Artículos de revistas: "Michael in Krummin (Church)"

1

Osborne, Neville. "Michael Church". Neurochemistry International 14, n.º 2 (enero de 1989): 229. http://dx.doi.org/10.1016/0197-0186(89)90129-0.

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2

Stadlen, Shoël. "Michael Finnissy's ‘This Church’". Tempo 58, n.º 229 (julio de 2004): 52–53. http://dx.doi.org/10.1017/s0040298204280226.

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FINNISSY: This Church. Richard Jackson (bar), Jane Mooney (mezzo), Tony Potter, Larry Yates (narrs), Philip Adams (org), IXION, Choir of Saint Mary de Haura Church and guests, The Saint Mary de Haura Handbell Ringers c. Michael Finnissy. Metier MSV CD92069.

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3

McDaniel, Jeffrey. "The Church of Michael Jordan". Prairie Schooner 89, n.º 4 (2016): 52–53. http://dx.doi.org/10.1353/psg.2016.0016.

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4

Murray, Philip. "Re St Michael le Belfrey, York". Ecclesiastical Law Journal 26, n.º 2 (mayo de 2024): 231–32. http://dx.doi.org/10.1017/s0956618x24000164.

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St Michael le Belfrey (‘the Belfrey’) is a 16th century parish church in the shadow of York Minster. It sits in the charismatic evangelical tradition of the Church of England. With a large, young and vibrant congregation, the Belfrey is a Resource Church and plays a significant role in the life of the Diocese of York, the Northern Province and, more broadly, the Church of England. Through a petition described as ‘of the highest quality’, it sought a faculty for a dramatic re-ordering of its interior, proposals that had been at least 14 years in the development.

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5

Vrame, Anton C. "Community as Church, Church as Community by Michael Plekon (review)". Journal of Orthodox Christian Studies 5, n.º 2 (2022): 304–6. http://dx.doi.org/10.1353/joc.2022.a904752.

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6

Stuart, Jack. "Re St Michael and All Angels, Bampton". Ecclesiastical Law Journal 26, n.º 2 (mayo de 2024): 230–31. http://dx.doi.org/10.1017/s0956618x24000152.

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This Grade 1-listed mediaeval church had a substantial Georgian reredos. It dominated the east end of the church, hiding three-quarters of the plain-glazed east window. In 2012 a faculty permitted its temporary removal to another location in the church while essential works were done to the chancel. Following this, the consequent increase in light coming from the windows was welcomed by petitioners, and fragments of medieval wall painting were discovered behind plasterwork which the reredos had previously protected. The petitioners now wished to make the temporary removal of the reredos permanent, relocating it to hang above the west door.

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7

Russell, Keisha T. "Riverside Church v City of St Michael". Oxford Journal of Law and Religion 6, n.º 1 (febrero de 2017): 197–99. http://dx.doi.org/10.1093/ojlr/rww069.

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8

درویش, محمود احمد. "Bridal crowns of Archangel Michael Church at Mallawi". مجلة وادی النیل للدراسات والبحوث الإنسانیة والاجتماعیة والتربویه 13, n.º 13 (1 de enero de 2017): 23–29. http://dx.doi.org/10.21608/jwadi.2017.85317.

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9

Wanat, Benignus Józef. "Saint Joseph Patron of the city of Krakow". Folia Historica Cracoviensia 13 (23 de febrero de 2024): 153–60. http://dx.doi.org/10.15633/fhc.1460.

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The largest and oldest Carmelite sanctuary of St. Joseph was found, in prepartition Poland, in Krakow - Podzamcze in the no longer existing church of St. Michael the Archangel and St. Joseph4. The monastery was erected in 1611-1637 within the defensive walls of the city, with Bishop Piotr Tylicki’s approval and be nefactors’ support. On 26 October 1636 the bishop of Krakow, Jacob Zadzik, consecrated the church and the main altar under the title of St. Michael the Archangel and Joseph betrothed to the Blessed Mother.

