The Arbores of Joachim of Fiore

1956 ◽  
Vol 24 ◽  
pp. 124-136 ◽  
Author(s):  
Marjorie Reeves
Keyword(s):  
Turning Point ◽  
Tree Of Life ◽  
Young Shoot ◽  
Garden Of Eden ◽  
New Jerusalem ◽  
Jewish Thought ◽  
The Cross ◽  
Christian Thought ◽  
Good And Evil ◽  
Joachim Of Fiore

The image of the tree has been powerful in the human imagination and therefore fruitful as a source of metaphor. In ancient mythologies it appears as a cosmic symbol and it is entwined, root and branch, in Christian thought. The Tree of the Knowledge of Good and Evil overshadows Man's fall; the ‘Tree’ of the Cross dominates his salvation; the Tree of Life, which sheltered him in the Garden of Eden, heals him in the New Jerusalem. In the great prophetic image of Isaiah, the turning-point of history becomes the young shoot of an ancient tree:And there shall come forth a rod out of the stem of Jesse and a branch shall grow out of his roots.In course of time, too, the great crisis of wickedness also appears in Jewish thought under the same figure:And there came forth out of them a sinful root, Antiochus Epiphanes. Again, in Jewish thought good men are trees that flourish:And he shall be like a tree planted by the rivers of water, that bringeth forth his fruit in his season, his leaf also shall not wither.

Untangled Branches: The Edenic Tree(s) and the Multivocal WAW

2020 ◽  
Author(s):  
Mark Makowiecki
Keyword(s):  
Tree Of Life ◽  
Garden Of Eden ◽  
Good And Evil ◽  
As If

Abstract This narratological study of Genesis 2–3 examines whether the principal trees in the Garden of Eden—the tree of life and the tree of the knowledge of good and evil—are two in number or one and the same. While the answer to this question seems self-evident, namely, that the Edenic trees are two, the woman’s description of the forbidden tree as if it were an amalgam of both makes this conclusion uncertain. This ambiguity creates a certain tension in the text; a tension which commentators have been trying perennially to resolve. Yet rather than join the long list of attempts to eliminate this tension, this article explores its role as a narrative feature and is thus able to show how conflicting details function cooperatively within the text. This leads to the conclusion that the principal tree(s) in the Garden of Eden should not be understood as one or two in number but as one and two in number.

Sacred Trees in the Garden of Eden and Their Ancient Near Eastern Precursors

2012 ◽  
Vol 3 (3) ◽  
pp. 267-301
Author(s):  
Michaela Bauks
Keyword(s):  
Sacred Space ◽  
Tree Of Life ◽  
Wisdom Literature ◽  
Garden Of Eden ◽  
Historical Approach ◽  
Near Eastern ◽  
1 Enoch

Interpretations of the trees in the Garden of Eden misunderstand their significance by focusing on sin or a theological “fall.” A tradition-historical approach to the motif of trees in ancient Near Eastern literature and imagery reveals their multivalent quality. Trees are connected with fertility and goddess devotion but also with the power and divine sanction given to kings and dynasties, and with the potency of sacred space, on which humans and the divine come together and meet. As cross-temporal motifs, trees are regularly associated with life-giving and blessing (a plant of rejuvenation; a tree of life); a connection of trees to knowledge and meaning appears as well, in wisdom literature, and in the book of 1 Enoch. Language of a world tree or cosmic tree, though useful conceptually, is a modern imposition on the ancient evidence. More evident from the ancient setting is the image of felling trees, which indicates the downfall of human leaders, especially kings, because of their hubris. Ultimately, sacred trees have an ambivalent value, as a source of both contestation and progress.

scholarly journals Paradoks Salib: Keindahan Wajah Kemuliaan Allah

MELINTAS ◽  
2020 ◽  
Vol 35 (1) ◽  
pp. 77-94
Author(s):  
Joko Umbara
Keyword(s):  
Jesus Christ ◽  
Tree Of Life ◽  
Christian Theology ◽  
Christian Faith ◽  
Human Being ◽  
Divine Love ◽  
God's Love ◽  
Cross Of Christ ◽  
The Cross ◽  
Tragic Drama

