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Artículos de revistas sobre el tema "De Adoratione"

Autor: Grafiati

Publicado: 15 de abril de 2025

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1

Della Mirandola (book author), Gianfrancesco Pico, Alessia Contarino (book editor) y Matteo Soranzo (review author). "Dialogus de adoratione". Renaissance and Reformation 41, n.º 3 (12 de noviembre de 2018): 257–59. http://dx.doi.org/10.33137/rr.v41i3.31638.

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Hamilton, Alastair. "Gianfrancesco Pico della Mirandola, Dialogus de adoratione, by Alessia Contarino (Ed.)". Church History and Religious Culture 99, n.º 1 (27 de mayo de 2019): 79–80. http://dx.doi.org/10.1163/18712428-09901009.

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Crawford, M. R. "The Preface and Subject Matter of Cyril of Alexandria's De Adoratione". Journal of Theological Studies 64, n.º 1 (1 de abril de 2013): 154–67. http://dx.doi.org/10.1093/jts/flt031.

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4

Villani, Barbara. "Creation of the Universe and Creation of Man in Cyril of Alexandria’s Early Works on the Pentateuch". Zeitschrift für Antikes Christentum / Journal of Ancient Christianity 26, n.º 1 (1 de julio de 2022): 145–67. http://dx.doi.org/10.1515/zac-2022-0018.

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Abstract After some preliminary remarks on Cyril’s two works on the Pentateuch, De adoratione and Glaphyra, as well as the σκοπός of the biblical text, this contribution deals with Cyril’s reading of the biblical account of the creation of the universe and creation of man. In contrast to other interpreters, e. g., the Cappadocian fathers, the Alexandrian patriarch does not show interest in a detailed explanation of cosmogony based on natural philosophy. He rather emphasizes the limits of the human mind in understanding the details of the act of God’s creation of the world. According to Cyril’s understanding of the goal of Moses’ writings, his exegesis of Genesis focuses especially on the creation of man. Convinced that Moses wrote his books as moral instruction to lead men to God, Cyril interprets selected parts of Genesis in a typological way in order to show man’s journey from the fall into sin to the restoration of a holy life.

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5

BROCKETT, CLYDE W. "Antiphons for the Adoration of the Cross Replica". Plainsong and Medieval Music 21, n.º 2 (13 de septiembre de 2012): 85–111. http://dx.doi.org/10.1017/s0961137112000010.

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ABSTRACTThis article traces the history of chants associated with the Adoration of a replica of the cross. It describes the development of an antiphon series for Good Friday afternoon found in Ordines Romani XXVII–XXXIII and selected northern French, German, Aquitanian, Spanish and Italian sources dating from the eighth into the twelfth century. Using illustrative tables, rubrics and facsimiles, the study compares liturgical features of the Adoratio crucis with its related Offices of the cross, the Exaltatio and Inventio, in a survey of the principal titles' texts and melodies.

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6

Comacchi, Maria Vittoria. "Dialogus de Adoratione. Gianfrancesco Pico della Mirandola. Ed. Alessia Contarino. Centro Internazionale di Cultura, Giovanni Pico della Mirandola, Studi Pichiani 18. Florence: Olschki, 2017. xii + 168 pp. €25." Renaissance Quarterly 72, n.º 3 (2019): 997–98. http://dx.doi.org/10.1017/rqx.2019.259.

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7

Cording, Robert. "An Adoration". Christianity & Literature 55, n.º 2 (marzo de 2006): 220. http://dx.doi.org/10.1177/014833310605500204.

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Bonnet, François, Laurent Millot y Gérard Pelé. "Adoration – Dévoration". Cahier Louis-Lumière 5, n.º 1 (2008): 81–88. http://dx.doi.org/10.3406/cllum.2008.918.

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9

Waithe, Mary Ellen. "Adoration and Annihilation". International Philosophical Quarterly 50, n.º 4 (2010): 501–8. http://dx.doi.org/10.5840/ipq201050436.

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10

Stowell, Phyllis. "Adoration for pacia". Psychological Perspectives 19, n.º 1 (marzo de 1988): 119. http://dx.doi.org/10.1080/00332928808408778.