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10

Thurlby, Malcolm. "The Romanesque Priory Church of St. Michael at Ewenny". Journal of the Society of Architectural Historians 47, n.º 3 (septiembre de 1988): 281–94. http://dx.doi.org/10.2307/990302.

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Gratiashvili, Diana y Natia Asatiani. "The Church of St. Michael of Tver in Tbilisi". Works of Georgian Technical University, n.º 2(516) (7 de agosto de 2020): 151–58. http://dx.doi.org/10.36073/1512-0996-2020-2-151-158.

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12

Pohlsander, Hans A. "Historical Dictionary of the Orthodox Church by Michael Prokurat, Alexander Golitzin, and Michael D. Peterson". Catholic Historical Review 84, n.º 4 (1998): 706–8. http://dx.doi.org/10.1353/cat.1998.0196.

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Wemyss, Martyn. "Michael Jackson—‘Billie Jean’". Suomen Antropologi: Journal of the Finnish Anthropological Society 43, n.º 2 (6 de febrero de 2019): 109–13. http://dx.doi.org/10.30676/jfas.v43i2.78147.

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In the first few months of my fieldwork in Bolivia the death of Michael Jackson prompted a shift in the soundtrack to daily life: for a brief window his music was everywhere. In the weeks that followed, I witnessed two Michael Jackson impersonators perform, one outside a church and one outside a school in the days that followed. Here I set the encounters with these two Michaels within the sonic world I had previously experienced, and frame them as ‘stagings’: momentary performances where cosmopolitan figures and frames are brought into local performances. I recount other such stagings and suggest that Michael Jackson’s death made him available to be danced in different contexts in which the new Bolivian modernity is produced.

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14

Vapheiades, Konstantinos. "The wall-paintings of the Protaton Church revisited". Zograf, n.º 43 (2019): 113–28. http://dx.doi.org/10.2298/zog1943113v.

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During the course of conservation work on the wall-paintings in the Protaton Church on Mount Athos a number of letters were found that can form the name ?Eutychios? or ?Eutychiou?, the name of one of the two painters who decorated the Peribleptos Church in Ohrid. This discovery has overturned the findings of previous research and also poses new questions. The answers to these questions constitute the aim of the present article. More specifically, the wall-paintings in the Protaton are attributed to two painters, Michael Astrapas and the painter of the Chapel of St. Euthymios in Thessalonica, and are dated to between 1309 and 1311/1312. Since there are many problematic points in Astrapas? artistic development, this article reexamines certain ensembles of wall-paintings, and particularly that of the Bogorodica Ljeviska Church, as a key to interpreting and solving the problem of ?Michael Astrapas?.

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15

Adiprasetya, Joas. "FAITHFUL PRESENCE IN THE PUBLIC SPACE". Jurnal Teologi 11, n.º 1 (25 de mayo de 2022): 1–12. http://dx.doi.org/10.24071/jt.v11i01.4512.

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This article investigates the possibility of the presence of the Church in the the public space through the presence of Christian persons in their various everyday spheres. By employing the dyadic understanding of abiding-and-go (Michael Gorman) and abiding-and-sending (the Generous Love document), I argue that Christians represent the whole church in their presence in the public space. In turn, by representing the whole church, Christians also make the Trinitarian communion present through their public engagement. As such, the church participates in God’s mission (missio Dei) both institutionally and personally.

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16

Kozieł, Andrzej. "How to exhibit a human mummy in a former monastery? The case of the body of Michael Willmann (1630–1706)". Muzeológia a kultúrne dedičstvo 8, n.º 4 (2020): 95–109. http://dx.doi.org/10.46284/mkd.2020.8.4.7.

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This paper discusses the mummified body of Michael Willmann (1630–1706) – one of the most outstanding painters of the Baroque period in Central Europe. Willmann’s mummy was preserved in the crypt of the former Cistercian monastery church in Lubiąż, Silesia (Poland). The article presents the history of the mummy and possibilities for opening the crypt and displaying it to the public, following the example of similar expositions in Europe which have found respectful and sensitive solutions for presenting the bodies of the deceased (e.g. Capuchin Crypt in Palermo and Capuchin Church in Brno). Willmann’s mummy is not only the body of an artist, but also a part of the cultural heritage of the Lubiąż Cistercians, making it worthy museification. This issue is particularly important in the context of the plans for establishing the Michael Willmann Museum in the former Cistercian monastery church in Lubiąż.

