Littérature scientifique sur le sujet « Herre kirke »

Nedfarten til DødsrigetAf A.M. AllchinDer ligger for A.M. Allchin en dybere betydning gemt i det forhold, at Joakim Skovgaards maleri Kristus i de dødes Rige til udstillingen Sjælebilleder blev hentet op i lyset efter i mange år at have været opbevaret i kælderens magasiner i dyb glemsel. Ikke blot var billedet gemt væk, men dets motiv havde forekommet mange at v.re udtryk for noget underligt og aparte, noget tilsyneladende fremmedartet i forhold til kirkelig kristendom.Men for en nærmere betragtning af Skovgaards billede i forhold til den kirkelige tradition forholder det sig i virkeligheden modsat, påpeger Allchin. Hvis man søger tilbage til vidnesbyrd om den kristne tradition i det første årtusinde, vil man kunne finde markante udtryk for, at netop nedfartsmotivet hørte sammen med de centrale bestanddele af kirkens tro.I den østkirkelige, ortodokse tradition vil man således umiddelbart sætte Kristi helvedesstorm og befrielse af de fangne i forbindelse med selve opstandelsesbudskabet. Dette fundamentale forhold indgår endnu i dag p. markant m.de i den ortodokse kirkes påskeliturgi, når det hedder: Kristus er opst.et fra de d.de, idet han trådte døden under fode, hvorved han gav liv til de d.de i gravene. Det centrale i påskebudskabet er her dette, at opstandelsen er tolket som sejr over døden, og at denne sejr betyder liv for hele menneskeslægten.Skovgaards maleri skal ses og tolkes i denne sammenh.ng. Det betydningsfulde motiv hører uløseligt sammen med det universalistiske perspektiv: Kristi død og opstandelse som befrielse for hele skabningen. Hvor vigtige aspekter af påskebudskabet, der her står p. spil, vil fremgå, hvis man sammenholder sceneriet fra Skovgaards billede med den tolkning, der indgår i megen tidlig kristen kunst, mest i den østlige, men også i den vestlige kristenhed. Her er den opstandne Kristus ofte fremstillet i et dramatisk perspektiv: helten, den opstandne Frelser, stormer Helvedes porte, befrir de fangne og drager de d.de fra mærket, Adam og Eva, op til lys og liv.Ved nærmere betragtning viser Skovgaards billede sig at udtrykke samme tankegang. Kristus er nemlig ikke, som Allchin selv havde formodet, afbilledet statisk. Men den opstandne Herre ses som værende i bevægelse, p. vej hen imod de afdødes skare for at befri dem.Dette motiv, der af nogle har været betegnet som et sidetema i forhold til de centrale traditionselementer i den bibelske tradition, er i virkeligheden i pagt med de allermest afgørende lag i den tidligste forkyndelse, proklamationen af opstandelsen som skaberværkets genlæsning, påsken som dette at menneskeheden på ny får skænket adgang til at tr.de frem for Guds ansigt i paradishaven.Når vi rejser spørgsmålet, hvorpå det da beror, at Skovgaard fandt vej tilbage til denne urkristne t.nkem.de, selvom den havde v.ret tr.ngt i baggrunden i megen t.nkning, ogs. i det 19. årh.s Danmark, hvor Skovgaard voksede op, s. er svaret helt klart, at det skyldes indflydelsen fra Grundtvig.Allchin henviser til, således som han udførligere har udfoldet det i sin store indføring i Grundtvig, at denne forståelse af påskebegivenhedeme indgår som en hovedbestanddel af Grundtvigs forkyndelse i prædikenerne. Og det påpeges endvidere, med henvisning til S.A.J. Bradleys forskning om forbindelseslinjerne mellem Grundtvig og den oldengelske digtning, at Grundtvig havde som programmatisk ønske at g.re dette motiv til en hovedsag, og derved bringe det tilbage fra den glemsel, som kirke og teologi i århundrederne forud havde bragt det i. Ikke mindst Grundtvigs fremhævelse af Eva og Maria inden for rammerne af de frelses historiske krydshenvisninger mellem Paradishaven og Kristi budskab, rummer et tydeligt udtryk for dette grundsyn.Således skal Skovgaards billede Kristus nedfart til Dødsriget retteligt forstås i lyset af den årtusindegammel tradition. Interessant er det, at Jakob Knudsen p. sin side havde sans for ganske samme grundforhold og berettede om det som noget, han havde flet fortalt af sin moder.

