scholarly journals Die metafoor ‘julle is die tempel van God’ as ’n etiese kernmoment in ’n postmoderne leefwêreld

2015 ◽  
Vol 49 (2) ◽  
Author(s):  
Pieter Maré
Keyword(s):  
Focal Point ◽  
Rhetorical Question ◽  
Ethical Implications ◽  
The Temple

Die idee van die tempelmotief is my fokuspunt in hierdie artikel en daarom gaan ek teoretiseer oor die retoriese vraag waarmee die apostel Paulus die gemeente in Korinte konfronteer: Ouk oidate hoti naos theou este kai to pneuma tou theou en humin oikei? [Weet julle nie dat julle ’n tempel van God is en die Gees van God in julle woon nie?] (1 Kor. 3:16). Het hierdie vraag enige etiese implikasies vir die gemeente in Korinte ingehou en het dit nog enige hermeneutiese waarde vir die geloofsgemeenskap in die postmoderne leefwêreld waarin hulle hulself bevind?The metaphor ‘you are the temple of God’ as an ethical core moment in a postmodern world. The idea of the temple motif is my focal point in this article, and therefore, I am going to theorise on the rhetorical question asked by Paul in his first letter to the Corinthians: Ouk oidate hoti naos theou este kai to pneuma tou theou en humin oikei? [Do you not know that you are God’s temple and that God’s Spirit dwells in you?] (1 Cor 3:16). Did this question hold any ethical implications for that congregation, and does it still have any hermeneutical value for the faithful community in the postmodern milieu in which they find themselves today?

Miscellany Publication

2021 ◽  
pp. 69-100
Author(s):  
Joseph Hone
Keyword(s):  
Focal Point ◽  
The Third ◽  
Final Volume ◽  
The World ◽  
Scribal Publication ◽  
The Temple ◽  
Occasional Verse

This chapter addresses Pope’s hitherto neglected use of miscellany publication. With the exceptions of An Essay on Criticism, The Temple of Fame, and Windsor-Forest, all Pope’s early printed poems first appeared in miscellanies or periodicals. Three miscellanies are of particular importance: the sixth and final volume of Jacob Tonson’s Poetical Miscellanies (1709), Bernard Lintot’s Miscellaneous Poems and Translations (1712), and Poems on Several Occasions (1717), also published by Lintot. A section is devoted to each of those miscellanies. Pope made his public print debut in the first one, was the guiding spirit behind the second, and the editor of the third. In his roles as contributor and editor, Pope encouraged friends to contribute to the collections too, dragging them from the world of clandestine scribal publication into that of print. The chapter scrutinizes the content surrounding Pope’s poems in these miscellanies and teases out the sophisticated political resonances of those texts. By 1717 Pope had transformed the miscellany from a mere vessel for minor occasional verse into a focal point for dissident wits who otherwise wrote principally for scribal publication.

Temple, Community, and Sacred Narrative in the Dura-Europos Synagogue

AJS Review ◽  
2010 ◽  
Vol 34 (2) ◽  
pp. 195-229
Author(s):  
Kära L. Schenk
Keyword(s):  
Final Stage ◽  
Focal Point ◽  
Active Role ◽  
Middle Level ◽  
The Other ◽  
The West ◽  
Jerusalem Temple ◽  
Symbolic Image ◽  
The Temple ◽  
Temple Community

The painted decoration in the Dura-Europos synagogue (Syria, 244–245 CE) is the most extensive surviving example of Jewish pictorial narrative in the ancient world. In its final stage, the decoration consisted of three bands of narrative panels that surrounded all four walls of the synagogue's assembly hall and led up to the Torah shrine at the center of the west wall (Figure 1). Imagery related to the Jerusalem Temple, including a symbolic image of the Temple on the Torah shrine, made up a significant part of the decoration of the Dura synagogue. There is, however, considerable scholarly disagreement as to how this imagery should be interpreted, particularly as part of a “programmatic” structure. Because the Temple image on the Torah shrine was positioned at the liturgical focal point of the synagogue and was created before the other surrounding narrative panels, the function of this image is a key component of the synagogue's decoration as a whole. Two contextualizing factors would have informed the function and meaning of the image: the reception of the image as part of the liturgical activity carried out by the congregation, and the place of the image as the conclusion to the middle level of surrounding narrative panels that depicted the journey of the Ark of the Covenant from Sinai to Zion. This narrative helped to situate the members of the congregation in relation to the Temple image, defining the community's active role as a part of the narrative itself.

