The Shroud of Turin and to Make That Synthesis Available to the Serious Inquirer
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AKDENİZ ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ Nurgül SARAÇOĞLU PLUTARKHOS'un POLİTİKA PARANGELMATA ADLI ESERİ
AKDENİZ ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ Nurgül SARAÇOĞLU PLUTARKHOS’UN POLİTİKA PARANGELMATA ADLI ESERİNDE DEVLET ADAMLARI Eskiçağ Dilleri ve Kültürleri Ana Bilim Dalı Yüksek Lisans Tezi Antalya, 2016 AKDENİZ ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ Nurgül SARAÇOĞLU PLUTARKHOS’UN POLİTİKA PARANGELMATA ADLI ESERİNDE DEVLET ADAMLARI Danışman Yrd. Doç. Dr. Nuray GÖKALP ÖZDİL Eskiçağ Dilleri ve Kültürleri Ana Bilim Dalı Yüksek Lisans Tezi Antalya, 2016 T.C. Akdeniz Üniversitesi Sosyal Bilimler Enstitüsü Müdürlüğüne, Nurgül SARAÇOĞLU’nun bu çalışması, jürimiz tarafından Eskiçağ Dilleri ve Kültürleri Ana Bilim Dalı Yüksek Lisans Programı tezi olarak kabul edilmiştir. Başkan : Doç. Dr. Ferit BAZ (İmza) Üye (Danışmanı) : Yrd. Doç. Dr. Nuray GÖKALP ÖZDİL (İmza) Üye : Prof. Dr. Mustafa ADAK (İmza) Tez Başlığı: Plutarkhos’un Politika Parangelmata Adlı Eserinde Devlet Adamları Onay: Yukarıdaki imzaların, adı geçen öğretim üyelerine ait olduğunu onaylarım. Tez Savunma Tarihi : 30/06/2016 Mezuniyet Tarihi : 14/07/2016 (İmza) Prof. Dr. Zekeriya KARADAVUT Müdür AKADEMİK BEYAN Yüksek Lisans Tezi olarak sunduğum “Plutarkhos’un Politika Parangelmata Adlı Eserinde Devlet Adamları” adlı bu çalışmanın, akademik kural ve etik değerlere uygun bir biçimde tarafımca yazıldığını, yararlandığım bütün eserlerin kaynakçada gösterildiğini ve çalışma içerisinde bu eserlere atıf yapıldığını belirtir; bunu şerefimle doğrularım. Nurgül SARAÇOĞLU i İ Ç İ N D E K İ L E R KISALTMALAR LİSTESİ ............................................................................................................. -
Early Christians Identified Jesus' Shroud with His Royal & Priestly Robe!
Early Christians Identified Jesus’ Shroud With His Royal & Priestly Robe! __________________________ By Larry Stalley1 Copyrighted © 2020 All Rights Reserved ABSTRACT Based on an abundance of scientific and historical evidence that has surfaced in recent years, the author believes the Shroud of Turin is the genuine burial cloth that Joseph of Arimathea purchased and used to wrap the body of Jesus. Peter and “the disciple whom Jesus loved” found the tomb empty of a corpse on Resurrection Day. However, when they found the funeral linens, something about their appearance caused the disciple to “believe” (John 20.8). The cloth was stained with blood and had been defiled by its contact with a corpse. Why then wasn’t the Shroud viewed as “unclean,” discarded and buried? Why did the early Church treasure this piece of linen and seek to safeguard it from opponents and enemies of the Faith? How did they come to perceive this cloth? What beliefs became attached to it? In a former paper2 the author attempted to show that the early Christians likely perceived the Shroud as being the miraculous “sign of Jonah” that Jesus had promised.3 In this paper he will seek to demonstrate that the early Christians also identified Jesus’ Shroud, typologically, as his royal- priestly robe, sanctified by His sacrificial blood! The earthly Shroud was a “type and shadow” of the heavenly robe! With its miraculous image, the Shroud was viewed as being a link between the earthly and heavenly realities. ____________________________________________________ 1. INTRODUCTION Being Jewish and living in Rome during the 1st century had its difficulties! You felt the contempt native Romans held concerning your race! From their unwelcomed glares you could sense their unspoken but heartfelt animosity: Another Jew! I despise you! You despise the customs of our ancestors! You have no idols like all other religions. -
The Chalcedonian Christology of St John Damascene : Philosophical Terminology and Theological Arguments
Durham E-Theses The Chalcedonian Christology of St John Damascene : philosophical terminology and theological arguments Metallidis, George How to cite: Metallidis, George (2003) The Chalcedonian Christology of St John Damascene : philosophical terminology and theological arguments, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/1085/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 UNIVERSITY OF DURHAM DEPARTMENT OF THEOLOGY GEORGE METALLIDIS The copyright of this thesis rests with the author. No quotation from it should be published without his prior written consentand information derived from it should be acknowledged. The Chalcedonian Christology of St John Damascene: Philosophical Terminology and Theological Arguments PhD Thesis/FourthYear Supervisor: Prof. ANDREW LOUTH 0-I OCT2003 Durham 2003 The ChalcedonianChristology of St John Damascene To my Mother Despoina The ChalcedonianChristology of St John Damascene CONTENTS Page ABBREVIATIONS 7 ACKNOWLEDGMENT 12 INTRODUCTION 14 CHAPTER ONE TheLife of St John Damascene 1. -