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17

Little, Patrick. "Michael Jones and the survival of the Church of Ireland, 1647–9". Irish Historical Studies 43, n.º 163 (mayo de 2019): 12–26. http://dx.doi.org/10.1017/ihs.2019.2.

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AbstractThe marquess of Ormond's surrender of Dublin to the forces of the English parliament in the summer of 1647 has been seen as marking the demise of the Church of Ireland, with ministers given the choice of adopting the Presbyterian Directory for Public Worship or fleeing the country. This article examines the survival of the church thanks to the benign influence of the governor of Dublin, Colonel Michael Jones, and his brother, Dr Henry Jones, bishop of Clogher. Under Michael Jones's rule the Book of Common Prayer continued to be used, ministers were appointed to vacancies, and clerical networks continued to operate. It was only after the Cromwellian invasion in August 1649, and the replacement of Jones by the Cromwellian hard-liner, Colonel John Hewson, that the church was forced out of business – a process completed with its formal abolition by the autumn of 1650.

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18

Pörnbacher, Hans. "Four Centuries of the Church of St. Michael in Munich." Philosophy and History 19, n.º 2 (1986): 180. http://dx.doi.org/10.5840/philhist1986192121.

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19

Colvin, Howard. "Inigo Jones and the Church of St Michael le Querne". London Journal 12, n.º 1 (junio de 1986): 36–39. http://dx.doi.org/10.1179/ldn.1986.12.1.36.

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20

Moran, Gerard. "Michael Logue and the Catholic Church in Ireland, 1879–1925". Irish Studies Review 18, n.º 2 (mayo de 2010): 236–38. http://dx.doi.org/10.1080/09670881003725986.

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21

Todjeras, Patrick. "Moynagh, Michael. 2017. Church in Life: Innovation, Mission, and Ecclesiology". Ecclesial Futures 1, n.º 1 (1 de junio de 2020): 113–16. http://dx.doi.org/10.54195/ef12055.

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22

Black, C. Clifton. "Lifting the Burden: Reading Matthew's Gospel in the Church Today: Brendan Byrne, SJ, Collegeville, Liturgical, 2004. 249 pp. $19.95". Theology Today 62, n.º 3 (octubre de 2005): 450–53. http://dx.doi.org/10.1177/004057360506200324.

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23

Głowacki, Wojciech M. "Modernity and Compromise: The Church of St. Michael the Archangel in Warsaw and its Designer Władysław Pieńkowski". Ikonotheka 28 (6 de agosto de 2019): 169–97. http://dx.doi.org/10.5604/01.3001.0013.3356.

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Despite the considerable influence he exerted on post-war church architecture in Poland, the designer Władysław Pieńkowski (1907–1991) is today an altogether forgotten figure. The current paper outlines his biography and his early oeuvre; this is because his experience in designing office blocks and industrial plants gained while working under the supervision of the most outstanding Polish architects of the mid-20th century, was to be of key importance to his later, independent designs for ecclesiastical buildings. The paper focuses on a particularly important work, one which in many ways constitutes a breakthrough in the architect’s career, namely the church of St. Michael the Archangel in the Mokotów district of Warsaw. This was the first entirely new church to be erected in the capital of Poland after the year 1945. Its construction depended on the dynamic changes in the balance of political forces. The church could be built owing to the support of the PAX Association circle, including the direct involvement of Bolesław Piasecki. In spite of their patronage, however, construction works were repeatedly halted and extended over several years, and the architectural design had to be reworked. The paper contains an analysis of three fundamental designs for the church, now held in the St. Michael the Archangel parish archive and in the architect’s records preserved by his heirs. The first design dates from the period of 1948/9–1951, the subsequent one from the year 1954, and the final one from 1956–1961. The evolution of the design moved from the initial continuation of forms typical of the pre-war Modernised Revivalism, through a peculiar reference to Socialist Realism, to rigorous Modernism. The church of St. Michael the Archangel became Pieńkowski’s testing ground; there, he tried out several solutions which he would consistently utilise in the subsequent years of his career, e.g. the large-scale application of prefabricated elements in both the construction and the decoration of the edifice. The construction of this church was concurrent with important events of a political (the Thaw) and religious nature (the Second Vatican Council). Tracing the history of the design for the Warsaw church and clarifying its connections with contemporaneous church architecture in Poland and in Western Europe made it possible to present the key problems faced by the Polish designers of ecclesiastical architecture in the first decades of the People’s Republic of Poland.

