The Bible in Sixteenth-Century Scotland

2019 ◽  
pp. 160-172
Author(s):  
Iain R. Torrance
Keyword(s):  
Sixteenth Century ◽  
Material Culture ◽  
New Testament ◽  
Religious Identity ◽  
Book Of Revelation ◽  
The Bible ◽  
Geneva Bible ◽  
King James Version

The Geneva Bible is commonly thought of as a single version produced by the Marian exiles with marginal notes which was disliked by King James VI and superseded by the Authorized or King James Version after 1611. The chapter shows that there were three major text forms in the Geneva Bible tradition: the ‘pure’ Genevans, the Geneva Tomson version which followed Beza’s Latin New Testament, and finally the Geneva Tomson Junius version which added a very extensive commentary to the Book of Revelation. Moreover, study of the material culture of what must be understood as the Geneva Bible ‘project’ shows that different typefaces and different bundling of paratextual additions were designed to appeal to different readerships. Two distinctive Geneva Bible versions were published in Scotland (the Arbuthnot/Bassandyne text of 1579 and the Andro Hart text of 1610). It is suggested that use of the Geneva tradition flourished in Scotland until about 1640 and fostered a highly informed, argumentative sense of separate religious identity.

How American Newspaper Comic Strips Portray God, Angels, and Humans

2020 ◽  
pp. 398-413
Author(s):  
Leonard Greenspoon
Keyword(s):  
Twentieth Century ◽  
Popular Culture ◽  
New Testament ◽  
Religious Identity ◽  
Online Media ◽  
Comic Strip ◽  
Comic Strips ◽  
The Bible ◽  
Biblical Texts

The comic strip as a mainstay of print and more recently online media is an American invention that began its development in the last decades of the 1800s. For many decades in the mid-twentieth century, comic strips were among the most widely disseminated forms of popular culture. With their succession of panels, pictures, and pithy perspectives, comics have come to cover an array of topics, including religion. This chapter looks at how the Bible (Old and New Testament) figures in comic strips, focusing specifically on three areas: the depiction of the divine, renderings of specific biblical texts, and how comic strips can function as sites in which religious identity and controversies play out. Relevant examples are drawn from several dozen strips. Special attention is also paid to a few, like Peanuts and BC, in which biblical imagery, ideology, and idiom are characteristically portrayed in distinctive ways.

Traditional scriptural interpretation and sixteenth-century allegoresis: old and new

2016 ◽  
Author(s):  
Margaret Christian
Keyword(s):  
Sixteenth Century ◽  
Scriptural Interpretation ◽  
General Acceptance ◽  
The Bible ◽  
Geneva Bible ◽  
To Come ◽  
The Stability ◽  
Early Modern Era ◽  
Modern Era ◽  
Parable Of The Sower

Allegoresis is interpreting a text written with straightforward literal intent as if it were an allegory. In typology, a literal person or object is treated as an anticipatory example of someone or something to come. The Bible was the most important text subject to this kind of reading, including by New Testament writers. A sampling of commentaries on the parable of the sower (Matthew 13) and the rivalry between Mary and Martha (Luke 10) demonstrates the stability of allegorical readings from the patristic to the early modern era. Although the extent to which the Bible was properly read allegorically was hotly debated in the sixteenth century, even William Tyndale’s practice had much in common with traditional four-fold interpretation. Marginal glosses from the Geneva Bible indicate the general acceptance (and by extension, the transparency) of allegorical reading. Spenser’s use of words like “type,” “shadow,” “image,” and “figure” refer to traditional biblical exegesis, adapting a method familiar to Elizabethans from religious sources.

scholarly journals The story of the Red Sea as a theological framework of interpretation

2009 ◽  
Vol 30 (2) ◽  
Author(s):  
Young M. Song ◽  
Jan A. Du Rand
Keyword(s):  
New Testament ◽  
Old Testament ◽  
Red Sea ◽  
Book Of Revelation ◽  
Historical Interpretation ◽  
The Bible ◽  
Exodus Motif ◽  
Acts Of God