Iconoclasm: a Christian Dilemma
ICONOCLASM: A CHRISTIAN DILEMMA - A BYZANTINE CONTROVERSY By STEPHEN CHARLES STEACY •• Bachelor of Arts Oklahoma State University Stillwater, Oklahoma 1969 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF ARTS December, 1978 ICONOCLASM: A CHRISTIAN DILEMMA - A BYZANTINE CONTROVERSY Thesis Approved: '. ~- Dean of the Graduate College 1019541 ii P~F~E This thesis is concerned with Iconoclasm, the religious upheaval which troubled the Byzantine conscience for over a century. There have been numerous theories adduced by his torians to account for this phenomenon. It is the purpose of this study to view the varying interpretations, analyze their shortcomings, and to put forth a different view of the controversy, one that more adequately expresses the deeply rooted religious nature of the movement, a movement not only of the eighth and ninth centuries but an idea which was nurtured in fertile soil of the Old Testament and Apostolic Christianity. The author wishes to express heartfelt appreciation to his thesis adviser, Dr. George Jewsbury, whose unflagging solicitude, support, and inspiration were instrumental in the preparation of this work. A note of thanks is given to Mrs. Karen Hoyer, whose typing expertise, in the final analysis, made the difference between success and failure. iii TABLE OF CONTENTS Chapter Page I. INTRODUCTION AND HISTORIOGRAPHICAL ESSAY 1 II. THEOLOGICAL AND PHILOSOPHICAL COURSES OF THE CONTROVERSY. • • . • . • • . • . 13 Genesis of the Cult of Icons .•.• 13 The Scriptures as the Foundation of Iconoclasm. 26 Precursors of ·the Iconoclast Movement . 30 Origen . 31 Eusebius . -
Durham E-Theses
Durham E-Theses Methodios I patriarch of Constantinople: churchman, politician and confessor for the faith Bithos, George P. How to cite: Bithos, George P. (2001) Methodios I patriarch of Constantinople: churchman, politician and confessor for the faith, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/4239/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 METHODIOS I PATRIARCH OF CONSTANTINOPLE Churchman, Politician and Confessor for the Faith Submitted by George P. Bithos BS DDS University of Durham Department of Theology A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Orthodox Theology and Byzantine History 2001 The copyright of this thesis rests with the author. No quotation from it should be published in any form, including' Electronic and the Internet, without the author's prior written consent All information derived from this thesis must be acknowledged appropriately. -
Ancient Edessa and the Shroud: History Concealed by the Discipline of the Secret
ANCIENT EDESSA AND THE SHROUD: HISTORY CONCEALED BY THE DISCIPLINE OF THE SECRET By Jack Markwardt THE IMAGE OF ANTIOCH Modern sindonology, drawing substantially upon the Mandylion Theory,1 appears to have established, within a reasonable degree of certainty, a substantial portion of the medieval biography of the Turin Shroud,2 commencing with its historical debut, between 5443 and 569,4 as the Image of Edessa; however, the relic’s whereabouts during the Missing Ancient Centuries, the half-millennium spanning its disappearance from Christ’s tomb to its reappearance in sixth-century Edessa, remain the subject of debate. The author’s 1999 hypothesis,5 that the Shroud was taken, in apostolic times,6 to the Syrian city of Antioch, concealed and lost in 362,7 rediscovered in ca. 530,8 and conveyed to Edessa9 when Antioch was destroyed in 540,10 is supported by historical records which evidence the presence of a Christ-icon in both fourth-century Syria and sixth-century Antioch.11 In the fourth century, Athanasius, the Bishop of Alexandria (ca. 328-373), affirmed that a sacred Christ-icon,12 traceable to Jerusalem and the year 68, was then present in Syria:13 …but two years before Titus and Vespasian sacked the city, the faithful and disciples of Christ were warned by the Holy Spirit to depart from the city and go to the kingdom of King Agrippa, because at that time Agrippa was a Roman ally. Leaving the city, they went to his regions and carried everything relating to our faith. At that time even the icon with certain other ecclesiastical objects were moved and they today still remain in Syria. -