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24

Gelderloos, Jacobine. "Van kerken en dorpen". Religie & Samenleving 15, n.º 1 (1 de enero de 2020): 27–48. http://dx.doi.org/10.54195/rs.11555.

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The relation between church and village is shifting due to processes of de-churching, regionalisation, cooperation, and mobilisation. In the past a village often consisted of various churches, now it is the other way around: a church congregation consists of several villages. In this article I want to investigate what ecclesiological questions arise from this changing relation between church and village. First, I describe the processes of regionalisation and cooperation in the last decades and the consequences for being church in the countryside. Secondly, I explore a couple of developments that shed light on how the village church in the future might look like. The combination of cooperation processes and new forms of church lead to a mixed economy and raise ecclesiological questions, such as how to remain present as a church in several village communities? David Walker, Michael Moynagh and Pete Ward provide useful insights to understand rural ecclesiology

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CROITORU, Ion Marian. "MIHAI VITEAZUL, DOMN CREȘTIN ȘI EROU AL NEAMULUI ROMÂNESC. CTITORIA MITROPOLITANĂ DE LA ALBA IULIA ȘI EPOPEEA OSEMINTELOR SALE. CÂTEVA CONSIDERAȚII". Revista Românească de Studii Axiologice 3, n.º 4 (27 de enero de 2022): 5–42. http://dx.doi.org/10.26520/rrsa2022.3.4.5-42.

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Ruler Michael the Brave’s acts, followed, under various forms, by the rulers of Wallachia or even by Transylvanian principles, taken over, later on, by political or military men of the West or of the East, will mark the Romanians’ First Great Union (1600), which he realized and which will be, centuries later, the spur for the Little Union (24 January 1859), under the Ruler Alexandru Ioan Cuza (1859-1866, † 1873), but also for their Second Great Union (1 December 1918), under King Ferdinand I (1914-1927). During the reign of Ruler Michael the Brave, considered, in truth, in the specialized literature, the hero of the Romanians’ three countries’ union, the Ortho¬dox Church of Transylvania recorded a rebirth, by the measures he undertook. These measures were part of the efforts of reorganization of the religious life and consolidation of the Orthodox faith in the face of the protestant propaganda, but also of the Roman-Catholic expansion, especially after the Union of Brest-Litovsk (1595- 1596). It ought to be reminded that neither were the Romanians among the accepted nations of the Principality, nor had their ancestral faith or law been accepted among the ‟accepted religionsˮ or ‟accepted confessionsˮ, the Romanians being granted, in exchange, the status of ‟toleratedˮ, while being not acknowledged among the ‟statesˮ of Transylvania. Thus, in this study were presented, in brief or in detail, the following aspects: 1) the honour received by Michael the Brave in the area of Dâmbovița; 2) the Romanians’ first Great Union, an event realized under Michael the Brave’s sceptre; 3) the elements of the Romanians’ unity and their relation of faith with those of other nations; 4) miracles and acts of confession of the Orthodoxy, being described the liturgical debate of Alba Iulia, according to the testimony of Saint Petru Movilă; 5) a few aspects regarding the Church policy of Ruler Mihael the Brave in Transylvania and the Metropolitan Church he founded at Alba Iulia; 6) the manifestation, by Voivode Michael the Brave, of a conscience of Christian ruler; 7) testimonies regarding Ruler Michael the Brave’s earthly remains. Concerning certain aspects of this part of the study, several keys of interpretation are given, while other aspects await clarification.