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11

Danilova, N. "Adoration of Dostoevsky". Art Logos – The Art of Word 4, n.º 29 (2024): 197–202. https://doi.org/10.35231/25419803_2024_4_197.

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The review describes the book by Japanese translator Ikuo Kameyama about the novels of F. M. Dostoevsky. The author of the book claims that Dostoevsky's work is based on the idea of parricide, and the idea is connected to political murders in 19th-century Russia and the eternal tragedy of the original sin. To confirm his thoughts, the author goes to places associated with the writer's childhood and the plots of his works. The author visited the estates of Darovoe, Cheremoshnya and the Dresden Picture Gallery. Parallels between Dostoevsky's novels and the social upheavals of the era are pointed out. The author's constant appeal to the writer is a kind of attempt by the researcher to understand life, people, and himself.

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12

Sing, Pamela V. "Une Adoration (review)". Francophonies d'Amérique 17, n.º 1 (2004): 165–70. http://dx.doi.org/10.1353/fda.2004.0022.

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13

Sáez-González, Jesús Miguel. "Adoration (Atom Egoyan)". Vivat Academia, n.º 100 (15 de noviembre de 2008): 34. http://dx.doi.org/10.15178/va.2008.100.34-35.

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14

Gunawan, Leo Agung Srie. "STRUKTUR RASA ADORASI". LOGOS 18, n.º 2 (3 de julio de 2021): 1–34. http://dx.doi.org/10.54367/logos.v18i2.1313.

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The true religious feeling is rooted in adoration. The taste of adoration is derived from the experience of God which indeed shake oneâ€™s soul. On one side, the experience of God leads to the recognition of God as the Great Creator of the universe. In this case, God is experienced as the everything. On the other side, it causes that human being encounters the self-recognition as a helpless creature. One feels as a nothingness of creature here. The feeling of adoration, therefore, has a religious structure in human soul that has a direction to God. As the structure of soul, the adoration is likely to be subjective which means that the subject experiences God (the world of ideas) and at the same time, it is objective that God is experienced by the subject (the real world). The object of the experience of adoration is, particularly, transcendent. Finally, the sense of adoration is needed to revive the living of faith for the believers.

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15

Fasel, Ida. "Looking at Muretto's Adoration". Christianity & Literature 47, n.º 1 (diciembre de 1997): 36. http://dx.doi.org/10.1177/014833319704700107.

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16

Murphy, Colleen. "Down In Adoration Falling". Canadian Theatre Review 132 (diciembre de 2007): 34–64. http://dx.doi.org/10.3138/ctr.132.007.

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Caution: Copyright Colleen Murphy. This script is protected under the copyright laws of Canada and all other countries of the Copyright Union. Changes to the script are forbidden without the written consent of the author. Rights to produce, film or record in any medium, in any language, by any group, are retained by the authors. The moral right of the authors has been asserted. For performance rights, please contact Michael Petrasek, Kensington Literary Representation, 54 Wolseley Street, Toronto, ON M5T 1A5; phone: (416) 979—0187; e-mail: kensingtonlit@rogers.com

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17

Song, Cathy. "The Adoration of the Faithful". Meridians 7, n.º 2 (1 de marzo de 2007): 41–42. http://dx.doi.org/10.2979/mer.2007.7.2.41.

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18

LAURANCE, John D. "The Eucharist and Eucharistic Adoration". Louvain Studies 26, n.º 4 (1 de diciembre de 2001): 313–33. http://dx.doi.org/10.2143/ls.26.4.919.

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19

Cole, Thomas B. "Adoration of the Wise Men". JAMA 310, n.º 24 (25 de diciembre de 2013): 2594. http://dx.doi.org/10.1001/jama.2013.5483.

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20

Perrier, Emmanuel. "Eucharistic Adoration: Veils for Vision". Nova et vetera 22, n.º 2 (marzo de 2024): 397–411. http://dx.doi.org/10.1353/nov.2024.a929364.

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21

O'Reilly, Kevin E. "St. Thomas on Adoration: Some Reflections". Nova et vetera 16, n.º 3 (2018): 861–79. http://dx.doi.org/10.1353/nov.2018.0063.

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22

Crew, Caroline. "The Adoration of the Closed Mouth". Pleiades: Literature in Context 36, n.º 1 (2016): 45–46. http://dx.doi.org/10.1353/plc.2016.0094.

