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In philosophy of religion the term of Immanence is mostly applied to GOD in contrast to the divine Transcendence. This relation, as we will see here, it is not far from the truth since one cannot be without the other, however they are not to be put in contrast, but in conjunction. The one-sided insistence on the immanence of God, to the exclusion of His transcendence, leads to Pantheism, just as the one-sided insistence upon His transcendence, to the exclusion of His immanence, leads to Deism. These two can be separated, but the consequences are great for human knowledge and society; it is the two taken together that result in, and are necessary to Theism. But from the least complicated idea that even the name of God is a manifestation of His immanence contrasting with Deus absconditus, whose existence and name cannot be known or thought, theology and religion in general need to regard immanence of God as crucial for the acts of worship. What are the philosophical background for Christian theology to imply the immanence characteristic for God’s existence related to His creation? – This is the main question the present work tries to answer as an overview.
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The article is devoted to the peculiarities of the functioning of the lexeme fear [strakh] in the text of the Scriptures in the sphere of sacrum—profanum; the authors have described the method of research of emotional vocabulary in the linguistic aspect. The semantics of the mentioned word in a profane expression has been considered and based on the method of dictionary definition, etymological, contextual and conceptual analyses, and a complex approach. The authors have traced the understanding of fear in the sacral manifestation (fear of God), relying on the divine nature of this occurrence, which goes beyond the natural understanding of the studied phenomenon. The fear of God in the Bible should be considered as blahohovinnia [awe], which has three levels of manifestation: initial: it arises as gratitude to God for forgiven sins and leads a person to awe before the Lord and helps to salve his soul. A higher level is the feeling of blahohovinnia which resides in a person when they stand before God and is ready to obey Him in everything. The highest level of awe is the concept of absolute service to God when there is no fear but only love. The source language clearly distinguishes the concept of natural fear and supernatural fear, whose linguistic signs are separate lexemes, whereas in the Ukrainian language (as well as in Ukrainian translations of Scripture) the expression of these meanings occurs with the help of lexemes strakh [fear], bohobiynyi [God-fearing], pobozhnyi [pious], boyatysia [to fear], shanuvaty [to honour] that does not correlate with the primary source.
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The Latin Christian literature in Ireland is a specific linguistic, literary and theological area. One of the works of this type of literature is “Altus Prosator” whose author is unknown, probably St. Columba of Iona († 610). In this article, the linguistic specifics, literary characteristics and theological ideas in the ancient Christian hymn are discussed. Linguistically, it stands out because of the presence of foreign loans and some unusual forms. From a literary point of view, it is an abecedarius (an alphabetical poem) without steps, but with rhyme. In a theological perspective, the poem is a kind of а confession of faith, а poetic history of salvation and a paraphrase of the biblical book “Apocalypsis”. All these circumstances make “Altus Prosator” the most valuable work of Ancient Irish Christian literature.
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Do tradycji Wydziału Teologicznego Katolickiego Uniwersytetu Lubelskiego Jana Pawła II w Lublinie należy „Tydzień Eklezjologiczny”, który odbył się po raz 54. w dniach 17-19 maja 2022 roku i został zorganizowany przez Koło Naukowe Teologów KUL (dalej: KUL KNT) pod hasłem „Kościół Świętych”. Sympozjum rozpoczęło się uroczystą Eucharystią pod przewodnictwem Ks. Abp. Stanisława Budzika Metropolity Lubelskiego i Wielkiego Kanclerza KUL. Ksiądz Arcybiskup podkreślił w homilii, że Chrystus jest źródłem i dawcą wszelkiej świętości, oraz wskazał, iż Kościół ukazuje powołanie do świętości jako powszechną drogę, i zaprosił, aby wołać o świętych i nimi się stawać przez bliskość z Chrystusem i Jego Kościołem.
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In the Ancient Orient, a real sapiential literature had existed ever since the third-second millennium BC. This cultural and religious context could not miss the psalmic model, frequently used in the royal courts and temples dedicated to various deities. Hebrew poetry developed based on the literary structure of the Oriental lyric poetry, with some Orientalists claiming that many fragments of past lyric poetry had metamorphosed into biblical psalms. However, biblical psalms represent a distinct production from the literature of the time, having a special theme and spiritual significance, even opposed to those of the Oriental psalms. Religion has not been a barrier to psycho-social development, but rather a framework in which man expressed his belief that the world and the universe could not have emerged from nothing, and that all the earthly and celestial harmony was the work of a superior entity. As an autodidact of cosmogony, man has known how to lyrically penetrate the secrets of gods and intuit his own divine spark. It remains our duty to cultivate these universal values for the common good, regardless of the obstacles of today's postmodernism, and to believe that truth, good, and beauty will prevail forever.