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Issue 85: The Council of Nicaea: Debating Jesus’ Divinity Debating Jesus' Divinity: Did You Know? Interresting and Unusual Facts about the Council of Nicaea Compiled by Steven Gertz, D. H. Williams, and John Anthony McGuckin All Aboard? The Council of Nicaea lives on in the imagination of the Church, both East and West. In this photograph taken in 1925, Russian Orthodox patriarchs prepare to board a train for St. David's, Wales, to celebrate Nicaea's 16th centenary. In Rome that same year, Pope Pius XI planned a party of his own in the Vatican basilica, declaring Nicaea a formative event for the Catholic understanding of the nature of Christ. Protestants too have honored Nicaea in their own way. Anglicans, among others, recite the Nicene Creed in church every Sunday, and many Protestants (perhaps unknowingly) celebrate Nicaea in their hymns. One of the most beloved is Reginald Heber's "Holy, Holy, Holy, Lord God Almighty," which ends with a rousing "God in Three Persons, blessed Trinity." Written for Trinity Sunday, the hymn was set to music by John B. Dykes, who named the tune "Nicaea." Wipe Out Those Arian Barbarians Theodosius the Great may have dealt a death blow to Arians in the Roman Empire at the Council of Constantinople (381), but the heresy got a new lease on life among the barbarian Goths. Particularly influential was Theodoric the Great (d. 526), a ruthless military tactician (he murdered his rival) who adopted Arianism as his religion and built numerous Arian churches in Raverina, Italy. When the Byzantine Emperor Justinian recovered Ravenna in 535, he resolved to erase any Arian influence from the city. -
El Rostro De Cristo Y La Santa Faz De Alicante
Archivo Ibero-Americano 75, nº 280 (2015): 327-358 ISSN 0004-0452 IMÁGENES DE FACTURA DIVINA: EL ROSTRO DE CRISTO Y LA SANTA FAZ DE ALICANTE IMAGES OF DIVINE CRAFTSMANSHIP: THE PORTRAIT OF CHRIST AND THE HOLY FACE OF ALICANTE (SPAIN) RAÚL MORALES SANES Universidad de Murcia [email protected] RECIBIDO: 7/07/2016 ACEPTADO: 14/11/2016 Para citar este artículo: Morales Sanes, Raúl. «Imágenes de factura divina: el rostro de Cristo y la Santa Faz de Alicante». Archivo Ibero-Americano 75, nº 280 (2015): 327-358. RESUMEN: ABSTRACT: El presente trabajo pretende hacer un repaso por This paper has the primary intention to offer las principales imágenes acheiropoietai refe- an overview of the main acheiropoeitai images ridas al rostro de Cristo con el fin de elaborar related to the portrait of Christ. Secondly, we have un contexto donde estas se pongan en relación analysed the particular case of the Santa Faz in con la Santa Faz de Alicante. Para la construc- Alicante. In order to explore the context in which ción de dicho marco se abordan temas como el these images were created, we have also studied proceso de legitimación de la imagen en la Edad the strategies of legitimization of images in the Media, las principales imágenes milagrosas no Middle Ages, the most prominent acheiropoietai hechas por manos humanas y las leyendas que a images and the legends that justified many estas acompañan. Finalmente, partiendo de estos particular cases. Finally, we have explored the parámetros, se aborda la llegada de estos cultos motifs and features that accompanied this kind of a tierras hispanas y se lleva a cabo una interpre- images in a Hispanic context and have carried out tación sobre el lienzo alicantino tras cotejar las a more thorough study of the Alicante image by versiones que nos ofrecen los distintos cronistas comparing the different local chronicles referring de dicha ciudad. -
The Image and the Figure. Our Lady of Częstochowa in Polish Culture And
ANNA NIEDŹWIEDŹ THE IMAGE AND THE FIGURE Our Lady of Częstochowa in Polish Culture and Popular Religion jagiellonian u n ív e r s ít y p r e s s This book is a changed and abbreviated edition of the original Polish version: Anna Niedźwiedź, Obraz i postać. Znaczenia wizerunku Matki Boskiej Częstochowskiej. Kraków: Wydawnictwo Uniwersytetu Jagiellońskiego The book was reviewed by Ewa Nowina-Sroczyńska The publication of the book has been financed from funds donated by Katherine P. Kubala, funds of the Faculty of History Jagiellonian University, and funds of the Institute of Ethnology and Cultural Anthropology Jagiellonian University TRANSLATED Anna Niedźwiedź Guy Torr PROOFREADING AND EDITING OF ENGLISH TEXT Meredith Volker COVER DESIGN Łukasz Dąbrowski © Copyright by Anna Niedźwiedź & Jagiellonian University Press First edition, Kraków 2010 All rights reserved No part of this book may be reproduced, translated, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, microfilming, recording, or otherwise, without written permission from the Publisher. ISBN 978-83-233-2900-8 I w ydaw nictw o] UNIWERSYTETU JAGIELLOŃSKIEGO www.wuj.pl Jagiellonian University Press Editorial Offices: Michałowskiego St. 9/2, 31-126 Kraków Phone: + 48 12 631 18 80, + 48 12 631 18 82, Fax: + 48 12 631 18 83 Distribution: Phone: + 48 12 631 01 97, Fax: + 48 12 631 01 98 Cell Phone: + 48 506 006 674, e-mail: [email protected] Bank: PEKAO SA, IBAN PL80 1240 4722 1111 0000 4856 3325 To Kathy Kubala, who taught me that real friendship can cross borders. -
