entitled “Function and Meaning of Symbolism in the Memorial Ornaments of Munson and Lyman Tomb Ornaments: A Semiotic Study.” The study aimed to describe the from, function, and meaning of symbolism in the Memorial of Munson and Lyman. The theory used to analyze the data was Charles Sander Pierce semiotic theory, using a descriptive qualitative method. The results of the study showed that there were 21 types of from, function, and meanings of symbols on the Munson and Lyman tomb ornaments , Namely : Relief ornaments of the SS Duncan ship & Relief ornaments of Mederika Ship, Releif ornaments of the merchant, Relief ornamen of Munson and Lyman meeting with Datuk Mangkuto, Relief ornaments of barter activies, Relief Ornaments of Martonun, Manduda, dan Paragat, Releif ornaments of going home from the garden, planting rice, Relief ornaments of Munson and Lyman showing the Bible as a sign language and the king’s guard bringing Munson and Lyman to the king, Relief ornaments of king panggalamei asking Munson and Lyman, Relief ornaments of Munson and Lyman in Uning-uningi, Relief ornaments of tragic that resulted in the death of Munson and Lyman & Relief ornaments of the cross Symbol, Relief ornaments of Onan Hariara, Relief ornaments of Nommensen arrival in Batak land, Relief ornaments of the community welcoming the arrival of Nommensen, Relief ornaments of the first church, Relief ornaments of the first Zending school being built and children already started going to school, Relief ornaments of Batak graduates from Nommensen education, Relief ornaments of negotiations and peace between the Batak and the Americans, Relief ornaments of the reconstruction of the padri war, Relief ornaments of the image of Jesus Christ, Tombstone. This research concludes that there are 21 forms of symbol functions that are important to understand the message contained in the Munson and Lyman Memorial Ornament. These symbols were created to represent Munson and Lyman's journey in spreading Christianity in Batak land. There are 21 types of symbol functions, including as means of transportation, trading tools, travel documentation, buying and selling transactions, visualizing weaving activities, agriculture, communication, judicial tools, accompanying traditional ceremony processes, determining the evangelist's burden, bartering places, missionary missions, church monuments, schools, graduations, peace symbols, Padri wars, Christian religion spread, and grave markers. There are 21 types of symbol meanings, including depicting Munson and Lyman's journey, urban trade, community life details, communication visualization, language translation, correct actions in misunderstandings, judicial processes, punishments, traditional rituals, Nommensen's arrival, community acceptance of Nommensen, church construction, community education, educational outcomes, peace, Christian religion spread, and the journey of spreading the Gospel in the land of Batak. Keywords: Memorial, Missionary, Munson and Lyman, Semiotic
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Steinová, Evina. "The rise of the quotation sign in the Latin West and the changing modes of reading between the sixth and the ninth centuries." Scriptorium 72, no. 2 (2018): 123–66. http://dx.doi.org/10.3406/scrip.2018.4495.
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The twelve volumes of the Codices latini antiquiores provide a rich trove of data about the earliest methods of citation-marking in the Latin West. This data indicates that citations from the Bible began to be marked in Christian books by the fifth century. Originally, the preferred method of such marking was by indentation of cited material, but in the sixth century, a different method – the use of a special symbol placed in the margin next to the line containing citations – gained a foothold. Several such symbols were used between the fifth and the ninth century in the Latin West, reflecting conventions characteristic of specific regions, scriptoria and scripts. By the end of the eighth century, one such symbol, a vertical flourish resembling the modern letter S, prevailed as a result of its adoption by the users of Caroline minuscule. Carolingian scribes were responsible for uniformization of citation-marking practices in the Latin West and also for their widespread adoption as a book feature so that it can be estimated that more than half of the manuscripts produced in the Carolingian scriptoria were equipped with S-shaped flourishes. The development in the Carolingian period was a culmination of long dynamic development of citation-marking practices in the Latin West, which seem to reflect different reading strategies and attitudes of distinct groups of book users.