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Father Michał Sopoćko, the blessed of the Catholic Church described the issues of marriage and the family in the legal and ethical aspect in his doctoral thesis. It was published in 1926 and was called: Rodzina w prawodawstwie na ziemiach polskich [The family in the legislation on Polish soil]. This article presents this publication with the background note about the scientific activity of Father Sopoćko, the scientific disciplines which he worked on (pastoral theology, pedagogy, catechetics and homiletics) as well as the apostolate of Divine mercy (teaching, the cult, publications), which were his life mission. The dissertation presents the reasons why he described the issues of marriage and family: his concern for the Christian model of the family, of the family’s rights based on the natural and on the revealed law in order to take them into account in the codification created in the freed Poland. Further on, the main content of the work consists of the vision of family and marriage, the mutual relationship of the spouses, the relationship between parents and children with regard to the natural law and to the Christian morality presented in the light of the legislation on the Polish soil under occupation. The final part in the conclusion of the article emphasises the indispensability to embed the constituted law on marriage and the family on the natural and the revealed law. This validity has not become out of date and should still be preserved. This statement adds value to the work of Father Sopoćko and makes it worth attention in the light of the contemporarily discussed issues of marriage and the family.
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N. Steinhardt proves in his homiletic discourse a real predisposition for dramatization. The Christian "tragedy" is staged and, at the same time, commented by an exceptional playwright and director. Argumentative discourse is a “mise en scene” and thus adheres to a determined social theatricality (of roles and actors). We identify the predilection for theatricality in the impeccable rhetoric, in the syntax of the sentence - the mixture of concise, elliptical sentences with astonishingly long utterances that presuppose a certain rhythm of utterance, the preference for interjection and exclamation, for the free indirect style. All this reveals a permanent concern of N. Steinhardt for the effect. Concentrated and unitary, Steinhardt's essay relies, sometimes, on the "shock" of the listener, on an aesthetic of the paradox and, apparently, of the sensational. Finally, we are witnessing, together with Steinhardt, a dramatic change in the homily paradigm. Sermons such as the ”Living Water”, the ”Hananian Woman”, the ”Tragedy of Judas”, the ”Holy Prophet Elijah”, ”Reflections on Death”, the ”Lord came to save and scandalize us”, the ”Holy Wrath” amply proves the directorial pleasure of the learned monk.
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The purpose of this article is to highlight connections between elements related to space, time and dream, using interdisciplinarity. Thus, we will illustrate the notions illustrated above in fine art, in a branch of rock music - gothic and black metal, and literature. As for the dream, we addressed the religious and psychoanalytic dimension, along with famous paintings and established songs, belonging to the dark wave style and, of course, Fantasy literature for children. The concepts of space and time create extremely interesting polemics, theories, hypotheses in the disciplines of exact sciences, providing research material, reproduction of reality within the disciplines that belong to the artistic branch. I also associated the concepts with the term "imaginary", as an opening to the opportunity to project worlds or even travel, through the dream, to them and, with the help of the hypnotic power of music, to place ourselves, at least mentally, in a safe space and unaltered by the aggression of the outside world.
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Both ancient and modern apocrypha have already been widely dis-cussed in various fields of academic research, for example in religious, biblical or literary studies. Although such analyses say much about the historical and religious background of apocryphal writings and enable us to discover the depth of the symbolic resources used in such texts, they do not fully reveal the cultural impact of the canon. That is why a broader cultural analysis of both the canon and the apocrypha should be based on different methods of research, such as those that are offered by cultural semiotics. From the standpoint of Lotmanian semiotics modern apocrypha may be viewed as examples of the working of culture. They can be regarded as e.g. creative translation of the canon, tools of cultural autocommunication, memory devices, and meaning-generating mechanisms which dynamize the semiosphere. Semiotic analysis underlines the cultural impact of the canon not only as a set of sacred writings but also as a kind of a “cultural code”. The canon as a paradigmatic cultural text (in Aleida Assmann’s sense) is a powerful meaning-generating mechanism in which a huge number of texts intertextually relate to one another. In such relations hypertexts point out the symbolic (often archaic) nucleus of culture (thus they illustrate the statics of the semiosphere), at the same time describing and/or provoking some cultural changes (due to which they correspond with the dynamic nature of the semiosphere).