An experience of the cross of Jesus Christ in Christian theology brings the sense of paradox. Christ’s death on the cross reflects the fate of humanity within the context of Christian faith. The cross is also seen as a mystery that tells the tragic story of humans who accept their punishment. However, the cross of Jesus Christ also reveals meanings that challenge Christians to find answers in their contemplation of the cross. The cross becomes a stage for human tragic drama, which might also reveal the beauty of death and life. It is the phatos of humanity, for every human being will die, but it is also seen as the tree of life hoped for by every faithful. On the cross is visible God’s self-giving through the love shown by the crucified Christ. God speaks God’s love not only through words, that is, in the teachings of Jesus Christ, but also through Christ’s loving gesture on the cross. The cross of Christ is the culmination of God’s glory and through it, God’s glory is shown in the beauty of divine love.

o kYpioΣ EbaΣIΛEyΣEn aΠo tOy ΞY ΛOy

1989 ◽  
Vol 43 (4) ◽  
pp. 378-392
Author(s):  
J. Duncan M. Derrett
Keyword(s):  
Tree Of Life ◽  
Edible Fruit ◽  
The People ◽  
The Cross

AbstractThe Lord's reign is acclaimed because of the tree. Which tree? The Tree of the Cross which the Messiah bore on his shoulder at the time when (i) his reign of peace commenced, and (ii) the wood of the yoke and the staff of the oppressors were taken, to their joy, from the shoulders of the people (Is 8:24-9:6). This tree is also the Tree of Life, whose fruit we were intended to eat, of which Adam and his descendants were unworthy (Gen 3:22-24). Because of the Tree and its fruit (1 Chr 16:32) God has made the Messiah king (Is 9:6) upon his Ascension, and all nature rejoices (Is 9:2; Ps 95:11). Indeed nature rejoiced in this tree's now edible fruit. This Christian midrash on both the Old and the New Testaments pre-existed Barnabas and Justin, and is alluded to by each independently.

scholarly journals Openbaring 21:1−8 in teks en prediking

2015 ◽  
Vol 49 (2) ◽  
Author(s):  
Gerhard Bothma
Keyword(s):  
Turning Point ◽  
Literary Genre ◽  
Book Of Revelation ◽  
New Jerusalem ◽  
New Meanings ◽  
Heaven And Earth

Openbaring 21:1-8 bring ’n belangrike wending in hierdie boek. Die koms van ’n nuwe hemel, ’n nuwe aarde en ’n nuwe Jerusalem word aangekondig. Die oue is verby. Die nuwe het gekom. Hoe behoort Openbaring 21:1-8 uitgelê, vertolk en verstaan te word? Hoe behoort daar oor hierdie teks gepreek te word? Hierdie en nog meer vrae word in hierdie artikel bespreek. Vanweë onder andere die literêre genre daarvan, stel die boek Openbaring unieke uitdagings aan diegene wat dit wil uitlê, verstaan en daaroor wil preek. Deur Openbaring 21:1-8 en homiletiese teorie met mekaar in verband te bring, word hierdie Skrifgedeelte vir die prediking ontgin. Deur die benutting van ’n literêr-estetiese benadering tot prediking in ’n skuiwende kultuur – soos deur Cas Vos en Cas Wepener ontwikkel – word die nuwe hemel en aarde, die nuwe Jerusalem en die lied ‘Hot Gates’ met mekaar gekombineer om nuwe betekenismoontlikhede te ontdek. Deur intertekstueel en inkulturerend te werk te gaan, word parameters vir die uitleg en verstaan van Openbaring 21:1-8 geformuleer en voorstelle vir die prediking van hierdie Skrifgedeelte word gemaak.Revelation 21:1-8 in text and preaching. Revelation 21:1-8 presents an important turning point in this book. A new heaven, a new earth and a New Jerusalem are introduced. The old has passed. The new has come. How should Revelation 21:1-8 be read, interpreted and understood? How should this text be preached? These and other questions are asked in this article. Because of its literary genre, amongst other factors, the Book of Revelation poses unique challenges to anyone who wants to interpret and understand or preach about it. Revelation 21:1-8 is investigated by engaging the text and homiletic theory with each other. By utilising a literary-esthetical approach to preaching in a changing culture – as developed by Cas Vosen Cas Wepener – the new heaven and earth, the new Jerusalem and the song ‘Hot Gates’ are engaged with one another in order to find possible new meanings. By working intertextually and inculturating, parameters for the explanation and understanding of Revelation 21:1-8 are explicated and suggestions with regard to preaching this text are made.