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Roche, Mary M. Doyle. "Marriage and the Catholic Church: Disputed Questions, by Michael G. Lawler". National Catholic Bioethics Quarterly 5, n.º 1 (2005): 202–3. http://dx.doi.org/10.5840/ncbq20055179.

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Héczey-Markó, Ágnes y Miklós Rácz. "Building archaeological research of the St. Michael Parish Church in Érd". Építés - Építészettudomány 41, n.º 3-4 (septiembre de 2013): 283–314. http://dx.doi.org/10.1556/eptud.41.2013.3-4.6.

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Dunlop, Andrew. "Church in Life: Innovation, Mission and Ecclesiology, written by Michael Moynagh". Ecclesial Practices 5, n.º 1 (28 de julio de 2018): 107–10. http://dx.doi.org/10.1163/22144471-00402007.

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Onufrienko, Maksim Olegovich. "St. George Church in Mlado Nagoričane: the artistic context of the frescoes". Studia Slavica et Balcanica Petropolitana 31, n.º 1 (2022): 171–85. http://dx.doi.org/10.21638/spbu19.2022.110.

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The frescoes of the St. George Church in Mlado Nagoričino (North Macedonia) have repeatedly attracted the scholars’ attention, but so far the circle of monuments close to these paintings has not been accurately identified. The article deals with attribution a number of preserved images to certain workshops whose works are known from other ensembles. There are three different styles in the painting, which can be attributed to three different painters (or a group of painters). Apparently, the same artists who painted the church of the Slimnitsa monastery worked in the naos. This conclusion is consistent with the observation of Macedonian researchers. The other two styles apparently belong to Greek painters who can be associated with the artist Michael of Linotopi. He worked in the first third of the 17th century and painted many churches in the Balkans. One of the closest analogs of the St. George Church painting in Mlado Nagoričino are the frescoes of the Dormition Church in Zervat (Albania) and the katholikon of the Makryaleksi monastery (Greece), where Michael worked. Both the similarity of the handwriting of the inscriptions and the proximity of the physiognomic features of the some saints’ faces pointed that way. However, the style of these frescoes does not exactly match the painting of St. George’s Church. Since the analogs given in the article are rather approximate, the frescoes of the St. George church in Mlado Nagoričino cannot be attributed to the activities of the Michael’s workshop with certainty. However, it can be argued that the painting in Mlado Nagoričino was done by painters who were part of the entourage of this artist.

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Cowell, Sam. "Two New Palaeologan Torneses". KOINON: The International Journal of Classical Numismatic Studies 6 (14 de diciembre de 2023): 145–49. http://dx.doi.org/10.32028/k.v6i.2346.

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Son and successor of Michael VIII Palaeologos, Andronikos II Palaeologos spent his first days in power undoing much of his father’s work. With a quiet funeral for Michael, so too lay to rest the dream of a reunified church. For Andronikos II was devoutly orthodox and whatever his other flaws may have been, he remained popular with the people due to his restoration of the Eastern Church. Besides reinstating previously removed ecclesiastical officials to their old offices, the emperor cultivated a scholarly atmosphere in Constantinople. Advisors and friends of the emperor such as Theodores Methochites and Nicephorus Chumnus helped to create the so-called Palaeologan Renaissance. Not every front was as successful as these, however. Andronikos’ hiring of the Catalan company mercenaries proved to be an utter disaster and saw destruction wherever the renegade company roamed. The emperor’s eastern front hardly proved better as Seljuk Turks overran the frontier. Even at home, the emperor faced tragic deaths in his family as the emperor’s son, heir, and co-ruler Michael IX died prematurely. Andronikos II later fought and lost a bitter seven-year-long year long civil war with his grandchild Andronikos III, himself the son of Michael IX. Finally, after a rather ineffectual yet lengthy rule at the helm of the Byzantine state for 46 years, the elderly Andronikos II forcibly retired to spend his final powerless days as emperor-monk.