Grundtvigs palmesøndag 1867 og den angelsaksiske nedfart til helvedeAf SA.J. BradleyI denne artikel gives en tolkning af et led i Grundtvigs gudstjeneste palmesøndag 1867, en gudstjeneste, hvis begivenheder almindeligvis betragtes som resultater af Grundtvigs maniodepressive opstemthed. Den overvejende del af Grundtvigtolkningen lader i overensstemmelse med denne diagnose Grundtvigs ord og handlinger fremstå som liggende uden for Grundtvigs sædvanlige rationelle associative processer. Professor Bradley tilslutter sig opfattelsen af Palmesøndagsbegivenheden som et udslag af Grundtvigs manio-depressivitet, men han opfatter samtidig visse ytringer af Grundtvig som indeholdende rationelle elementer, eftersom et angelsaksisk digt både kan give mening til ordvalget og mening til dets betydning i en videre sammenhæng. Den givne tolkning kan ikke bevises, men fremstår som sandsynlig og tillige et eksempel på, hvorledes Grundtvigs egen spiritualitet spejles i den angelsaksiske, nordiske kristendomstype.Grundtvigs menighed tog ekstatisk del i Grundtvigs maniske fejring og forrettelse af dåb og nadver, i forventningen om, at Grundtvig ville udtale profetier. Grundtvigs prædiken skildres som en blanding af vanvid og dybe tanker, indledt med en proklamation af Helligåndens tilstedeværelse og en deraf følgende syndsforladelse til hele det danske folk. Derudover udtalte Grundtvig, at Jordan, dåbens vand og indgangen til det forjættede land, nu flød ud i Øresund og beskyllede København. København er Jerusalem, ind i hvilket Herren nu drager under hosiannaråbet. Det rationelle element i denne ekstatiske udtalelse er, hvad angår det indholdsmæssige, forventningen om den nordiske, dvs. danske genfødelse af den apostoliske kirke, som Grundtvig også. i klare stunder kunne give udtryk i bibelsprog. Visionen om Herrens andet komme i København som det ny Jerusalem er således ikke et fremmedelement i Grundtvigs tankeverden. PÅ palmesøndag er allusionen til Jerusalem oplagt, den palmestrøede vej ind i Jerusalem er symbol på Gudsfolkets vej til det himmelske kongerige, Jerusalem er også billede pA kirken, derfor er Kristi komme ogs. symbol på Kristi indgang gennem ånden i den enkeltes hjerte og i kirkens samfund. Salme 23 fremstår derigennem endelig som en foregribelse af, hvorledes Kristus sønderbryder Helvedes porte. Netop denne allusion findes i Exeterbogens angelsaksiske digt om nedfarten til dødsriget, bygget over liturgiske elementer fra påskedags laudes og med baggrund i påskevigilien og påskedagsteksten, Kristi sønderbrydelse af Helvede og kvinderne ved graven. Digtets kerne udgøres af den i synden og verden fængslede ånds længsel efter Kristus og af hans komme til ånden, udtrykt i kvindernes gråd, der ved graven afløses af glæde. Kvinderne repræsenterer alle kristne sjæle, og deres bevægelse fra gråd til gl.de er hele menneskehedens bevægelse, udtryk for pilgrimsfærden gennem verden til et himmelsk Jerusalem, en vej, der gengiver Kristi vej fra fødsel over dåb og korsdåd til opstandelse, udfrielse af sjælene og himmelfart. De, der afmægtigt længes efter at tr.de i Jesu fodspor i det jordiske Jerusalem vil opleve denne lykke i hjertet og kirken, siger digtet, indtil Kristus kommer igen for anden gang for at samle sine egne i Himlen. For Jordans vande flyder ind i hver eneste døbefonts hellige vande, og da bygges et nyt Jerusalem