Research on the Line Style of Shaft Housing Pairs of Progressing Cavity Pump

2010 ◽  
Author(s):  
Yujie Song ◽  
Houzhen Wen
Keyword(s):  
Contact Angle ◽  
Cross Section ◽  
Contact Time ◽  
Turning Point ◽  
Contact Angles ◽  
Single Screw ◽  
Hydraulic Machinery ◽  
The Cross

The progressing cavity pump (PCP) has a good usage foreground on the seabed oilfield. The most important invalidation reason of PCP is the rubber shaft housing’s abrasion. This article introduced the hypocycloid single-screw hydraulic machinery’s primary line style and isometric profiles equations, analyzed the contact status between the primary line styles of rotor and stator, and explained why the isometric curves have been used as the cross section of PCP. Defined the concept of turning point, deduced the turning point and midpoint’s contact angle formula of the hypocycloid singlescrew hydraulic machinery, then compared the contact angles of three models as i = 1/2, 2/3, 3/4. Concluded that if shorten the contact time of rotor with stator’s turning point, the abrasion of stator’s turning point will be relieved, the life of the hypocycloid single-screw hydraulic machinery will be longer.

scholarly journals The trees in the middle of Paradise (Gn 2:9) during the Great Lent: Orthodox hymnography as biblical interpretation

2021 ◽  
Vol 77 (4) ◽  
Author(s):  
Constantin H. Oancea
Keyword(s):  
New Testament ◽  
Biblical Interpretation ◽  
Tree Of Life ◽  
Direct Connection ◽  
Interesting Aspect ◽  
The Earth ◽  
The New Testament ◽  
The Cross ◽  
Biblical Texts ◽  
Selection Of

The article examines the interpretation of the Scripture in Byzantine hymnography during the Great Lent. Some notable recent contributions focus on Andrew of Crete’s and Romanos the Melodist’s compositions, illustrating the hymnographic way of understanding the Scriptures. The author of this study presents a selection of stanzas from hymns of the Triodion that refer to the trees of Paradise. Hymnography perceives the trees in Genesis 2–3 in direct connection with the cross. Only rarely is the tree of life a metaphor for Jesus, as the shadow of the tree of the cross is seldom a metaphor for protection. Another interesting aspect in relation to hymnography is the fact that it represents a type of intertextual exegesis of biblical texts. Hymnographers interpret passages from Genesis by using texts from Psalms, Prophets and especially from the New Testament, combining images and biblical texts in the depiction of liturgical moments.Contribution: Compared with previous research, this article discusses some rare hymnographic interpretations (shadow of the cross; cross in the middle of the earth). The analysis accentuates that the hymnic approach to the Scripture is a form of intertextual exegesis.

A Poem of the Cross in the Exeter Book: ‘Riddle 60’ and ‘The Husband's Message’

Traditio ◽  
1967 ◽  
Vol 23 ◽  
pp. 41-71 ◽  
Author(s):  
R. E. Kaske
Keyword(s):  
Old English ◽  
Literary Theory ◽  
Exeter Book ◽  
English Poetry ◽  
Old English Poetry ◽  
Early Christian ◽  
The Cross ◽  
Christian Thought ◽  
Disproportionate Number ◽  
To Come

To propose a unified religious allegory in what hitherto has been accepted rather generally as two distinct Old English poems, and universally as secular poetry carrying no meaning beyond the literal, is to risk being categorized as a ‘pan-allegorist’ in literary theory and an evangelist in temperament. Let me begin, therefore, by protesting that if the corpus of Old English poetry should ever be unmasked as a series of impeccably Christian allegories, no one will be more astounded or dismayed than I. It would be difficult to deny, however, that the great scholars who laid the foundations for our study of this poetry were, in most instances, more interested in Germanic antiquity than in Latin Christianity; and that as a result, a disproportionate number of our own major discoveries are likely to come out of the once-neglected Patrologia Latina. If this observation is accurate, we may do well to suspend temporarily our belief in certain universal negative conclusions—like, for example, the familiar pronouncement that Old English poets characteristically do not employ allegory—and to inquire whether some of the ‘secular’ poems that have puzzled us for so long may not become less puzzling in the light of early Christian thought. Much as we may revere the spirit of Germanic antiquity, we shall do it small service by attributing to it attitudes or works that it might not have cared to claim.

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