The sponge-bearer suffers from goiter: “The Passion of Christ” (c. 1530) by Fermo Stella

2021 ◽  
Author(s):  
M. E. Paladino ◽  
M. A. Riva
Keyword(s):  
Passion Of Christ

“Agapē” and Synonyms in the New Testament Translations of St. Thomas More

Moreana ◽  
2008 ◽  
Vol 45 (Number 175) (3) ◽  
pp. 120-146
Author(s):  
Anne M. O’Donnell
Keyword(s):  
New Testament ◽  
Thomas More ◽  
English Translations ◽  
The New Testament ◽  
Passion Of Christ

This article examines translations for the Greek word “agapē” and its synonyms in versions of the New Testament: Thomas More used Latin versions of NT (Vulgate, Erasmus) and made his own English translations. In Dialogue Concerning Heresies (1529) and Confutation of Tyndale (1532-1533), More criticizes Tyndale’s New Testament (1526) for translating “agapē” as “love” not “charity.” Opposing Luther’s “sola fide,” More argues for faith infused with charity. More quotes Paul’s Hymn of Charity (1 Cor 13) in his polemical works or meditates on the Passion of Christ in his prison writings. This study also notes some translations of “agapē” by the Vulgate, Erasmus, and Tyndale.

About the Iconography «The Judgment of the Jews over Jesus Christ»

2020 ◽  
pp. 29-36
Author(s):  
Олег Ростиславович Хромов
Keyword(s):  
Jesus Christ ◽  
Passion Of Christ ◽  
Western European

Статья посвящена изучению иконографии «Суд иудеев над Иисусом Христом» («Страшное и кроволитное судилище иудеев над Иисусом Христом») и её распространению в России. Автор объясняет происхождение иконографии, показывает связь русских иконографических вариантов с западноевропейскими гравюрами, послужившими иконографическими образцами для русских эстампов. В статье прослежено развитие иконографии в России, показаны её варианты и указана их связь с рукописным Сказанием о «Суде иудеев…», включавшимся в списки «Страстей Христовых» в XVIII-XIX вв. The article is devoted to the study of iconography «The Judgment of the Jews over Jesus Christ» (The Terrible and Bloody Judgment of the Jews over Jesus Christ) and its distribution in Russia. The author explains the origin of iconography, shows the connection of Russian iconographic options with Western European engravings, which served as iconographic samples for Russian prints. The article traces the development of iconography in Russia, shows its variants and shows their connection with the handwritten Legend of the «Judgment of the Jews», which was included in the lists of «The Passion of Christ» in the XVIII-XIX centuries.

scholarly journals Nazwy stacji drogi krzyżowej (przemiany struktury i funkcji w XX wieku)

Onomastica ◽  
2020 ◽  
Vol 64 ◽  
Author(s):  
Agnieszka Sieradzka-Mruk
Keyword(s):  
Syntactic Structure ◽  
Religious Discourse ◽  
Second Vatican Council ◽  
Cultural Changes ◽  
New Evangelization ◽  
Current Trends ◽  
Vatican Council ◽  
New Type ◽  
Passion Of Christ ◽  
The Way

The names of stations in the Way of the Cross may be used as titles of pictures and sculptures, each corresponding to a particular event in the Passion of Christ, or as titles of meditations. The article focuses on the second meaning, but the trends of the development of both kinds of names are similar. The study is based on material consisting of about 200 texts of the service that have been published from the beginning of the 20 th century to the present (2020). The purpose of the article is to describe the changes that have taken place in the 20 th century, a period of particularly turbulent changes in religious discourse. The article deals with the function, syntactic structure and features of style, such as the use of archaic or colloquial vocabulary. These properties are considered in connection with social and cultural changes. At the beginning of the analyzed period, it was customary to use relatively long titles, which informed the participant or reader about a particular event using expressive and evaluative lexis. Those titles gradually gave way to short, schematic names. Since the Second Vatican Council, titles of a new type have appeared. Their purpose is to attract the attention of the recipient. They are based on a riddle, a contrast, allusions, etc. Therefore, the recipient derives satisfaction from deciphering the puzzle or finding the source of the quote or allusion. These phenomena are known from research on the language of press or fiction, but they can also be linked to current trends in the so-called new evangelization.