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VISSER, ARJAN DE. "Newbigin’s Missionary Ecclesiology". Unio Cum Christo 6, n.º 1 (1 de abril de 2020): 229. http://dx.doi.org/10.35285/ucc6.1.2020.not2.

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Lesslie Newbigin Is An Inspirational Figure Whose Theological Legacy Should Be Considered Carefully. Using A New Book By Michael Goheen As Guideline (The Church And Its Vocation: Lesslie Newbigin’s Missionary Ecclesiology), This Article Focuses On Newbigin’s Views Regarding The Identity And Mandate Of The Church. Two Aspects Are Noted With Appreciation: Newbigin’s Defense Of The Uniqueness Of Christ And His Critique Of Western Culture. There Are Concerns, However, With Respect To Three Aspects Of Newbigin’s Ecclesiology: His Views Of Salvation, Election, And The Mandate Of The Church. The Common Thread In Newbigin’s Approach Appears To Be His Aversion And Over-reaction Against What He Deemed To Be An Individualistic View Of Salvation. KEYWORDS:

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Grozdanov, Cvetan. "The painting of the northern wall of the narthex of the Church of the Virgin Peribleptos (st. Kliment) in Ohrid". Zograf, n.º 36 (2012): 109–14. http://dx.doi.org/10.2298/zog1236109g.

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The author examines the figures and scenes painted on the northern wall of the narthex of the Church of the Virgin Peribleptos in Ohrid. He describes and interprets Nebuchadnezzar?s dream, the figures of the archangels Michael and Gabriel as guardians of the entrance to the church, and the choir of the saint anargyres (Panteleimon, Cosmas and Damian). He then proceeds to discuss the empty field above the northern do or of the narthex, the arcosolium and the tomb of Ostoja Rajakovic. Finally, he refers to the penetration of a new passage on the eastern wall of the narthex, which resulted to the destruction of some figures from the earliest layer of frescoes in the church.

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Sykes, Stephen. "The Basis of Anglican Fellowship: Some Challenges for Today". Journal of Anglican Studies 1, n.º 2 (diciembre de 2003): 10–23. http://dx.doi.org/10.1177/174035530300100202.

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ABSTRACTThis article examines a central concern for the Anglican Communion, namely how a Communion without a strong central authority structure can maintain its unity in the face of potentially church-dividing issues. At present the major such issue relates to human sexuality, but the underlying problem itself is not new, and the article draws a parallel with the Kikuyu controversy of 1913 and subsequent years. The author questions the customary practice of beginning from a universal doctrine of the Church and seeing it as ‘translated’ or ‘inculturated’ into a diversity of contexts. He argues that the New Testament pattern is different. There, the experience of a variety of local churches is the starting point. Drawing on the terminology of the political philosopher Michael Walzer, he designates the local embodiment of the Church as ‘thick’ and its universal expression as ‘thin’. The concrete local embodiments of the Church should be our conceptual starting point, not an idealized picture of the Church universal.

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S, Husak. "CHURCH OF THE DISCALCED CARMELITES IN LVIV AND THEIR ARCHITECTURAL STYLE". Architectural Studies 7, n.º 1 (30 de abril de 2021): 42–57. http://dx.doi.org/10.23939/as2021.01.042.

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The former church and monastery of the Discalced Carmelites, present Greek Catholic Michael the Archangel Church, is one of the most unexplored sacred buildings of Lviv. Despite its historical importance to the town, the few surviving documents list only donations and royal privileges. This article refers to examples of other Carmelite churches, as well as Italian religious houses to try to explain the possible building process. Not only them but also the already existing convents of the city shaped its form, which is significant for locating its history within the local building tradition.

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Gavrilovic, Andjela. "On the meaning of the chordophone musical instruments in the scenes of the mocking of Christ in Serbian medieval art". Muzikologija, n.º 33 (2022): 193–208. http://dx.doi.org/10.2298/muz2233193g.