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23

Spisak, April. "The Adoration of Jenna Fox (review)". Bulletin of the Center for Children's Books 61, n.º 8 (2008): 350. http://dx.doi.org/10.1353/bcc.2008.0248.

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24

Martino, E. "The Adoration of the Child Jesus". Journal of Endocrinological Investigation 35, n.º 3 (marzo de 2012): 351. http://dx.doi.org/10.1007/bf03345428.

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25

Brekka, Pamela Merrill. "An Early Netherlandish "Adoration of the Magi"". Record of the Art Museum, Princeton University 59, n.º 1/2 (2000): 56. http://dx.doi.org/10.2307/3774804.

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26

BYERS, JOHN A. "Rising into the Pantheon of Public Adoration". Conservation Biology 18, n.º 4 (agosto de 2004): 1165–66. http://dx.doi.org/10.1111/j.1523-1739.2004.1843_3.x.

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27

Muhammad Imran, Qadir y Saif Hamad. "How Blood Oxygen Level Correlates with Selfie Loving". Archives of Hematology Case Reports and Reviews 9, n.º 1 (2024): 026–27. https://doi.org/10.17352/ahcrr.000047.

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This study investigates the correlation between blood oxygen levels and selfie-loving. 200 graduate students participated, and their blood oxygen levels were assessed. Participants were also queried about their selfie-taking habits. The study, conducted at a University, revealed a significant correlation between selfie adoration and blood oxygen level. Excessive selfie-taking may have physiological implications, particularly on blood oxygen levels. This finding contributes to research on the psychological and physiological effects of social media behavior. The results suggest that selfie adoration can have unexpected physical consequences, highlighting the need for further investigation into the impact of social media on physical health.

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28

Wickham, L. R. "Die Theologie des Kreuzes beim frühen Cyrill von Alexandria dargestellt an seiner Schrift ‘De adoratione et cultu in spiritu et veritate’. By Sebastian Schurig. Pp. viii + 361. (Studien und Texte zu Antike und Christentum, 29.) Tübingen: Mohr Siebeck, 2005. isbn 3 16 148659 5. Paper €64." Journal of Theological Studies 57, n.º 2 (23 de mayo de 2006): 751–53. http://dx.doi.org/10.1093/jts/flj139.

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29

RUSSELL, NORMAN. "Die Theologie des Kreuzes beim frühen Cyrill von Alexandria. Dargestellt an seiner Schrift De adoratione et cultu in spiritu et veritate. By Sebastian Schurig. (Studien und Texte zu Antike und Christentum, 29.) Pp. viii+394. Tübingen: Mohr Siebeck, 2005. €64 (paper). 3 16 148659 5; 1436 3003". Journal of Ecclesiastical History 58, n.º 1 (enero de 2007): 113–14. http://dx.doi.org/10.1017/s0022046906349883.

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30

Carty, Carolyn M. "Albrecht Durer's Adoration of the Trinity: A Reinterpretation". Art Bulletin 67, n.º 1 (marzo de 1985): 146. http://dx.doi.org/10.2307/3050893.

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31

Fein, Greta G. "In defense of data adoration and even fetishism". Early Childhood Research Quarterly 8, n.º 3 (enero de 1993): 387–95. http://dx.doi.org/10.1016/s0885-2006(05)80074-2.

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32

Hui, Andrew. "The Birth of Ruins in Quattrocento Adoration Paintings". I Tatti Studies in the Italian Renaissance 18, n.º 2 (septiembre de 2015): 319–48. http://dx.doi.org/10.1086/683137.

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33

Zhang, Y. X., L. Grassetti, G. Di Benedetto y D. Lazzeri. "“Adoration of the shepherds”—Simone Peterzano (1540–1596)". Journal of Endocrinological Investigation 37, n.º 12 (18 de octubre de 2014): 1237–38. http://dx.doi.org/10.1007/s40618-014-0192-4.

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34

Brummond, Michael. "Eucharistic Adoration After Vatican II by Edward Foley". Antiphon: A Journal for Liturgical Renewal 27, n.º 1 (2023): 117–20. http://dx.doi.org/10.1353/atp.2023.0003.

