«The Hexaemeron» of St. Anastasius of Sinai in Light of Modern Research

2019 ◽  
pp. 89-113
Author(s):  
Евгений Валерьевич Ерошев
Keyword(s):  
Current Data ◽  
Image Of God ◽  
Current State ◽  
Questions And Answers ◽  
The Creation ◽  
State Of Research ◽  
First Time ◽  
The Image Of God ◽  
Modern Russian

В данной статье автор предпринимает попытку описать современное состояние исследований такого значимого и малоизученного труда, как приписываемый прп. Анастасию Синаиту «Шестоднев». В современной российской богословской науке сложилось устойчивое представление о том, что данный памятник, скорее всего, является подложным, то есть что он в действительности не принадлежал автору таких трудов как «Путеводитель», «Три слова об устроении человека по образу Божию», «Вопросы и ответы» и др. Является ли это мнение основательно подкрепленным данными современных исследований Анастасианы? Каковы аргументы за и против подлинности «Шестоднева»? Цель статьи заключается в ответах на эти вопросы и во внесении в дискуссию новых аргументов. Для этого автор оценивает новые аргументы за и против подлинности, анализирует богословские и лексические особенности различных трудов прп. Анастасия, приводит важные фрагменты «Шестоднева», впервые переведённые на русский язык и сопоставляет их с другими работами Анастасиева корпуса. В итоге автор приходит к выводу, что аргументы за подлинность несколько перевешивают аргументы против, хотя выносить окончательное суждение относительно авторства «Шестоднева» кажется преждевременным. In this article, the author attempts to describe the current state of research of significant and poorly studied work such as the «Hexaemeron» attributed to St. Anastasius of Sinai. In modern Russian theological science there exist a commonly held opinion that this work is most likely spurious, that it does not really belong to the author of such works as «The Guide», «Three sermons on the creation of man in the image of God», «Questions and Answers» et al. Is this opinion substantiated by current data? What are the arguments for and against the authenticity of the «Hexaemeron»? The purpose of the article is to answer these questions and introduce new arguments to the discussion. For this, the author assesses the new arguments for and against authenticity, analyzes the theological and lexical features of various works of St. Anastasius, cites important fragments of the Hexaemeron, translated for the first time into Russian and compared with other works of the Anastasius Corpus. As a result, the author comes to the conclusion that the arguments for authenticity somewhat outweigh the arguments against, although it is premature to make a final judgment regarding the authorship of «Six Days».

scholarly journals Response to Melissa Raphael

2016 ◽  
Vol 6 (2) ◽  
pp. 23-25
Author(s):  
Ruth Illman
Keyword(s):  
Digital Media ◽  
Image Of God ◽  
Human Face ◽  
Human Beings ◽  
Jewish Art ◽  
Contemporary Issue ◽  
The Face ◽  
The Creation ◽  
The Image Of God ◽  
Ethical Demand

A response to Melissa Raphael’s article ‘The creation of beauty by its destruction: the idoloclastic aesthetic in modern and contemporary Jewish art’. Key themes discussed include the notion of human beings as created in the image of God, Levinas’s understanding of the face and its ethical demand as well as the contemporary issue of the commodification of the human face in digital media.

‘What Am I in a Boundless Creation?’

2014 ◽  
Vol 22 (1) ◽  
pp. 34-50
Author(s):  
Hilary Marlow
Keyword(s):  
Life Forms ◽  
Image Of God ◽  
Ecological Perspective ◽  
Human Beings ◽  
Ethical Challenges ◽  
Environmental Pressures ◽  
Ben Sira ◽  
The Face ◽  
The Creation ◽  
The Image Of God

Drawing on insights from the field of ‘ecocriticism’ within literary studies, this article examines the creation poem of Ben Sira (16.26-17.14) from an ecological perspective. The text is significant for such a purpose because of its reuse of the Genesis creation accounts, in particular the notion of human beings as the image of God and with dominion over creation, which has caused some critics to label the biblical accounts as exploitatively anthropocentric. Preceding sections of Sirach include discussion of human significance ‘in a boundless creation’ and human free will and moral responsibility, and these themes are developed in the poem itself. The poem’s description of the creation of humankind suggests both human finitude, a characteristic shared with other life forms, and the uniqueness of the divine image in human beings. These characteristics are set within the context of the cosmos as a stable and ordered whole, obedient to God, and of the responsibilities stipulated in the Torah to deal rightly with one’s neighbour. Reading this text from an ecological perspective invites recognition of the ambiguity of human place in the world, transient yet earth-changing, and of the ethical challenges in caring for global neighbours in the face of growing environmental pressures.