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This article examines the sacral meaning of the chordophone musical instruments in the scenes of the Mocking of Christ in Serbian medieval art (1166-1459), preserved only in two monumental ensembles - in the church of Christ Pantokrator in Decani Monastery (1338-1339) and in the church of the Holy Archangels Gabriel and Michael in Lesnovo (1346-1347). The instruments in question are one cithara (Byzantine lyre) and one psaltery. Selected examples of the comparative material, as well as the written sources, prove that these musical instruments symbolically point to Christ?s suffering.

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Philippides, Marios. "Church and Society in Byzantium under the Comneni, 1081-1261.Michael Angold". Speculum 72, n.º 3 (julio de 1997): 779–80. http://dx.doi.org/10.2307/3040764.

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Anderson, Braden. "Michael L. Budde, The Borders of Baptism: Identities, Allegiances, and the Church". Political Theology 13, n.º 4 (marzo de 2012): 501–3. http://dx.doi.org/10.1558/poth.v13i4.501.

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Kirk-Duggan, Cheryl. "The Black Church in America: African American Christian Spirituality ? By Michael Battle". Reviews in Religion & Theology 14, n.º 2 (marzo de 2007): 193–95. http://dx.doi.org/10.1111/j.1467-9418.2007.00336_1.x.

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Kaegi, Walter E. "Church and Society in Byzantium under the Comneni, 1081-1261. Michael Angold". Journal of Near Eastern Studies 61, n.º 4 (octubre de 2002): 293. http://dx.doi.org/10.1086/469053.

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Perkins, Anna Kasafi. "“Distinct but Inseparable”: Church and State in the Writings of Michael Manley". Caribbean Quarterly 56, n.º 3 (septiembre de 2010): 1–11. http://dx.doi.org/10.1080/00086495.2010.11672370.

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Wagner, Melinda Bollar. ": Born Again: Life in a Fundamentalist Baptist Church . James Ault, Michael Camerini." American Anthropologist 91, n.º 4 (diciembre de 1989): 1088–89. http://dx.doi.org/10.1525/aa.1989.91.4.02a00840.

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Compier, Don H. "The Church Faces Death: Ecclesiology in a Post-Modern Context. Michael Jinkins". Journal of Religion 81, n.º 2 (abril de 2001): 309–10. http://dx.doi.org/10.1086/490846.

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Mustač, S. "Ambo from the Church of St Michael at Banjole near Peroj (Istria)". Hortus Artium Medievalium 15, n.º 2 (mayo de 2009): 417–31. http://dx.doi.org/10.1484/j.ham.3.74.

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Douglas, Kelly Brown. "Brief Introductions to Anglican Theology: Theological Method: Theological Methodology and the Jesus Movement through the Work of F. D. Maurice and Vida Scudder". Anglican Theological Review 102, n.º 1 (diciembre de 2020): 7–30. http://dx.doi.org/10.1177/000332862010200102.

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The twenty-seventh Presiding Bishop of The Episcopal Church, Michael Curry, has called the church over which he presides to become a part of the Jesus Movement. This call raised eyebrows for some, who feared a turn toward a Protestant evangelical tradition reflected in the legacy of people like the eighteenth-century Anglican evangelist George Whitefield. Because the evangelical tradition emphasizes individual salvation, it easily lends itself to a lack of engagement in social justice issues. But this was not the intention of the Presiding Bishop, who urges the church toward the “beloved community.” This essay will examine The Episcopal Church's history of engagement with social justice in light of the theological methodology of F. D. Maurice and Vida Scudder, in an attempt to discern the theological failure that the historical lack of social justice leadership within The Episcopal Church reflects, and which necessitated the Presiding Bishop's call.

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Iordache, Mădălina y Ana Maria Grămescu. "Brăila’s Historical Monuments". Ovidius University Annals of Constanta - Series Civil Engineering 23, n.º 1 (1 de diciembre de 2021): 139–49. http://dx.doi.org/10.2478/ouacsce-2021-0018.

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Abstract The historic center of Brăila begins with “Trajan Square”, a special cultural area with monuments that distinguish it among national cultural values: the Church of the “Holy Archangels Michael and Gabriel” and the “Maria Filotti” Theater. These heritage buildings in cities preserve the memory of the original structure.