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35

Pestilli, Livio. "On Two Overlooked Details in Leonardo da Vinci’s Adoration of the Magi". Zeitschrift für Kunstgeschichte 83, n.º 3 (25 de septiembre de 2020): 409–21. http://dx.doi.org/10.1515/zkg-2020-3008.

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AbstractThis article focuses on two features of Leonardo’s Adoration of the Magi made more readable after its restoration: the old man behind the Virgin and the object painted in front of him. In contrast to previous interpretations, it is argued that the old man does not represent St. Joseph. Rather, it is St. Donatus, patron saint of the Canons Regular of St. Augustine who commissioned the altarpiece for their church of San Donato a Scopeto. If, as argued, the garment he wears is a chasuble, the object in front of him a wine vat and the vessel he holds a pyx, then the painting referenced both the theme of the Adoration of the Magi and the patron saint’s miracle of the mass while telescoping in a visual prolepsis the beginning and the end of the Christ Child’s redeeming mission.

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36

Belousov, Aleksandr F. "Friendship and Adoration among the Students of Russian Institutes of Noble Maidens in the Early 20th Century". Studies in Theory of Literary Plot and Narratology 14, n.º 2 (2019): 120–26. http://dx.doi.org/10.25205/2410-7883-2019-2-120-126.

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The article discusses the subculture of the community that originated and existed in the Institutes of Noble Maidens (Russian boarding schools). Usually, girls were admitted to Institutes at the age of ten, when they still had no life experience other than home. Upon finding themselves in an unfamiliar environment of a public institution, they were shocked by strictly official relationships with the school authorities and teachers (“class ladies”). The only thing that at least somehow distracted and reassured those who entered the Institute were the developing relationships with other girls. Students become friends: started addressing each other by using an informal “thou” and first names, defended each other before authorities and other girls, sat together during celebrations, had long pillow-talks after going to bed, and, of course, shared “secrets.” For the residents of the new “home,” friendships provided aid and support. In the meanwhile, both younger and older students often participated in another “ritual” characteristic of the Institutes’ subculture: the famous practice of “adoration.” Adoration included the praise of its “object,” as well as providing certain services to the adored one (such as sharpening her quills or sewing her notebooks together). The admirer had to fulfill any request made by her “Angel.” Admirers subjected themselves to very real torture (like scratching a monogram of their “deity” with a pin on the back of their hand) and performed all kinds of “feats” (such as heading out to the porch of a church at night) to prove the strength of their feelings and draw favorable attention to themselves. Adoration was not at all “wild and ridiculous,” as the advanced women of the 1860s tended to think. It represented a form of admiration for persons who embodied the ideals and assumed perfection within the Institute’s community. By adoring their “perfect” counterparts, the girls seemingly rehearsed the female roles to be performed in adulthood. The conflict that arose between friendship and adoration became the basis for the melodramatic plot of Lydia Charskaya’s first published novella “Notes of the Institute Girl” (1902), which is being discussed in this article.

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37

McLeod, A. L. y Ken Levis. "The Adoration of the Goanna and Other Stories: Explorations". World Literature Today 72, n.º 4 (1998): 895. http://dx.doi.org/10.2307/40154442.

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38

Searles, Harold F. "Scorn, Disillusionment and Adoration in the Psychotherapy of Schizophrenia". Psychoanalytic Review 100, n.º 2 (abril de 2013): 337–59. http://dx.doi.org/10.1521/prev.2013.100.2.337.

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39

Nemerov, Alexander. "The cauldron: Rubens’s Adoration of the Magi in Madrid". Res: Anthropology and aesthetics 63-64 (marzo de 2013): 238–47. http://dx.doi.org/10.1086/690990.

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40

Wind, Geraldine Dunphy. "A NOTE ON LA TOUR'S "ADORATION OF THE SHEPHERDS"". Source: Notes in the History of Art 17, n.º 2 (enero de 1998): 38–40. http://dx.doi.org/10.1086/sou.17.2.23205601.

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41

Barolsky, Paul. "CONCORD AND DISCORD IN LEONARDO'S "ADORATION OF THE MAGI"". Source: Notes in the History of Art 28, n.º 1 (octubre de 2008): 20–21. http://dx.doi.org/10.1086/sou.28.1.23207969.