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The focus of this research is finding and analytical, semiotic-symbolic, theopoetic, and comparative analysis of cosmological and cosmogonic ideas of the origin of the world and human. The field of that analysis includes the ancient cos- mological protology presented in Plato’s Dialogues, the bibliocentric understanding of Genesis in the Six Days of St. Basil the Great and the romantic articulation of the meaning of existence. The romantic pessimistic conception of life, presented through the causes found in the universal principles of creation, is shown primar- ily in Njegoš’s song Luča mikrokozma. The primary goal of the research is to find a poetic-philosophical form of the deepest past of existence, and try to sense a causal sequence in existential development, the latter consequence of which is a pessimis- tic insight into the transience of this determination determined by the inability to know what vibrates outside lethal limitations of being. At the same time, this paper does not focus only on reviewing the historical development of thought about be- ing, but the result of the theopoetically oriented segment of research is reflected in revealing the summarization and transformation of ancient, biblical and romantic cosmological representations in Njegoš’s poetry. Hence, in individual subchapters related to Njegoš’s cosmopoiesis, his philosophical ideas on the source and cause of primordial origin, as well as on the primordial abode of God and being, and its cessa- tion whose cause is the first sin, are presented. In the last segments of the research, the artistic-philosophical concept of the renewal of the primordial embrace with the Creator through song is presented. The research concluded with the presentation of the idea of poetic action as a process of cognition of the primordial origin, and emphasizing that every theopoetically oriented writing represents a new possibility for merging with a transcendental melody. This introduced a new methodology for analyzing texts on metaphysical topics and laid the foundation for future research on the same or similar topics.
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The subject of the present study is the Paulicians. With their native homeland in Anatolia and different Christian doctrine, the Paulicians were a purely underground movement, influential in the 7th-12th centuries. Perceived as heretical by Orthodox Christianity, they were forced to act secretly. However, they were influential in Byzantium and the Orthodox Church when they were strong. Orthodox and Armenians were responsible for their disappearance in Anatolia, which led to the emergence of different doctrines and movements in the following centuries and their spread in the Balkans. Constantinos, the Paulicians’ first leader, was pronounced a didaskalos in 655. In the first half of the 9th century, divided into two, the movement lost its power in Anatolia. Constantinos and later leaders identified themselves as Christians. The Paulician doctrine accepts some texts from the New Testament, but they interpret the Scriptures, Jesus Christ, and rituals such as baptism and evharistiya differently from Orthodox Christians. Although often associated with dualist doctrines, neither their form of organization nor their orders and prohibitions are similar to the dualist ones. Their association with Christianity is based on more detailed data; however, they have different ideas about central issues, such as the Trinity and the position of Jesus Christ as God. The Paulicians adopted a significant number of New Testament texts, especially the Gospels and the Epistles of Paul. Thus they adopted a new interpretation of Christianity, which, combined with their belief that deviated from the primary religious admissions, led to a negative perception. Due to their different interpretations, they were declared heretical by the Armenian Church in the east and the Orthodox Church, and the Catholic Church in the west. As a result, they were persecuted and forced to migrate or go underground; thus, the inauthentic information about them increased. Since there are no Paulicians living today, there is no way to study the subject in its own reality.
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Malo je izvora koji govore o bračnoj seksualnosti s toliko podrobnosti kao rasprave o moralnoj teologiji, zbirke slučajeva savjesti, priručnici za ispovijed itd. Stoga ću krenuti od takvih crkvenih dokumenata, posebno inzistirajući na onim njihovim propisima koji su nam danas najčudniji. Zatim ću pokušati saznati u kojoj nas mjeri ta literatura informira o seksualnom životu parova u prošlosti. U središtu kršćanskog morala jest vrlo snažno nepovjerenje prema tjelesnim užicima, jer oni drže duh u zarobljeništvu tijela, sprječavajući ga da se uzdigne prema Bogu. Treba jesti kako bi se živjelo, ali i izbjegavati odavanje užicima ustiju. Isto tako, dužni smo sjediniti se sa suprotnim spolom kako bismo imali djecu, ali se ne smijemo vezati za spolne užitke. Seksualnost nam je dana samo da bismo se reproducirali. Zlouporaba je njezino korištenje u druge svrhe, primjerice za zadovoljstvo.