The exodus motif is widely agreed to be one of the central frameworks illustrating the salvational acts of God in both the Old and New Testaments. According to the Old Testament, the exodus motif was, to Israel, the paradigm of redemptive historical renewal. For this reason, the exodus motif provided the typological expression for all future hope of salvation and served as a theological paradigm to be used by Old and New Testament authors. In this article, the exodus theme in the Book of Revelation, chapters 12 to 13, is discussed in the following order: (1) Christ�s crucif xion and resurrection as the archetypal exodus; (2) the chronological fulf llment of the exodus theme in the Bible; and (3) the exodus theme in Revelation 12 to 13. To investigate the exodus theme in Revelation 12 to 13, the intertextual interpretation, as based on the redemptive historical interpretation, will be highlighted.�

The Biblical Book of Revelation as Mythology

2020 ◽  
pp. 154-170
Author(s):  
Charlotte E. Howell
Keyword(s):  
New Testament ◽  
Religious Culture ◽  
Direct Connection ◽  
Book Of Revelation ◽  
The Bible ◽  
The New Testament ◽  
Religious Nature

Eschatological dramas use the biblical Book of Revelation as their premise; however, despite the direct connection with the New Testament, the shows’ creatives disavow the religious nature of their narratives, reframing Christian elements as mythology. Supernatural (the WB/CW, 2005–2020), Dominion (Syfy, 2014–2015), and Constantine (NBC, 2014–2015) all use the Bible as the basis for what they assert is supernatural mythology. Such a strong disavowal of religion is especially necessary for creatives working on these three shows: they had a particularly strong fear of being associated with religious culture and audiences because their narratives are so closely tied to the Bible. The pushback against religion aligns with the assumption that the upscale fan audience these shows target is nonreligious.

Biblical Aesthetics

2020 ◽  
pp. 90-102
Author(s):  
Shirley Bricout
Keyword(s):  
Old Testament ◽  
Book Of Revelation ◽  
Hebrew Poetry ◽  
The Bible ◽  
The World ◽  
Recent Developments ◽  
King James Version

Biblical stories, tropes and images, and also the diction and syntax of the King James Version, are manifest throughout Lawrence’s oeuvre at the levels of form, plot and character. By approaching formal and thematic borrowings through the prism of recent developments in studies of Biblical aesthetics, this chapter demonstrates how Lawrence’s textual dynamics proceed from a sustained dialogue with the Bible that both demotes conventional beliefs and articulates his vision of the world. First, Lawrence’s pervasive use of Old Testament features and Hebrew poetry is reassessed to show how he valued the Bible as an aesthetic text. The chapter then instantiates how the Parables’ rhetorical strength is embedded in Lawrence’s narratives. Lastly, it examines how Lawrence’s artistic appropriation of Hebrew poetic forms and pagan imagery from the Book of Revelation restores pre-Christian image-thought.

The Velislav Bible, Finest Picture-Bible of the Late Middle Ages

2018 ◽  
Keyword(s):  
Middle Ages ◽  
New Testament ◽  
Book Of Revelation ◽  
Patron Saint ◽  
The Bible ◽  
Late Middle Ages ◽  
The New Testament ◽  
Key Events ◽  
First Time

The Velislav Bible is one of the most beautiful medieval Bohemian manuscripts. It is a heavily illustrated manuscript that contains only short selections of the text, that instruct the reader about the story depicted. The last picture in the manuscript shows a man kneeling before St. Catherine, identified as Velislav, hence the name of the manuscript. The Bible comprises stories from the Books of Genesis and Exodus, visions of Daniel, and the stories of Samson as well as of Judith. The narrative of the Antichrist precedes the Christological part. The New Testament continues with the Book of Revelation, stories following the Ascension of Christ, and key events from the lives of St. Peter and St. Paul. The manuscript closes with the legend of St. Wenceslas, the patron saint of Bohemia. The essays in The Velislav Bible, Finest Picture-Bible of the Late Middle Ages: Biblia depicta as Devotional, Mnemonic and Study Tool analyze the manuscript from historical, textual, art-historical, and iconographic perspectives. However, a shared concern of all the authors is to think about its functions. An edition of the Latin titulis is being published here for the first time.