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Alvonciani, Eunike. "The Aging Church: An Ecclesiological Construction Based on the Theology of Aging". Veritas: Jurnal Teologi dan Pelayanan 21, n.º 2 (31 de diciembre de 2022): 299–315. http://dx.doi.org/10.36421/veritas.v21i2.570.

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This article proposes the concept of an aging church as an ecclesiological construction that is based on the theology of aging. It begins with a concern about the tendency of the church to measure its “success” through its productivity, hence forgetting to reflect upon its dependence on God. Using literature analysis and constructive methods, this article combines the aging theology from Autumn Ridenour, Kevin Barnard, and several other theologians with the ecclesiology of John Zizioulas and Michael Jinkins. Analysis of aging theology and ecclesiology are used as the basis for constructing the “aging church”. The thesis of this article is that the church that is aware of its aging also realizes its relational identity in God which can be lived through appreciation of its passive agency in balance with its active agency, as it should be in an aging individual person. The aging church does not specifically refer to the age of the church, but to the relationship with God which invites the church to embrace the past through repentance, realize its relational identity in the present, and renew itself with an eschatological orientation toward the future. Finally, eschatological hope in the passive role of the church of this kind helps the church to see its movements during a pandemic, even a post-pandemic stage so that they are not trapped in non-essential productivity.

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Goodman, Michael. "Public Life and the Place of the Church: Reflections to Honour the Bishop of Oxford". Ecclesiastical Law Journal 9, n.º 2 (11 de abril de 2007): 235–37. http://dx.doi.org/10.1017/s0956618x07000506.

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Różański, Artur, Tomasz Jurek, Piotr Marciniak, Patrycja Łobodzińska y Ulrich Schaaf. "Wooden sacral architecture in Greater Poland. An interdisciplinary case study of the church in Domachowo". Archaeologia Historica Polona 28 (30 de diciembre de 2020): 175–97. http://dx.doi.org/10.12775/ahp.2020.007.

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Sacred wooden architecture in Poland is a huge and still unrecognised research problem. It covers a number of issues of interdisciplinary character: from the properties of building materials and carpentry techniques, through constructionand architectural-spatial solutions, to cultural and natural conditions. Hence, the best way to study this problem is interdisciplinary research. The necessity of cooperation of representatives of various scientific disciplines became the basis for creating a team to study the wooden church of St Michael the Archangel in Domachowo, so far dated to 1568. As researchers representing various disciplines (including archaeology, history, art history, history of architecture, architecture, architectural conservation), we cite sources and research that allow us to formulate a thesis that the past of the Domachowo church dates back to the 14th century. Moreover, we present the research and methodological problems inscribed in the aforementioned church building, understood as a whole. Such a multifaceted approach allows us to redefine the current knowledge about the church in Domachowo.

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Gabelic, Smiljka. "From the painted programme of Saint John (Ayvali Kilise), Cssappadocia". Zograf, n.º 33 (2009): 33–41. http://dx.doi.org/10.2298/zog0933033g.

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In the Church of St. John in Cappadocia, also known as Ayvali Kilise or Gulu dere 4, on the frescoes which were painted between 913 and 920, particular devotion was shown for the cult of the archangels. The two archangels Michael and Gabriel, were painted in very large dimensions, with inscriptions describing them as 'great', besides giving their names. In addition to that a unique group of two figures was presented. It depicted the monk Archippos turned toward a colossal figure of the archangel Michael, painted strictly frontally. The iconographical relationship of these two figures, unrecorded in scholarly literature, indicates that this was definitely Archippos, the custodian of the important shrine of the Archangel Michael at Chonai, which still existed in those times. This would not only be a very early, but the only preserved presentation of Archippos, other than his appearance in the well-known composition of the Miracle of the Archangel Michael at Chonai.

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Frykowski, Janusz A. "The History of Saint Michael the Archangel Uniate Church in Rogóźno in the Light of the 18th Century Church Visitation". Roczniki Teologiczne 63, n.º 4 (2016): 91–108. http://dx.doi.org/10.18290/rt.2016.4-7.

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