Some Words About Our New Icons…
Some words about our new icons… The Three Holy Youths Mural at Saint Michael Church Greensburg By Nick Papas Why is “The Three Youths” mural appropriate for Saint Michael Church and for this space above the Baptismal font specifically? Actually, I believe it is not merely appropriate, but perfect. It is perfect where it is and why it is. It’s where it is because of The Three Youths’ story’s relationship to Baptism. Its reason for being is perfect because of its relationship to being a memorial for Diana Roberts. The story of this mural comes from The Book of Daniel. It tells of Shadrach, Meshach and Abednego (The Three Holy Youths) and their sure-thing deaths, wherein they are thrown into a furnace to be killed for not submitting to an earthly king. the furnace so hot that the flames of the fire killed the soldiers who took up Shadrach, Meshach and Abednego, and these three men, firmly tied, fell into the blazing furnace. Orthodox Christians hear this story retold every Holy Saturday. It is one of the special, once-a-year, 15 Old Testament readings that are read just hours before, liturgically, the triumphant words “Christ is Risen!” are shouted with unfettered joy! The 15 readings set the stage for what will be experienced liturgically which is a thing which people of faith have experienced throughout the ages... that death is not what it appears to be! Mankind has had this inkling, even to its bones, from the time of the fall in the Garden of Eden. -
Photographing Mary
Photographing Mary Miraculous Photographs in the Global Marian Movement Massimo Introvigne (CESNUR) American Academy of Religion Annual Meeting San Antonio, Texas, November 20, 2016 Miraculous Images ´ “Acheiropoieta,” i.e. icons of the Virgin Mary not produced by human hands, were known since the first centuries of Christianity. Today, there are still images of the Virgin Mary (and Jesus) produced as a result of visions or special spiritual experiences, such as those painted by Illinois’ child prodigy Akiane Kramarik (born in 1994), who produced her most famous works from age 8 to 11 (left) Miraculous Photographs ´ Photography, however, created the possibility of entirely new images: actual photographs of Virgin Mary obtained in different ways ´ The more common were images where Mary was not seen by the naked eye but allegedly appeared when developing photographs and film, normally taken at the sites of Marian apparitions (left, examples from Medjugorje) A Precedent: Spirit Photographs ´ An obvious precedent, but perhaps one the Marian movement would prefer not to hear mentioned, were photographs of spirits. They appeared in pictures taken in the late 19th and early 20th century in the presence of Spiritualist mediums and “spiritual investigators” such as William Hope (1863-1933, right). Spirit photographs were often denounced as frauds, obtained through double exposures and other devious means A Photograph from Venezuela ´ Similar claims started appearing after World War II after developing photographs taken at the sites of Marian apparitions. -
Icons and Saints of the Eastern Orthodox Church Pdf, Epub, Ebook
ICONS AND SAINTS OF THE EASTERN ORTHODOX CHURCH PDF, EPUB, EBOOK Alfredo Tradigo | 384 pages | 01 Sep 2006 | Getty Trust Publications | 9780892368457 | English | Santa Monica CA, United States Icons and Saints of the Eastern Orthodox Church PDF Book In the Orthodox Church "icons have always been understood as a visible gospel, as a testimony to the great things given man by God the incarnate Logos". Many religious homes in Russia have icons hanging on the wall in the krasny ugol —the "red" corner see Icon corner. Guide to Imagery Series. Samuel rated it really liked it Jun 21, It did not disappoint on this detail. Later communion will be available so that one can even utilize the sense of taste during worship. Statues in the round were avoided as being too close to the principal artistic focus of pagan cult practices, as they have continued to be with some small-scale exceptions throughout the history of Eastern Christianity. The Art of the Byzantine Empire — A Guide to Imagery 10 , Bildlexikon der Kunst 9. Parishioners do not sit primly in the pews but may walk throughout the church lighting candles, venerating icons. Modern academic art history considers that, while images may have existed earlier, the tradition can be traced back only as far as the 3rd century, and that the images which survive from Early Christian art often differ greatly from later ones. Aldershot: Ashgate. In the Orthodox Church an icon is a sacred image, a window into heaven. Purple reveals wealth, power and authority. Vladimir's Seminary Press, The stillness of the icon draws us into the quiet so that we can lay aside the cares of this world and meditate on the splendor of the next.