nådefuldt i hvert genfødt hjerte indenfor kirkens samfund. Digtet slutter med en bøn om hele menneskeslægtens genfødsel gennem dåben, som indstiftedes gennem Kristi dåb i Jordan. Digtets allusioner til Jerusalem og til Jordan er da - ligesom angelsaksisk adventsdigtning - udtryk for den angelsaksiske poesis karakter af anamnesis, frelsesbegivenhedernes virkeliggørelse her og nu på mystisk vis i det menneskelige hjerte, der da udtrykker sin anger og gl.de gennem tårer. Denne hjertets angerfulde bevægelse fremkommer gennem liturgi, meditation over religiøs kunst, og, i vor sammenh.ng, religiøs digtning. Der gøres opmærksom på, hvorledes hjertets betydning i Grundtvigs antropologi og poetik samt Grundtvigs egen fromhedstype udviser slægtskab med denne angelsaksiske digtform, og det er da artiklens sigte at sandsynligg.re, at Grundtvigs tale om Jordan og Jerusalem implicit citerer den bøn, der slutter digtet om nedfarten til Helvede. I s. fald er der ikke tale om en irrationel bevægelse i Grundtvigs bevidsthed, der bryder med Grundtvigs vante tankegange, men om et element fra Grundtvigs store lærdom, der i overensstemmelse med den liturgiske festdag og den grundtvigske spiritualitets 'angelsaksiske' præg giver situationen og øjeblikket sprogligt udtryk.

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STEAM-based learning is a global issue in early-childhood education practice. STEAM content becomes an integrative thematic approach as the main pillar of learning in kindergarten. This study aims to develop a conceptual and practical approach in the implementation of children's education by applying a modification from STEAM Learning to R-SLAMET. The research used a qualitative case study method with data collection through focus group discussions (FGD), involving early-childhood educator's research participants (n = 35), interviews, observation, document analysis such as videos, photos and portfolios. The study found several ideal categories through the use of narrative data analysis techniques. The findings show that educators gain an understanding of the change in learning orientation from competency indicators to play-based learning. Developing thematic play activities into continuum playing scenarios. STEAM learning content modification (Science, Technology, Engineering, Art and Math) to R-SLAMETS content (Religion, Science, Literacy, Art, Math, Engineering, Technology and Social study) in daily class activity. Children activities with R-SLAMETS content can be developed based on an integrative learning flow that empowers loose part media with local materials learning resources. Keyword: STEAM to R-SLAMETS, Early Childhood Education, Integrative Thematic Learning References Ali, E., Kaitlyn M, C., Hussain, A., & Akhtar, Z. (2018). the Effects of Play-Based Learning on Early Childhood Education and Development. Journal of Evolution of Medical and Dental Sciences, 7(43), 4682–4685. https://doi.org/10.14260/jemds/2018/1044 Ata Aktürk, A., & Demircan, O. (2017). A Review of Studies on STEM and STEAM Education in Early Childhood. Journal of Kırşehir Education Faculty, 18(2), 757–776. Azizah, W. A., Sarwi, S., & Ellianawati, E. (2020). 