scholarly journals The Concordia Novi Et Veteris Testamenti in its Juxtaposition of Illustrations: the Hitting of the Hammers of Tubalcain and the Hammering of the Nails into the Hands and Feet of Christ During the Crucifixione

2019 ◽  
Vol 66 (4 SELECTED PAPERS IN ENGLISH) ◽  
pp. 37-61
Author(s):  
Stanisław Kobielus
Keyword(s):  
Middle Ages ◽  
Polish Version ◽  
History Of ◽  
Passion Of Christ ◽  
The Cross ◽  
Hands And Feet ◽  
The Middle Ages

The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 61 (2013), issue 4. In the Gospels relating the passion of Christ, there is no description of the act of nailing Him to the cross, but there are clearly other biblical testimonies that nails were used for the crucifixion. In many representations, parallel to the nailing of the members of Christ to the cross or raising it with His body, we find placed alongside it, the scene of hammering iron with hammers by Tubal-Kain for the purpose of drawing out the appropriate tones. He hits on the anvil, while Jabal makes a notation of the tones. With this type of illustration, the sound of the hammers during the crucifixion of Christ meets with the sound of the hammers hitting the anvil. Hence, painting and music meet in the iconography of the crucifixion of Christ. It was a sort of Concordia Novi et Veteris Testamenti. In showing this prefiguration, there is also a going back to the history of Pythagoras. It was also an example for the functioning in the Middle Ages, and still later in the Renaissance, of the formulation of the Concordia divi Moysi et divini Platonis.

scholarly journals The Historiolae in Belarusian Incantations

2021 ◽  
Vol 9 ◽  
pp. 80-112
Author(s):  
Tatsiana Valodzina ◽  
Keyword(s):  
Human Life ◽  
Present Moment ◽  
The Real ◽  
The Past ◽  
Ancient Times ◽  
Passion Of Christ ◽  
Different Levels ◽  
Specific Comparison ◽  
Christian History

The article deals with one of the most popular techniques in Belarusian magical medicine — the so-called historiolae, the essence of which is to recall precedent situations. This implies that the “disequilibrium of being, which has arisen in human life at the present moment (e.g. a disease), is restored according to a sacred pattern that took place in the past”. The texts declare connections between different levels of the worlds, past and present, but to the same extent between the microcosm and the macrocosm, erasing all distinctions between the real and the supernatural worlds. The present time of these charms prevents the transfer of the patient and the healer to ancient times of the myths. Instead, it is the sacred world that spreads around the requester. The most common form of such charms includes a narrative that relates certain events in Christian history, primarily describing the life of Christ or of one of the saints. A particular place among the narrative manifestations of historiolae is occupied by references to the Passion of Christ. These narratives, in turn, possess powerful life-affirming and healing potential. It is not the logical correspondence of a specific comparison in an incantation that is central, but the very desire to place the situation of treatment in an appropriate context. A number of texts from the author’s field records and archival materials are introduced here into scholarly circulation.

Aemilia Bassano Lanier’s New Perspective on Women in the Poem Salve Deus Rex Judaeorum

2018 ◽  
Vol 51 (2) ◽  
pp. 22-29
Author(s):  
Neslihan Ekmekçioğlu
Keyword(s):  
Jewish Origin ◽  
The Bible ◽  
Biblical Women ◽  
Passion Of Christ ◽  
New Perspective ◽  
Narrative Poem ◽  
Jewish Descent

Aemilia Bassano Lanier was partially of Jewish origin and came from a Venetian family of court musicians. She was brought up in the court and was educated by Countess Susan Bertie and the Duchess of Suffolk. Her work entitled Salve Deus Rex Judaeorum is a long narrative poem articulating a woman-centred account of the Bible. As a woman of partial Jewish descent, Aemilia, who has ‘a voice of her own’, deals with the maltreatment of women and compares them to Christ in their silent suffering. At her time, women were often expected to be silent within society, creating an absence rooted in their lack of voice. Both Christ and women sacrifice themselves for the betterment of mankind. This article will deal with Aemilia Lanier’s new perspective upon biblical women and the Passion of Christ as reflected in Salve Deus Rex Judaeorum.

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