The Temple of Zeus at Lebadea. The architecture and the semantics of a colossus

2021 ◽  
Vol 14 ◽  
pp. 363-400
Author(s):  
Chrysanthos Kanellopoulos ◽  
Elena Partida
Keyword(s):  
Focal Point ◽  
Ancient Greek ◽  
Architectural Elements ◽  
Lower Column ◽  
History Of ◽  
Visual Impact ◽  
The Aesthetic ◽  
Military Victory ◽  
The Temple

The Temple of Zeus Basileus at Lebadea rests almost unknown. Its physical remains and date (not systematically explored so far) pose a riddle, as regards not only the circumstances which entailed its presumed incompletion but also the historic context in which the commencement of construction can be embedded. The dimensions of the krepis alone render this edifice highly interesting in the history of temple-building. The in situ preserved architectural elements suggest that here was begun the erection of what was at the time the largest peristasis in Mainland Greece. The temple stylobate measures 200 feet/podes in length, with a lower column diameter equal to just over two metres, and the longest interaxial spacings and corresponding architraves of its time. By increasing the length and height of the structure, the architects achieved its qualification as colossal. This qualification is revealed from the uniquefor-the-Classical-period length of 14 columns along the peristasis, with visible euthynteria and hypeuthynteria courses. As shown in this paper, this colossal structure abided by the rules of Doric design. Ascribing the unfinished state of the temple probably to financial shortcoming and/or military adventures, Pausanias did comment on its ambitious, gigantic size. The level of construction eventually reached is another focal point of our investigation. The study of the Temple of Zeus Basileus brings out the multifaceted notion of the term “monumentality”, tightly related to visual impact. One of the aims of its commissioners would have been to establish a landmark on the summit where Zeus was probably co-worshipped with Trophonios, the Boeotian hero-prophet. Since the temple in question, as we propose, most probably commemorated both a grandiose military victory in the 3rd century BC and the contemporary political situation, its imposing volume, along with the aesthetic effect of bichromy, were meant to perpetuate the overtone of these events within the ambience of the sacred Lebadea. Another facet of monumentality involves the respective building programme, and it derives from epigraphical sources, namely a contract specifying construction details, with particular instructions already at the orthostate level, denoting that accuracy in execution safeguarded the high quality of ancient Greek architecture.

The club at the Temple Coffee House revisited

2006 ◽  
Vol 33 (1) ◽  
pp. 90-100 ◽  
Author(s):  
Margaret Riley
Keyword(s):  
Natural History ◽  
Focal Point ◽  
Natural History Society ◽  
Botanical Knowledge ◽  
The Temple ◽  
Active Natural ◽  
Made In ◽  
The Way

A club which met at the Temple Coffee House, near Fleet Street in London, during the late seventeenth and early eighteenth centuries is now well known and is considered to be the “earliest natural history society in Britain”. Probably initiated by Hans Sloane (1660–1753) and his close friends, it is referred to in manuscripts as a botanic club, and drew together some of the most active natural historians of the day. Evidence of its business was originally found in remarks scattered through their correspondence. Errors, however, were later discovered in the way this material was interpreted, leading to the assumption that more was known about the club's activities than the facts supported: a membership of forty is an often repeated mistake. This reappraisal of the documentation is made in the light of further research. Some authors concluded that meetings were merely informal gatherings, but comments in The transactioneer (1700), a satirical tract against Sloane, reveal details about the organisation of these occasions. Together with additional archival references, they show that, even when the initial evidence is re-assessed to take account of earlier inaccuracies, the club was indeed a significant focal point for scientific virtuosi and for promoting botanical knowledge.