Summaries of Doctoral Dissertations

2011 ◽  
Vol 104 (4) ◽  
pp. 489-505
Keyword(s):  
Integral Relation ◽  
Image Of God ◽  
Human Being ◽  
Philosophical Discourse ◽  
Human Subjectivity ◽  
Theological Discourse ◽  
In Christ ◽  
The Creation ◽  
Doctoral Dissertations ◽  
The Image Of God

THOU ART is an interdisciplinary and christological aesthetics that theorizes an integral relation among Christ, representation, and the formation of human subjectivity. Through a critical poetics it addresses the space of difference between a theological discourse on the creation of human being in the image of God—understood as creation in Christ, Word (logos) incarnate—and a philosophical discourse on the constitution of human subjectivity.

Genesis 1-3 as Source for the Anthropology of Origen

2008 ◽  
Vol 62 (3) ◽  
pp. 213-232 ◽  
Author(s):  
Anders Lund Jacobsen
Keyword(s):  
Human Body ◽  
Image Of God ◽  
Clear Picture ◽  
Genesis 1 ◽  
The Creation ◽  
The Image Of God

AbstractAccording to Origen Genesis 1-3 is an anthropological key-text. The account of man's creation in Gen. 1,26f deals with the creation of the inner non-material man in the image of God, whereas Gen. 2,7 deals with the creation of the human body, the outer man, which is not created in the image of God. Some later critics claim that according to Origen Gen. 2,7 is about the creation of a non-material luminous body. In Origen's opinion only the inner man can reach perfection. The outer man can never be perfect, but will be destroyed. To deepen our understanding of, how Origen understands the mortality of the human body, some short sayings about the meaning of Gen. 3,21 are interpreted. In the few places where Origen refers explicitly to Gen. 3,21 there is no clear picture of how he interprets this verse. The most precise observation we can make is that in his view the skin coats denote the mortal corporality that surrounds the inner man.

scholarly journals The Imperial alley and Bykov grove in museum-estate «Arkhangelskoye»: the history of creation, restoration and adaptation to modern conditions

2021 ◽  
Vol 25 (1) ◽  
pp. 64-71
Author(s):  
A.V. Frolova ◽  
◽  
V.A. Leonova ◽  
Keyword(s):  
Chronological Order ◽  
Stages Of Development ◽  
Historical Information ◽  
Current State ◽  
History Of ◽  
The Creation ◽  
First Time

Historical information about the owners, stages of development of the estate «Arkhangelskoye» and the creation of the Park is presented. Special attention is paid to the planning structure of the estate, its main compositional axis in the Northern part-the Imperial alley and the Bykov grove. The current state and problems of restoration of the Imperial alley and the possibility of adapting the Bykov grove to modern recreational conditions are considered in detail. The main wood assortment of the Bykov grove is indicated and the recommendations for care are given. For the first time, the archives of the estate Museum (projects in 1978, 2001, and 2017) were worked out all data about the Bykov grove and the Imperial alley are collected in chronological order and described in the article. The authors conducted the last research before the restoration and adaptation in 2018.

scholarly journals St. Cyril of Alexandria. Answers to Tiberius the deacon and his brethren

2015 ◽  
pp. 342-379
Author(s):  
Е. А. Заболотный ◽  
Ф. Юлаев
Keyword(s):  
Russian Translation ◽  
Image Of God ◽  
Cyril Of Alexandria ◽  
Questions And Answers ◽  
Greek Manuscript ◽  
The Image Of God

Публикуемый в русском переводе трактат свт. Кирилла Александрийского содержит ответы на пятнадцать вопросов по различным темам христологии, антропоморфизмам Священного Писания, образу Божьему в человеке и др., которые были предложены святителю группой палестинских монахов. Перевод предваряется предисловием, в котором очерчиваются исторические рамки написания трактата, даются указания по сирийской и греческой рукописным версиям трактата, осуществляется обзор его печатных изданий, а также выясняется его связь с позднейшим компилятивным сочинением «Против антропоморфитов», изданным в 1605 году фламандским гуманистом Бонавентурой Вулканиусом, которое является в своей основе переработкой трех догматических сочинений свт. Кирилла: «ОтветыТиверию диакону с братией», «Разрешение догматов» и «Послание Калосирию епископу Арсеноитскому». The publication of the Russian translation of a treatise of St. Cyril of Alexandria contains the answers to fifteen questions on different topics of Christology, the anthropomorphism of Scripture, the image of God in man et al., which have been posed to the saint by a group of Palestinian monks. The translation is preceded by a preface, which outlines the historical framework for writing the treatise, provides guidance on the Syrian and Greek manuscript versions of the treatise, carries out a review of its publications, and explores its connection with the later compilation “Against anthropomorphites” published in 1605 by the Flemish humanist Bonaventura Vulkanius, which is basically a reworking of the three dogmatic works of St. Cyril: “Answers to Tiberius and his Companions", “Doctrinal Questions and Answers" and “Letter to Calosirius".