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Esterson, Rebecca. "Allegory and Religious Pluralism: Biblical Interpretation in the Eighteenth Century." Journal of the Bible and its Reception 5, no. 2 (October 25, 2018): 111–39. http://dx.doi.org/10.1515/jbr-2018-0001.
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AbstractThe Christian discourse of the literal and spiritual senses in the Bible was, in the long eighteenth century, no less tied to perceptions of Jewish interpretive abilities than it had been previously. However, rather than linking Jews with literalism, in many cases the early modern version of this discourse associated Jews with allegory. By touching upon three moments in the reception history of the Bible in the eighteenth century, this article exhibits the entanglement of religious identity and biblical allegory characteristic of this context. The English Newtonian, William Whiston, fervently resisted allegorical interpretations of the Bible in favor of scientific and literal explanations, and blamed Jewish manuscript corruption for any confusion of meaning. Johan Kemper was a convert whose recruitment to Uppsala University reveals an appetite on the part of university and governmental authorities for rabbinic and kabbalistic interpretive methods and their application to Christian texts. Finally, the German Jewish intellectual Moses Mendelssohn responded to challenges facing the Jewish community by combining traditional rabbinic approaches and early modern philosophy in defense of a multivocal reading of biblical texts. Furthermore, Mendelssohn’s insistence on the particularity of biblical symbols, that they are not universally accessible, informed his vision for religious pluralism. Each of these figures illuminates not only the thorny plight of biblical allegory in modernity, but also the ever-present barriers and passageways between Judaism and Christianity as they manifested during the European Enlightenment.
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Pałucki, Jerzy. "Formowanie się chrześcijańskich obrzędów małżeńskich na podstawie Carmen XXV Paulina z Noli." Vox Patrum 65 (July 15, 2016): 523–32. http://dx.doi.org/10.31743/vp.3514.
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Church Fathers tried to combat the legacy of paganism and made tireless efforts towards Christianising family events, recalling the teaching of the Bible. Tertullian, for example, complained that the Christians of Carthage didn’t marry in the church. The article discusses Carmen XXV of Paulinus of Nola († 431), written for the occasion of marriage of Julian and Tysia. The poem contains one of the oldest descriptions of the ceremony of Christian marriage. Bishop of Nola pays attention to the spiritual dimension of the sacrament – specifically to its rich, full of symbols rite as well as to fact that the Christian meaning of the marriage ceremony should become the main focus for wedding preparations.
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Hirnyak, Maryana. "Dialogue with the Bible in the Poetical Dramas by Lesya Ukrainka: Philosophical Reflections and Dominant Symbols." Respectus Philologicus, no. 41(46) (April 15, 2022): 167–79. http://dx.doi.org/10.15388/respectus.2022.41.46.117.
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The article posits that the Biblical code is one of the most important pillars in the interpreting the literary works by Lesya Ukrainka, one of Ukraine’s renowned writers. Her verse dramas foreground Biblical intertextuality, which becomes a starting point for intellectual debates in the Ukrainian ‘fin de siècle’ on such essential problems as freedom and love, social and mental slavery, and the mission of art. The problems of (mis)treating the essence of God’s Kingdom and the human relationship with God are also centrepieces of Lesya Ukrainka’s dialogicality with the Bible. In the writer’s verse dramas, the explicit and implicit Biblical intertexts specify the active double-voiced discourse, which exhibits an interaction of the different consciousnesses. Following this, the text of the Scriptures provides the background for the dominant symbols (harp, stone and light) that can be actualized by the informed reader both through the allusions and via the reminiscences in Lesya Ukrainka’s dramatum.
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Jaya, Agung. "Manfaat Studi Biblika Kontekstual Dalam Kehidupan Iman Kristiani Di Era Distruptive." Tepian : Jurnal Misiologi dan Komunikasi Kristen 2, no. 2 (December 31, 2022): 65–81. http://dx.doi.org/10.51667/tjmkk.v2i2.1242.