The Influence of Codex Bezae upon the Geneva Bible of 1560

1961 ◽  
Vol 8 (1) ◽  
pp. 72-77 ◽  
Author(s):  
Bruce M. Metzger
Keyword(s):  
Sixteenth Century ◽  
The Bible ◽  
Geneva Bible ◽  
Mary Tudor

Although many studies have been published of the history and influence of Codex Bezae, textual critics have hitherto overlooked the contribution which it made to one of the most noteworthy of the earlier English versions of the Bible. This was the sixteenth-century translation prepared by a group of English exiles who had fled to the Continent in order to escape the persecution of Queen Mary Tudor, sometimes referred to as ‘Bloody’ Mary.

‘the most beautifully bound book in the University Library’: The Seventeenth-Century Embroidered Wardlaw Bible in the Special Collections of the University of St Andrews

2021 ◽  
Vol 100 (3) ◽  
pp. 397-418
Author(s):  
Briony Harding
Keyword(s):  
Seventeenth Century ◽  
Charles I ◽  
University Library ◽  
Special Collections ◽  
The Bible ◽  
Family Tradition ◽  
Geneva Bible ◽  
The University ◽  
King James Version

In 2001 Wardlaw family descendants gifted to the University of St Andrews a pair of embroidered seventeenth-century gauntlet gloves and an embroidered seventeenth-century Geneva Bible bound with The CL. Psalmes of David in Meeter. Family tradition purports that the bible and gloves were given by Charles I to Sir Henry and Lady Wardlaw. Although it is feasible that the gloves were gifted to the first Sir Henry by Charles I, the bible was published after 1640—its 1599 date of imprint is false—and it, therefore, cannot have been given to Sir Henry, who died in 1637. It is also questionable if Charles I would have gifted a Geneva Bible, rather than the King James Version. Following a detailed description of the binding and the conservation it has undergone, the Wardlaw family legend is re-examined through comparing the embroidered binding to others of the seventeenth century, examining the provenance within the bible, and discussing the Geneva version of the bible.

The Literary Quality of Luther's Septembertestament

PMLA ◽  
1966 ◽  
Vol 81 (5) ◽  
pp. 327-333
Author(s):  
Heinz Bluhm
Keyword(s):  
Sixteenth Century ◽  
New Testament ◽  
German Literature ◽  
Important Work ◽  
The Bible ◽  
The New Testament ◽  
Editio Princeps ◽  
Roman Catholics ◽  
Literary Quality

The publication, in September 1522, of the first edition of Luther's New Testament was an event of European significance. This impressive-looking folio volume was not only the most important work of German literature in the sixteenth century, but also the first and most influential translation, from the Greek, of the New Testament in any of the Germanic countries: the sixteenth-century Dutch, English, Scandinavian, and Swiss versions are all more or less heavily indebted to it. Luther's Septembertestament is the editio princeps of the vernacular Bibles of the Protestant world. In Germany its influence was not restricted to Protestants but included Roman Catholics who read the Bible in the vernacular. Emser's edition of the New Testament of 1527, which was largely a “revision” of Luther's text, was used in Catholic Germany well into the eighteenth century. Other Catholic “translations,” such as those bearing the names of Dietenberger and Eck, also retained Luther's version to a surprising extent. Thus practically all of Germany, both Protestant and Catholic, and all of Protestant Europe were, in varying degree to be sure, under the spell of Luther's epoch-making translation.

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