scholarly journals Hjertets gudbilledlighed

1977 ◽  
Vol 30 (1) ◽  
pp. 65-96
Author(s):  
Erik Krebs Jensen
Keyword(s):  
Human Heart ◽  
Image Of God ◽  
Images Of God ◽  
End Of History ◽  
Word Of Faith ◽  
God's Word ◽  
The End Of History ◽  
The Creation ◽  
God's Image ◽  
The Image Of God

The Heart as the Image of Godby Erik Krebs JensenThe image of God in the heart and the heart as the image of God are at one and the same time the divine and the truly human in man. Since the Creation the image of God has been hidden in the human heart, and in the course of history it will be illuminated more and more until at the end of history it will be completely revealed.The image of God is a riddle for man. By feeling and understanding, that is, receiving impressions of other images of God (in nature, in poetry or of Christ) the image of God in the heart can be illuminated. This meeting of images happens through the living interplay of the word between heart and heart. The word with God’s Spirit is an image of God - it is in fact Christ Himself in His resurrected form, speaking to man. This word must be heard audibly for it to make an impression on the heart so that the Spirit can touch it and move it. For the heart is created precisely in order to be open to spirit (both God’s and the Devil’s), and where the heart does not harden against it but is stirred by hearing God’s word, there the image of God in the heart’s core is revived, and this echoes in the mouth of man as a confession in a word of faith, hope or love. In this echo (an echo of God’s word) it is revealed to God and men and to man himself that he has adopted God’s word. Grundtvig puts it as strongly as this: God has reincarnated Himself. Every time a man hears God’s word, Jesus is reconceived, and He is reborn in the echoing word and thereby revealed to the world.This revelation of Christ in the word on the lips of men is an expression of God’s continuing creation and activity. God’s creative deed is always the same two-pronged action with one and the same result. At the Creation God made man out of clay and breathed His Spirit into him so that man could talk to God. In the fullness of time God made His power overshadow Mary and His Spirit descend upon Jesus, so that Jesus could talk to God on earth. (Jesus healed by touch and by speaking words). At baptism the sign of the cross is made and the child is baptized, thereby giving it the child’s right to pray, to confess and praise. Where God’s word touches the heart and the Spirit captivates the heart, and the heart responds with a “Yes and Amen!” as an echo of what it has heard, there God’s creative presence in the word is experienced. And in the heart’s core the image of God is illuminated by the Spirit through the meeting between God’s image and its imprint.

scholarly journals Obraz Boga w Biblii

Vox Patrum ◽  
2012 ◽  
Vol 57 ◽  
pp. 181-192
Author(s):  
Bogusław Górka
Keyword(s):  
Turning Point ◽  
Image Of God ◽  
Human Being ◽  
Standard Interpretation ◽  
John 1 ◽  
John The Baptist ◽  
The Status ◽  
The Creation ◽  
Existential Dimension ◽  
The Image Of God

The standard interpretation of the biblical idea of the image of the God in Genesis (Gen 1:26 ff.), so called ontic interpretation, which sees in Him a reli­gious basis for the metaphysical dogma of the creation of a man as a spiritual-corporeal being, is detached from its biblical meaning. For the biblical authors, the primary issue is not the question what kind of the human being was called by the God from nothingness into being, but that when the human being receives the status of the image and character of the God in the existential dimension. John the Baptist reached the status of the image of God at the time when he became the Anthropos (John 1:6). In turn, Paul, by the moving of the idea of the image of Jesus as a man at the turning point of the process of salvation (Romans 8:29), created the foundation for the study of triple-imaging of the God as in Jesus, as well as in initiated.

scholarly journals Colonial Representations of British India: A Description and Analysis of the First Twenty-Four Issues of The Indian Amateur’s Photographic Album

2021 ◽  
Author(s):  
Stuart Macmillan
Keyword(s):  
Nineteenth Century ◽  
Visual Culture ◽  
Literature Survey ◽  
Extensive Literature ◽  
British India ◽  
Current State ◽  
The Creation ◽  
State Of Research ◽  
Colonial Representations

This thesis provides a description and analysis of the first twenty four issues of the Indian Amateur's Photographic Album (IAPA), serially published between 1856 and 1858, in the collection of George Eastman House International Museum of Photography and Film (GEH). The thesis traces the origins of the publication to the creation of the Bombay Photographic Society, and considers its relationship with European photographic societies and a similar publication in Europe. It contains an extensive literature survey summarizing the current state of research on the IAPA within the framework of colonialist photography in British India: a detailed description of the publication and an analysis of the photographic and written components of the IAPA; and a consideration of the IAPA's contributions to and its role in the visual culture of nineteenth century India. Three appendices accompany the thesis, including an annotated and fully illustrated catalogue of the seventy-two photographs in GEH album.

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