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The distruptive era is a dil process where a product or service initially targets the bottom of the market (lower segments, bottom, low-end) and then moves to the top of the market (premium market) after it has finally eliminated the incumbents bailiff. The continued progress of human civilization and the increasing science brought man to the development t of the age even in specialized theological studies the biblika’s change ever took place. Our current big problem with studying the bible is that we think studying the bible should be so much easier than anything else that we think it is the only subject we don’t need to study. In this narrative the writer employed a qualitative method with studies of literature that utilize exixting resources such as books, and a trusted jurnal. Generally hermeneutic is the theoretical and methodological process of understanding the Max found in the signs and symbols used in both written and spoken communication. In doing a biblika study an interpreter will not be complete nudged until he moves from text to context (distruptiv). After the author elaborates hermeneutic contextually then the author arrived at the two benefits of Christian ethics vakni and contextual theology hermenenutic
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Mir-Kasimov, Orkhan. "The ̣Hurūfī Moses: An Example of Late Medieval ‘Heterodox’ Interpretation of the Qur'an and Bible." Journal of Qur'anic Studies 10, no. 1 (April 2008): 21–49. http://dx.doi.org/10.3366/e1465359109000229.
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The foundational work of Ḥurūfī doctrine, the Jāwdān-nāma (‘Eternal Book’) of Faḍlallāh Astarābādī (d. 796/1394), is often described as a Qur'an commentary. More specifically, a rich stock of Qur'anic ayas and images, often accompanied by references to the Biblical Old and New Testaments, constitutes the very language chosen by the author of the Jāwdān-nāma in order to express his teaching. This syncretistic approach is one of the most interesting particularities of the Jāwdān-nāma. This article sees to explore how the Jāwdān-nāma uses a number of symbols from the Moses story, such as the Tent of Meeting, Mount Sinai, the Broken Tablets of Law, the Rod of Moses, the Parting of the Waters and the Burning Bush, so as to demonstrate the ways in which the interpretation of the Moses story in the Jāwdān-nāma can be seen as an example of the assimilation of the Qur'anic text in the milieu of late medieval Iranian ‘heterodox’ movements.
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RODRÍGUEZ VIEJO, Jesús. "The decoration of the Danila Bible: Aniconism as royal ideology in ninth-century Iberia." Medievalismo, no. 29 (December 18, 2019): 375–409. http://dx.doi.org/10.6018/medievalismo.407051.
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La llamada Biblia de Danila (Cava dei Tirreni, Biblioteca della Badia, Ms. 1) es el ejemplo preservado más antiguo de manuscrito miniado con un programa decorativo coherente creado en la Península Ibérica altomedieval. La teoría más aceptada hoy en día apunta al Reino de Asturias durante el próspero mandato de Alfonso II (791-842). Los folios de este manuscrito monumental contienen un programa de motivos decorativos entre los cuales destacan una serie de símbolos en forma de cruz de grandes dimensiones. Este artículo analiza especialmente las representaciones en forma de cruz de la biblia, explorando también la recepción de pensamiento anicónico en el norte de España aproximadamente un siglo después de la conquista árabe, sus raíces visigodas, así como las posibles influencias del periodo de la Iconoclastia bizantina y el Concilio carolingio de Fráncfort. The so-called Danila Bible (Cava dei Tirreni, Biblioteca della Badia, Ms. 1) is the earliest surviving manuscript created in the early medieval Iberian Peninsula displaying a cohesive decorative programme of figurative nature. Although its exact provenance has been matter of extensive discussion, current research points at the northern Kingdom of Asturias during the reign of King Alfonso II (791-842). The decoration of this monumental bible displays a complex aniconic programme made of decorated initials, frontispieces, and other symbols, such a number of crosses and cross-shaped motifs of large dimensions and different forms. This study aims to analyse in particular the different nature of these cross-shaped motifs displayed in the Danila Bible. This research also intends to shed light on the reception of aniconism in the Kingdom of Asturias, as well as its Visigothic background, one century after the Islamic conquest of 711 and in the wake of the First Iconoclasm and the Council of Frankfurt.