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Abstract The Society gratefully acknowledges the time and effort of the following individuals who served as reviewers of abstracts for this meeting: ASH ABSTRACTS COORDINATING REVIEWERS Blanche P. Alter Stephen M. Ansell Ralph B. Arlinghaus Scott Armstrong Asad Bashey Philip Bierman Neil Blumberg Chiara Bonini Dominique Bonnet Jacqueline Boultwood Rena Buckstein John C. Byrd Marc Carrier Lucio H. Castilla Selina Chen-Kiang Nicholas Chiorazzi Jorge Cortes-Franco Claire E. Dearden Mary C. Dinauer Harry Paul Erba Carolyn A. Felix Pierre Fenaux Debra L. Friedman Irene M. Ghobrial Jason R. Gotlib Brandon Hayes-Lattin Cheryl A. Hillery Achille Iolascon Jean-Pierre J. Issa Sundar Jagannath Diane F. Jelinek H. Phillip Koeffler John Koreth Robert J. Kreitman Robert B. Levy David Lillicrap Richard Lottenberg John D. McMannis Mark D. Minden Charles G. Mullighan Arnon Nagler Peter J. Newman Robert Z. Orlowski Antonio Palumbo Julie A. Panepinto Warren S. Pear Sibrand Poppema Barbara Pro Ching-Hon Pui A. Koneti Rao Aaron P. Rapoport Pieter H. Reitsma Douglas D. Ross J. Eric Russell Barbara Savoldo Kirk R. Schultz Radek C. Skoda Marilyn L. Slovak Susan Smyth Hugo ten Cate Herve Tilly John M. Timmerman Ivo Touw Amy J. Wagers Russell E. Ware Catherine J. Wu Virginia M. Zaleskas ASH ABSTRACTS REVIEWERS Camille Abboud Omar Abdel-Wahab Jeremy Abramson Suneet Agarwal Sikander Ailawadhi Onder Alpdogan Andrew Aprikyan Mary Armanios Aneel Ashrani Norio Asou Aglaia Athanassiadou Eyal Attar Mohammad Azam Maria Baer Jorg Baesecke Sarah Ball Karen Ballen Frederic Baron Shannon Bates Minoo Battiwalla Marie Bene Charles Bennett James Berenson Steven Bernstein Francesco Bertoni Monica Bessler Wolfgang Bethge Kapil Bhalla Deepa Bhojwani James Bieker Bruce R. Blazar Annemarie Block David Bodine Catherine Bollard Antonio Bonati Eric Bouhassira Benjamin Braun Christopher Bredeson Patrick Brown Ross Brown Jan Burger Dario Campana Jose Cancelas Paul Carpenter Andrew Carroll James Casella Rebecca Chan Roy Chemaly Benny Chen Jerry Cheng Linzhao Cheng Bruce Cheson Mark Chiang Athar Chishti Hearn Cho Magdalena Chrzanowska-Wodnicka Richard E. Clark Joseph Connors Kenneth Cooke Miguel Cruz Adam Cuker Sandeep Dave Janice Davis Sproul Lucia De Franceschi Philip De Groot Rodney DeKoter Richard Delarue Stephen Devereux Steven Devine Paola Jorge Di Don Diamond Meletios Dimopoulos John DiPersio Angela Dispenzieri Benjamin Djulbegovic Jing-fei Dong James Downing William Drobyski Rafael Duarte Charles Dumontet Kieron Dunleavy Brian Durie Dimitar Efremov Elizabeth Eklund Jonas Emsley Patricia Ernst Andrew Evens Chris Fegan Andrew Feldman Giuliana Ferrari Willem Fibbe Adele Fielding Thoas Fioretos Robert Flaumenhaft Rafael Fonseca James Foran Joseph Frank Janet Franklin Paul Frenette Alan Friedman Terry Fry Saghi Gaffari Naomi Galili Patrick Gallagher Anne Galy David Garcia Randy Gascoyne Cristina Gasparetto Norbert Gattermann Tobias Gedde-Dahl Alan Gewirtz Francis Giles Robert Godal Lucy Godley Ivana Gojo Norbert Gorin Andre Goy Eric Grabowski Steven Grant Timothy Graubert Elizabeth Griffiths H. Leighton Grimes Claudia Haferlach Corinne Haioun Parameswaran Hari Christine Harrison Robert Hasserjian Nyla Heerema Shelly Heimfeld Roland Herzog Elizabeth Hexner Teru Hideshima William H. Hildebrand Gerhard Hildebrandt Devendra Hiwase Karin Hoffmeister Donna Hogge Scott Howard Brian Huntly Hiroto Inaba Baba Inusa Shai Izraeli Suresh Jhanwar Amy Johnson Craig Jordan Joseph Jurcic Nina