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42

García-Salgado, Tomás. "Leonardo’s Missing Sketch for the Adoration of the Magi". Nexus Network Journal 22, n.º 2 (23 de octubre de 2019): 521–45. http://dx.doi.org/10.1007/s00004-019-00467-y.

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43

Coutel, Charles. "Nativité et Adoration des Mages selon le philosophe Alain". La chaîne d'union N° 94, n.º 4 (1 de octubre de 2020): 71–75. http://dx.doi.org/10.3917/cdu.094.0071.

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Fritz, Peter Joseph. "Keeping Sense Open: Jean-Luc Nancy, Karl Rahner, and Bodies". Horizons 43, n.º 2 (8 de noviembre de 2016): 257–81. http://dx.doi.org/10.1017/hor.2016.62.

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This article introduces the French philosopher Jean-Luc Nancy to theologians by placing him in critical dialogue with Karl Rahner. It examines how Nancy's deconstruction of Christianity accuses Western reason, including Christianity, of forgetting the body and supporting an ethos of disembodiment. Nancy proposes a new opening of reason (déclosion, “dis-closure”) and a corresponding praxis (“adoration”). This reason and praxis involve an exit from Christianity. Rahnerian essays on matter, spirit, and sacramentality demonstrate that while Christianity has, historically, fallen prey to the pathologies Nancy identifies, it also has thought in terms of something like dis-closed reason and has practiced something like “adoration.” While Nancy's insistence on the need for an exit from Christianity is not necessarily well posed, his deconstruction of Christianity can help Christian theologians as they develop thinking that supports an ethos sensitive to the body—or that keeps the body's sense open.

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45

Bekiaris, Antonis, Nikos Kastrinakis y Nikolas Konstantios. "“Dificultades engañosas”: Observations and Suppositions on the Artistic Style of Cretan Icons by Domenikos Theotokopoulos before El Greco". Frankokratia 4, n.º 2 (17 de noviembre de 2023): 195–226. http://dx.doi.org/10.1163/25895931-12340026.

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Abstract The works that can be attributed to the Cretan period of Domenikos Theotokopoulos (El Greco) – which is to say the Evangelist Luke Painting the Virgin and Child, the Adoration of the Magi, and the Dormition of the Virgin – are informed by a single stylistic concept and, at the same time, differ significantly in style from most contemporary Cretan paintings. This is demonstrated through an analysis of their respective style and their comparison with the Adoration of the Magi by Michael Damaskinos and the Dormition of the Virgin by Georgios Klontzas. Theotokopoulos integrates the figures into a homogeneous pictorial space in which the relations among them, and between them and the light, are less descriptive than organic and “natural.” This introduces a materialistic dimension into his style that had not formerly been present in Cretan painting. This style was perhaps a response to the need to redefine the Byzantine painting tradition in a more radical way.

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46

De Heusch, Luc. "Souvenirs de Londres". Bulletin de la Classe des Beaux-Arts 6, n.º 1 (1995): 81–89. http://dx.doi.org/10.3406/barb.1995.20264.

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Incidental reflections on a small number of paintings from London museums. Random comments on the role of the mirror in Velazquez's work and some none-too-serious remarks on Two Virginal Players (Vermeer), an Adoration of the Shepherds (Piero della Francesca), and the Bar at the Folies-Bergères (Manet).

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47

WATANABE, Kazuko. "Adoration of Oath Documents in Assyrian Religion and its Development". Orient 55 (2020): 71–86. http://dx.doi.org/10.5356/orient.55.71.

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48

Wang, Aileen June. "An "Adoration of the Magi" after Hugo van der Goes". Record of the Art Museum, Princeton University 59, n.º 1/2 (2000): 38. http://dx.doi.org/10.2307/3774801.

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Šimalčík, Matej. "Image of China in Slovakia: ambivalence, adoration, and fake news". Asia Europe Journal 19, n.º 2 (3 de marzo de 2021): 245–58. http://dx.doi.org/10.1007/s10308-021-00597-4.

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50

Vymazalová, Marie. "Forgotten Paintings of the Adoration of Christ in Prague's Hradčany". Staletá Praha 40, n.º 1 (11 de diciembre de 2024): 2–23. https://doi.org/10.56112/sp.2024.1.01.

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