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Gerasimova, Natalya. "The iconographic programme of the title page and frontispiece of the Elizabeth Bible." St. Tikhons' University Review. Series V. Christian Art 53 (March 29, 2024): 110–32. http://dx.doi.org/10.15382/sturv202453.110-132.
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The Elizabethan Bible (after the Empress Elizabeth Petrovna) is commonly referred to as the Bible, which was edited in preparation for a new edition and first published in St. Petersburg in 1751. The first edition of the codex included only a part of the Synodal project of illustration. The engraved title page and frontispiece with a complex symbolic and allegorical program are considered in this article. Both engravings were created by the masters of the St. Petersburg Academy of Sciences. For the first time, the article publishes archival sources that are important for the interpretation of the iconographic program of engravings. Verbal descriptions (“projects”) were prepared by the Synod for the artist I. E. Grimmel. He made ink drawings based on them. The frame of the title page with the Eagle of Russia, medallions on biblical subjects and panoramas of the Moscow Kremlin and the Peter and Paul Fortress, as well as a portrait frontispiece depicting Empress Elizabeth in front of the sacralized images of her parents Peter the Great and Catherine I are ideologically connected. The heraldic composition of the frame of the title page containing state symbols, and the frontispiece, reminiscent of “allegory for the Succession to the Throne”, glorify in artistic images the “new” God-chosen Russia, raised to an unattainable height by the genius of Peter the Great, and continuing in his “offspring” — daughter Elizabeth, inheriting “the Scepter, the Orb and the Throne of her Father”. The ideological content of the title page and frontispiece of the Elizabethan Bible, as follows from the published archival source, was strictly determined by the Synod. This Synodal program is considered in article in the context of the development of the genre of church panegyric in the first half — middle of the XVIII century.
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Schmidt, Joél Z. "Generous to a Fault: A Deep, Recapitulative Pattern of Thought in Ricoeur’s Works." Études Ricoeuriennes / Ricoeur Studies 3, no. 2 (December 14, 2012): 38–51. http://dx.doi.org/10.5195/errs.2012.116.
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Paul Ricoeur clearly sought to differentiate between and keep separate his philosophical and theological intellectual endeavors. This essay brings into relief a deep, implicit, recapitulative pattern in Ricoeur’s thinking that cuts across this explicit “conceptual asceticism.” Specifically, it highlights this recapitulative pattern in Ricoeur’s treatment of prophecy in the Hebrew Bible; his understanding of utopia and ideology; the functioning of symbols in The Symbolism of Evil and of sublimation in Freud and Philosophy. On these topics Ricoeur extended his typical generosity toward all that might appear to be outdated, primitive, and even regressive in our collective and personal humanity. The frequently recapitulative nature of Ricoeur’s insights indicates the importance not just of the content of his thought but also the way in which he did his thinking, a pattern which above all was generous, even to a fault.
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Ernst, Gilles. "Représentation et transposition de l’au-delà chrétien chez Hubert Aquin." Nouvelles perspectives en sciences sociales 12, no. 1 (December 15, 2016): 133–55. http://dx.doi.org/10.7202/1038372ar.
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L’article analyse la représentation de l’au-delà chrétien et plus spécialement catholique dans trois des grands romans d’Hubert Aquin : L’invention de la mort, Trou de mémoire et Prochain épisode. Cette représentation, nourrie par la solide culture religieuse (Bible, dogmes, liturgie) d’un écrivain qui fut notamment l’élève des jésuites, n’est pas fidèle à ses sources. Au contraire, s’inversant en contre-eschatologie, elle contredit systématiquement le discours de l’Église. Et selon deux procédés : le rejet pur et simple des grands dogmes ou événements bibliques souvent présentés de manière blasphématoire; le détournement du sens des grands symboles attachés à la figure du Christ dans la Bible (la Transfiguration) et la liturgie (la transsubstantiation). L’invention de la mort où le héros se suicide théâtralement et où la mort du Christ est présentée comme un suicide recourt aux deux procédés, tandis que les deux autres romans, centrés sur le mouvement indépendantiste québécois auquel Aquin a appartenu, privilégient un événement majeur dans la Passion du Christ. En l’occurrence, sa descente dans les « enfers » pour libérer les âmes des Justes, événement qui devient chez Aquin le symbole d’un Québec en attente de sa libération.