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1. La nouvelle exposition du Musée juif d’Etat „Millenium judaicum bohemicum“ (Libretiste: Doc. dr. Vladimir Sadek, Architecte: arch. Bohumil Ulrich, Graphique: Jaroslav Béza) 2. Conférences d’automne 1967 du Musée juif d’Etat
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The Hieroglyphic History, written by Dimitrie Cantemir in 1705, is considered the first Romanian (historical) novel. Beyond the veil of allegory, the exotic topos and animal-related fantasy, the historical events between 1685 and 1705 are revealed through characteristic deciphering, representing valuable data for a historian. The work, first published in 1883, then in 1927 and 1957, in a few nonscientific editions, was finally republished in 1965 in a scientific edition elaborated by P.P. Panaitescu and Ion Verdeș. This 1965 edition is of very high historical value, but it also has a number of lacunae, especially in the field of theology. The editors don't reference certain biblical quotes, they hint at certain psychological ideas when mentioning quotes that are clearly derived from the Bible, they ignore the biblical source, which was the very foundation of Cantemir’s maxims, they overlook the study of certain toponyms with biblical origins (Euphrates, Tarshish, Babylon etc.) and don’t realize that some of his ideas have biblical origins. Furthermore, they don’t distinguish certain elements of Christian iconography from their biblical counterparts, leading to confusion (according to the editors, Saint Veronica’s Veil is attributed to Magdalene!). To edit the text correctly, it is necessary to have a thorough knowledge of biblical sources and familiarity with Romanian and European biblical traditions.
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The study serves two main purposes. First, it aims to provide a definition of ancient biography that can account for the genre’s diversity without viewing this diversity as problematic. Second, the study seeks to introduce the canonical gospels, describe their shared and distinct features to ancient biography and emphasise the implications of this approach for the interpretation of the gospels, which are frequently overlooked in contemporary research. As I point out, the first goal can be achieved by distinguishing between primary characteristics (an explicit focus on the life of a single protagonist and the intention to provide their life as a model for imitation) and secondary characteristics (historicity, paratexts, structure, length of life, and used material). These secondary characteristics may vary, but they presume the presence of the so‑called primary characteristics. Furthermore, I argue that the canonical gospels have all of the primary characteristics of ancient biography, a conclusion supported by many contemporary scholars. I point to a fundamental aspect in which the Gospels differ from other Greco‑Roman biographies, namely the construction of the reliability of the text and the different self‑understanding of the authors who considered themselves – as I have argued – inspired.
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In this paper, I focus on the emergence of ritual studies and subsequently formulate six characteristics that, in my opinion, establish their identity: a) an emphasis on being grounded in ritual theories; b) a plurality of ritual definitions; c) a wide area of application of ritual theories; d) a ritual understood as (performative) action; e) the plurality of methods; f) interdisciplinarity. Based on these characteristics of ritual studies, I deal with some aspects of their application to early Christianity. I demonstrate the benefit and innovation of this perspective on selected approaches: new viewpoints on rites of passage (DeMaris) and on the origin and development of the Eucharist (Taussig) and cognitive approaches (Uro). Finally, I address the problem of the researcher’s imagination (speculativeness) and the relationship between theories and exegesis of texts. I conclude by analysing the theory of ritual failure applied by P.‑B. Smit.
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The study offers an analysis of the latest work of Ludmila Ulitskaya from the point of view of cognitive poetics, considering the conditions of the book’s publication, the situation of the recipients’ first encounter with the Шестью семь cycle and associations related to the author’s current activity. Ulitskaya is among the most recognizable authors of contemporary Russian literature, and her emigration from the country which started a war is perceived as a political and moral declaration. This has led to some new ways of reading her works published after leaving Russia. In this article, the symbols contained in the plots of short stories and the structure of the cycle form the basis for the interpretation of the apocalyptic sense implied in the work. The author of the study states that the specific narrative, resembling Olga Tokarczuk’s concept of “the tender narrator” and including some traits close to the Eastern tradition of wisdom literature, strengthens the positive message of the work. Thus, the apocalyptic vision presented in the last part of Ulitskaya’s work opens to the eternal perspective and assumes waiting for salvation.
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