The Phenomenon of Fragmentation of Architectural Heritage — On the Analysis of the Protection Form of Muta (Wooden Pagoda) Temple Relics Park

2014 ◽  
Vol 584-586 ◽  
pp. 309-317
Author(s):  
Zhu Yan
Keyword(s):  
Urban Development ◽  
Focal Point ◽  
Land Development ◽  
Current Status ◽  
Architectural Heritage ◽  
Historical Sites ◽  
The One ◽  
Surrounding Areas ◽  
Planning And Construction ◽  
The Temple

With the urban development around the Muta Temple Relics Park and the site protection as a focal point, this paper presents an overview of the history and the current status of Muta Temple, a famous temple flourishing during the Sui and Tang dynasties. Through the analysis of the development and construction of the temple’s surrounding areas as well as the protection plan of the temple site in the urbanization process in recent years, the paper touches upon the two successive constructions on the Relics Park. Whether the planning and construction aim at building a relics park or a theme park, the historic context of the temple should always be the focus of the area’s urban planning and development. The paper manifests that in the rapid process of urbanization, architectural heritages on the one hand have gained widespread concern and recognition, while on the other hand, in the process of public transmission and repercussion of the historical and cultural heritages, the architectural heritages have in essence become a phenomenon of symbolic consumption, and the reality of protection is in discrepancy with the spirit upheld by the great site protection charter. This phenomenon actually reflects the choice of people in contemporary times between land development and recognition of heritage values, and also reflects a new trend in people’s great site protection values in the era of rapid urban development: the fragmentation of heritage. In the paper, a conclusion is reached that the architectural heritage is father and father away from us in its form of existence, at the meantime, some of us in recollecting and protecting the relics park have made more people of this age smell the flavor of the heritage fragments. People have increased their awareness and love for the historical sites. From this perspective, fragmented architectural heritage has further melted into people’s perception of life—becoming a faint and distant memory.

scholarly journals The Palatine sanctuary of Apollo: the site and its development, 6th to 1st c. B.C.

2015 ◽  
Vol 28 ◽  
pp. 358-370
Author(s):  
Stephan Zink
Keyword(s):  
Focal Point ◽  
Architectural History ◽  
Evidence Based ◽  
Kind Permission ◽  
History Of ◽  
Architectural Survey ◽  
Field Report ◽  
The Temple ◽  
Architectural Documentation

Dedicated in 28 B.C., Octavian’s Palatine sanctuary of Apollo remained one of the most important religious sites throughout the empire. Textual sources suggest that its site, at least partly, was sacred ground beforehand, as it accommodated one or several earlier cult places, but the pre-Augustan construction phases, as well as the archaeology of its cultic prehistory, remain largely unknown. One of the main reasons is a lack of a comprehensive architectural documentation ever since G. Carettoni’s excavations between 1956 and 1984. In this preliminary field report I present the new architectural documentation of an area that is located in front (southwest) of the temple of Apollo, the sanctuary’s focal point (figs. 1–2). This documentation was produced during fieldwork campaigns conducted in 2009–13 by kind permission of the Soprintendenza Archeologica di Roma. My architectural survey revealed the fragmentary remains of a previously-excavated but never-identified site of the Archaic period. I will first discuss the discovery of the Archaic site through on-site documentation and a possible reconstruction of its plan as a small shrine. Next, I analyze the long-term development and the spatial complexity of the site’s architectural context in a series of evidence-based digital models. In contrast to previous contentions, my analysis suggests that the assemblage of structural remains in this area was intentionally preserved on this spot over the course of centuries. Thus the evidence presented here sheds new light on the architectural history of the site of the Palatine sanctuary of Apollo.

Does AI Have Buddha-Nature? Reflections on the Metaphysical, Soteriological, and Ethical Dimensions of Including Humanoid Robots in Religious Rituals from one Mahāyāna Buddhist Perspective

2020 ◽  
Author(s):  
Gereon Kopf
Keyword(s):  
Humanoid Robots ◽  
Ethical Implications ◽  
Religious Rituals ◽  
The Temple ◽  
Mahayana Buddhist

The temple Kōdaij made history when its priest enshrined the robot Mindar as a personification of Kannon Bodhisattva. Since Mahāyāna Buddhist texts typically reject any form of dualism between the divine and the secular implied by monotheism and even claim that “insentient beings are buddha-nature” and “insentient beings become buddhas”, Gabriele Trovato’s term “theomorphic” may not apply in this case. This paper will explore if humanoid robots can be thought of as conscious, deserving of person rights, and even divine in a Buddhist context. What are the practical and ethical implications of the possible Buddhist claim “all humanoids have Buddha-nature”?