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OBUSHNYI, Mykola, and Oksana SLIPUSHKO. "IDEOLOGICAL SPECTRUM OF PHILOSOPHICAL TREATISES OF HRYHORIY SKOVORODA." Almanac of Ukrainian Studies, no. 31 (2022): 32–40. http://dx.doi.org/10.17721/2520-2626/2022.31.4.
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The article examines the philosophical treatises by Hryhoriy Skovoroda in the context of the writer's creative heritage, in particular his prose. An important role in his work plays the theoretical teaching about three worlds - the macrocosm (Universe), the microcosm (human) and the Bible as the unique world of symbols. This teaching is closely related to the concept of two human natures: visible and invisible, material and spiritual, through which everything is realized in the world. The ideas of self-knowledge, God-knowledge, true happiness in life, kindred work, the theory of the Bible as a world of symbols and the concept of three worlds are realized in the treatises of the thinker at different ideological and thematic levels. Particular attention is paid to the issue of self-knowledge of a person, which deals with the possibility of understanding others through the prism of self-understanding. A person knows himself/herself with his/her heart, and loves and believes in what he/she has come to know. The philosophy of the heart with the imagesymbol of the heart, i.e. the idea of cordocentrism, which is key to the writer's creativity in general, is analyzed. The article also presents a philosophical interpretation of the concepts of God and faith, where faith is combined with the love of God. Understanding of Hryhoriy Skovoroda's life model, namely "life according to nature", is presented. The opinion is asserted that a human can become truly happy if he/she can find their path and vocation. Dissociating theirselves from material things and the superiority of the position, according to the writer's opinion, work should correspond to the nature of a person, then he/she will have desire to work, and the work will be pleasure. In order to find a job people need to listen to themselves and get to know their essence, not looking for advice from someone. The reason is that the person himself/herself knows what he/she really needs. It is also about the idea of "related work", which is based on the knowledge and use of a person's natural inclinations, and in fact is a guarantee of his/her happiness and the most important prerequisite for the development of society.
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Punt, Jeremy. "The Bible and Multiscripturality in South Africa: Moving Beyond the Boon-or-Bane Debate1." Religion and Theology 8, no. 1-2 (2001): 61–95. http://dx.doi.org/10.1163/157430101x00044.
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AbstractA nominally Christian country, South Africa abounds with varieties of Christianity, all of which ultimately subscribe to the Bible as foundation document. Often, however, the appropriation of the Bible as a symbol is as much a problem as different and radically opposing interpretations of it: ownership of the Bible is widely contested and biblical hermeneutics is truly a site of struggle. However, not only is the need for an ecumenical approach to the Bible becoming increasingly pronounced, but ecumenicity will have to be broadened out to include multiscripturality as well. South Africa is simply also a multi-religious country with a number of other religions with their scriptures in close attendance. This demands a reappropriation of the Christian Bible as scripture amidst many other scriptures, and requires the development of an adequate, responsible and relevant multiscripturality. At the same time, it is necessary to move beyond over-simplified 'realist' options for conceptualising scripture and its role in religion. Perceiving scripture as activity rather than texts allows for investigating the interrelationship between scripture and identity, within a more adequate theology of scripture.
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Rosier, Bart. "De Illustraties in Doen Pieterszoons Uitgave Van Het Evangelie Naar Mattheus (Amsterdam 1522)." Nederlands Archief voor Kerkgeschiedenis / Dutch Review of Church History 74, no. 1 (1994): 21–50. http://dx.doi.org/10.1163/002820394x00020.