Kadan-Lottick Lawrence Kaplan Jonathan Kaufman Neil Kay Michelle Kelliher Craig Kessler H. Jean Khoury Allison King Joseph Kiss Issay Kitabayashi Robert Klaassen Christoph Klein Yoshihisa Kodera Alexander Kohlmann Barbara Konkle Michael Kovacs Robert Kralovics Amrita Krishnan Nicolaus Kroger Ashish Kumar Ralf Küppers Jeffery Kutok Ann LaCasce Raymond Lai David Lane Peter Lane Richard Larson Michelle Le Beau Gregoire Le Gal Ollivier Legrand Suzanne Lentzsch John Leonard John Levine Ross Levine Linheng Li Renhao Li Zhenyu Li Wendy Lim Charles Linker Jeffrey Lipton Per Ljungman John Lollar Philip Low David Lucas Selina Luger Leo Luznik Gary Lyman Jaroslaw Maciejewski Elizabeth MacIntyre Nigel Mackman Luca Malcovati Guido Marcucci Tomer Mark Susan Maroney Giovanni Martinelli Peter Maslak Alan Mast Grant McArthur Philip McCarthy Michael McDevitt Peter McLaughlin Bruno Medeiros Jules P.P. Meijerink Junia Melo Thomas Mercher Bradley Messmer Marco Mielcarek Ken Mills Shin Mineishi Arturo Molina Silvia Montoto Marie Joelle Mozziconacci Auayporn Nademanee Vesna Najfeld Eneida Nemecek Ellis Neufeld Peter Newburger Heyu Ni Charlotte Marie Niemeyer Yago Nieto Anne Novak Paul O\'Donnell Vivian Oehler Fritz Offner Johannes Oldenburg Rebecca Olin Richard J. O'Reilly Thomas Ortel Keiya Ozawa Rose Ann Padua Sung-Yun Pai James Palis Derwood Pamphilon Animesh Pardanani Farzana Pashankar Andrea Pellagatti Catherine Pellat-Deceunynck Louis Pelus Chris Pepper Melanie Percy Andrew Perkins Luke Peterson Andrew Pettitt Javier Pinilla-Ibarz Kimmo Porkka David Porter Amy Powers Claude Preudhomme Frederick Racke Margaret Ragni Thomas Raife Alessandro Rambaldi Mariusz Ratajczak Pavan Reddy Mary Relling Tannishtha Reya Lisa Rimsza Stefano Rivella Isabelle Riviere Pamela Robey Gail Roboz Aldo Roccaro Maria Alma Rodriguez Frank Rosenbauer Laura Rosinol Alan Rosmarin Giuseppe Saglio Jonathan Said Valeria Santini Ravindra Sarode Yogenthiran Saunthararajah Bipin Savani Alan Schechter Charles Schiffer Robert Schlossman Laurie Sehn Rita Selby Orhan Sezer Sadhna Shankar John Shaughnessy Jordan Shavit Kevin Sheehan Shalini Shenoy Colin Sieff Paul Simmons Seema Singhal Sonali Smith Gerard Socie Pieter Sonneveld Simona Soverini David Spaner Steven Spitalnik Kostas Stamatopoulos David Steensma Richard Stone Toshio Suda Perumal Thiagarajan Courtney Thornburg Rodger Tiedemann David Traver Guido Tricot Darrell Triulzi Suzanne Trudel Christel Van Geet Karin Vanderkerken David Varon Amit Verma Srdan Verstovsek Ravi Vij Dan Vogl Loren Walensky Edmund Waller George Weiner Daniel Weisdorf Karl Welte Peter Westervelt Adrian Wiestner P.W. Wijermans John Wingard Anne Woolfrey Mingjiang Xu Qing Yi Anas Younes Ryan Zarychanski Arthur Zelent Clive Zent Dong-Er Zhang Xianzheng Zhou James Zimring

Populism represents the greatest political challenge to Western democracies since World War II. The electoral successes of populist parties and actors, Brexit, the presidency of Donald Trump or campaigns against containing the coronavirus pandemic are expressions of this phenomenon, in which the electorate is mobilised against supposed elites. The revised and expanded handbook Political Populism offers a comprehensive theoretical and empirical introduction to the causes and effects of political populism, especially in the democratic systems of Europe, but also in North