'The Bosom of Abraham' (Luke 16:22): Father Abraham in the Visual Imagination

2007 ◽  
Vol 15 (4-5) ◽  
pp. 485-518
Author(s):  
Martin O'Kane
Keyword(s):  
Middle Ages ◽  
Focal Point ◽  
Church Fathers ◽  
Visual Imagination ◽  
Male Characters ◽  
Visual Metaphors ◽  
The Bible ◽  
Genesis 22 ◽  
The Temple ◽  
The Sacrifice

AbstractThe phrase 'in the bosom of Abraham' occurs just once in the Bible (Lk. 16:22) and yet has become one of the most powerful and intriguing visual metaphors in the entire repertoire of Christian iconography. As the focal point of the parable of Dives and Lazarus, it suggests a haven of protection and security to which all the (male) characters in the story aspire. The Greek term κóλπoς, 'bosom,' is an ambiguous term that can be applied as much to a female figure as a male and indeed Abraham is often represented as if he were 'mother of all nations' rather than, or as well as, father. The iconography associated with the image of Abraham's bosom is both extensive and complex, especially during the period of the Middle Ages, but in this article, I select a range of representative examples to illustrate how artists and iconographers appealed to other biblical texts to help illuminate the meaning and significance of the phrase in Luke: in particular, the sacrifice of Isaac in Genesis 22; the infancy narrative of Luke including the presentation in the temple (Luke 1-2), and the woman who gives birth in Revelation 12. In interpreting the image, artists frequently followed the direction of the exegetes and Church Fathers but this does not seem always to have been the case, especially when it came to harmonizing the contrasting images of Abraham as sacrificial father of Isaac and protective father of Lazarus. Contrary to many biblical commentators, the iconographical tradition largely ignores any suggestion that the bosom of Abraham signifies Lazarus reclining at a heavenly banquet next to Abraham, preferring instead to concentrate on the challenges posed in conveying the somewhat incongruous notion of Abraham, the most venerated of patriarchs, holding a naked and vulnerable child in his bosom.

Integrating perspectives: How the development of second-personal competence lays the foundation for a second-personal morality

2020 ◽  
Vol 43 ◽  
Author(s):  
John Corbit ◽  
Chris Moore
Keyword(s):  
Empirical Evidence ◽  
Developmental Process ◽  
Focal Point ◽  
Personal Information ◽  
Personal Competence ◽  
Triadic Interactions ◽  
Personal Morality ◽  
Integrative Process

Abstract The integration of first-, second-, and third-personal information within joint intentional collaboration provides the foundation for broad-based second-personal morality. We offer two additions to this framework: a description of the developmental process through which second-personal competence emerges from early triadic interactions, and empirical evidence that collaboration with a concrete goal may provide an essential focal point for this integrative process.

CBED Shadow Images and Cs:Aberration Measurement

1982 ◽  
Vol 40 ◽  
pp. 696-697
Author(s):  
R. W. Carpenter ◽  
I.Y.T. Chan ◽  
J. M. Cowley
Keyword(s):  
Focal Point ◽  
Spherical Aberration ◽  
Optic Axis ◽  
Wide Angle ◽  
Caustic Surface ◽  
Convergent Beam

Wide-angle convergent beam shadow images(CBSI) exhibit several characteristic distortions resulting from spherical aberration. The most prominent is a circle of infinite magnification resulting from rays having equal values of a forming a cross-over on the optic axis at some distance before reaching the paraxial focal point. This distortion is called the tangential circle of infinite magnification; it can be used to align and stigmate a STEM and to determine Cs for the probe forming lens. A second distortion, the radial circle of infinite magnification, results from a cross-over on the lens caustic surface of rays with differing values of ∝a, also before the paraxial focal point of the lens.

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