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AbstractIn 1522 the Amsterdam printer Doen Pieterszoon published the first edition of the gospel according to St. Matthew in the vernacular. The text by Johan Pelt was a translation of Erasmus's Novum testamentum of 1516. The titlepage shows a woodcut of the evangelist of a type recurrent in several dutch bibles. Furthermore, the gospel contains six woodcuts of a rather emblematical character. Five of these depict an angel (the symbol for Matthew) holding in his hands, and surrounded by it, several objects, figures, and little scenes. Each of these are accompanied by a number, and are thus related to a corresponding chapter of the gospel. For example, a gnome-like devil carrying boulders at the angel's feet, refers to the temptation of Christ in the desert (Mt. 4:3). Pieterszoon's illustrations were copied after Petrus von Rosenheim's Rationarium evangelistarum, or Ars memorandi (editio princeps Pforzheim 1502), in which all the gospels were covered, and the symbols of the other evangelists (lion, ox and eagle) also featured as presenters. In their turn these cuts were copied after the Ars memorandi quator evangelia, a blockbook printed in Germany ca. 1470. As their titles suggest, these were works of a mnemotechnical nature, and the woodcuts served as images to aid the memory. However, the Ars memorandi does not belong to the tradition of the artificial memory as described by Frances Yates. Yet, the elements of the classical mnemotechnical Ad Flerennium tractate, loci and images, are present in the illustrations. Thus the Ars memorandi woodcuts are memory images, through which the contents of the gospels can be more easily memorised. They did not, however, prove succesful as biblical illustrations. Pieterszoon did not use them again in any of his later bible editions, and in fact no other printer did. Biblical illustrations were intended to depict biblical stories and to eludicate the text, and as such the Ars memorandi images obviously did not work.
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Mukmin, Taufik. "Metode Hermeneutika dan Permasalahannya Dalam Penafsiran Al-Quran." EL-Ghiroh 16, no. 01 (February 25, 2019): 65–86. http://dx.doi.org/10.37092/el-ghiroh.v16i01.75.
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Hermeneutics is a method or philosophical theory to interpret symbols related to the text in order to know the meaning and meaning. it was first used in the study of the Koran in the 19th century AD by Islamic scholars, but many scholars questioned it. This is because it can doubt the authenticity and sanctity of the Koran. Besides that, hermeneutics has been used to interpret bible to find its truth value. The Qur'an serves every question and objection from its readers, who come from various cultural backgrounds and scientific disciplines. Because the scriptures cannot speak for themselves, they need understanding, reading, interpretation and repetition of reinterpretations that are generally carried out by experts in the same way. In addition, the distance between the birth of the text and the period of interpretation is very long. For this reason, a methodological "means" is needed to understand the text in question.
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Epstein, Mikhail, and Natalya Shelkovaya. "The tragedy of otherness. Reflection on Lars von Trier’s film "Nymphomaniac"." Culturology Ideas, no. 22 (2'2022) (2022): 81–91. http://dx.doi.org/10.37627/2311-9489-22-2022-2.81-91.
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The authors of the article, using a transdisciplinary method of research from the standpoint of cultural studies, art history, philology, philosophy, religious studies, psychology and social philosophy, try to comprehend and identify the main meanings and symbols of Lars von Trier's film "Nymphomaniac", to find the main purpose of this film. At the same time, M. Epstein draws attention, first of all, to the aspect of the pathological sensuality of the main character - Joe, her nymphomania and, appealing to a woman and a man before the fall in the Bible, whom God blessed to be fruitful and multiply, shows an unusual angle of sexual relations, gradually reveals stepping the way to love and holiness through debauchery and makes a shocking conclusion, which at the same time has the right to exist, about the purifying role of hellish debauchery for gaining holiness. N. Shelkovaya pays more attention to the disclosure of symbols in the film: trees, dry leaves, a mountain, Joe's climb up the mountain in search of his soul tree, the number 8, Seligman's yard as a crypt, Joe's son's exit to the balcony, somatic self-knowledge. As a result the authors come to the general conclusion that the film by Lars von Trier "Nymphomaniac" is not a pornographic, but a deeply philosophical and psychological film, showing a distorted path to love, God, Heaven, True Love in a distorted insensitive society, which only irrational love can save from destruction.