and South America. It focuses on explaining populism as a consequence of a legitimation crisis of the representative system as well as on the controversies and limitations in the current academic debate. Drawing on political and communication science, the book also offers a comprehensive analysis of the effects of populism on various policy areas, such as environmental, health and economic policy. With contributions by Tjitske Akkerman, Manuel Anselmi, Wolfgang Aschauer, Hans-Georg Betz, Cecilia Biancalana, Paul Blokker, Giuliano Bobba, María Esperanza Casullo, Carlos de la Torre, Paula Diehl, Sarah C. Dingler, Martin Dolezal, Marco Fölsch, Flavia Freidenberg, Sergiu Gherghina, Florian Habersack, Vlastimil Havlík, Kirk A. Hawkins, Reinhard Heinisch, Christina Holtz-Bacha, Robert A. Huber, Gilles Ivaldi, Philip Kitzberger, Benjamin Krämer, Maria Elisabetta Lanzone, Zoe Lefkofridi, Dietmar Loch, Miroslav Mareš, Alfio Mastropaolo, Oscar Mazzoleni, Sergiu Miscoiu, Teun Pauwels, Franca Roncarolo, Saskia Pauline Ruth, Carlo Ruzza, Steven Saxonberg, Christian H. Schimpf, Damir Skenderovic, Sorina Soare, Lone Sorensen, Carlos H. Waisman, Carsten Wegscheider and Sandra Vergari. With a welcome expansion in cases and policy fields, the second edition of Political Populism: Handbook on Concepts, Questions and Strategies for Research brings together scholars from a range of disciplines to reflect on the fundamental challenge populism poses today. This Handbook is essential to every reader who wants to understand where populism comes from, how it manifests and how it influences policies, political actors and the very institutions that make democracy. Theoretically sophisticated, substantiated in its content yet approachable for the interest reader, this Handbook marks an important step in the appreciation of the complexity and consequences of this global phenomenon. Annika Werner, Australian National University Two decades of turbulent political history show that populism is here to stay, and to shape politics for a long time to come. It is considered a serious threat to traditional democratic institutions. That’s why political and communication scientists have massively engaged in studying it, in explaining it, in analyzing its features and implications. Among the several recent scholarly productions, this Handbook is perhaps the best tool put in the hands of all those who want to get a multi-dimensional yet comprehensive understanding of political populism as it is developing in Europe and in the Americas. Definitely a must-have book! Gianpietro Mazzoleni, Università di Milano, Italy This highly readable and detailed Handbook synthetizes a wealth of accumulated and innovative research on contemporary populism in Europe and the Americas. Drawing the insights of a distinguished group of specialists, the volume presents a comprehensive and updated view of the vibrant field of populist studies. Its four sections and thirty-four chapters provide stimulating perspectives on the theory, politics, and communicational dimensions of populism as well on emerging areas of research. A must read for anyone interested in understanding the complexities of a phenomenon that is likely to remain an enduring and unsettling presence in the political life of XXI century democracies. Enrique Peruzzotti, Universidad Torcuato Di Tella, Argentina