DOCSLIB.ORG

The Art of Visual Exegesis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Art of Visual Exegesis THE ART OF VISUAL EXEGESIS SBL Press E MORY STUDIES IN EARLY CHRISTIANITY Vernon K. Robbins, General Editor David B. Gowler, General Editor Bart B. Bruehler, Associate Editor Robert H. von Thaden Jr., Associate Editor Richard S. Ascough Juan Hernández Jr. Susan E. Hylen Brigitte Kahl Mikeal C. Parsons Christopher C. Rowland Russell B. Sisson Elaine M. Wainwright Number 19 Press SBL THE ART OF VISUAL EXEGESIS Rhetoric, Texts, Images E dited by Vernon K. Robbins, Walter S. Melion, and Roy R. Jeal Press SBL Atlanta Copyright © 2017 by SBL Press Publication of this volume was made possible by the generous support of the Pierce Pro- gram in Religion of Oxford College of Emory University. The editors of this volume express their sincere gratitude to David E. Orton and Deo Pub- lishing for publication of this series 2009–2013. All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by means of any information storage or retrieval system, except as may be expressly permit- ted by the 1976 Copyright Act or in writing from the publisher. Requests for permission should be addressed in writing to the Rights and Permissions Office,S BL Press, 825 Hous- ton Mill Road, Atlanta, GA 30329 USA. Library of Congress Cataloging-in-Publication Data Names: Robbins, Vernon K. (Vernon Kay), 1939- editor. | Melion, Walter S., editor. | Jeal, Roy R., editor. Title: The art of visual exegesis : rhetoric, texts, images / edited by Vernon K. Robbins, Walter S. Melion, and Roy R. Jeal. Description: Atlanta : SBL Press, [2017] | Series: Emory studies in early Christianity ; number 19 | Includes bibliographical references and index. Identifiers: LCCN 2016056518| ISBN 9781628371727 (pbk. : alk. paper) | ISBN 9780884142140 (hardcover : alk. paper) Subjects: LCSH: Bible—Illustrations. | Bible. New Testament—Criticism, interpretations, etc.—History. | Christian art and symbolism Classification: LCC N8023 .A78 2017 | DDC 755/.4—dc23 LC record available at https://lccn.loc.gov/2016056518 Cover design is an adaptation by Bernard Madden of Rick A. Robbins, Mixed Media (19" x 24" pen and ink on paper, 1981). Cover designPress used by permission of Deo Publishing. Printed on acid-free paper. SBL Contents Acknowledgments ...........................................................................................vii Abbreviations ................................................................................................. xiii Introduction Vernon K. Robbins, Walter S. Melion, and Roy R. Jeal .........................1 Part 1: Methodology for Visual Exegesis and Rhetography New Testament Texts, Visual Material Culture, and Earliest Christian Art Vernon K. Robbins ...................................................................................13 Visual Interpretation: Blending Rhetorical Arts in Colossians 2:6–3:4 Roy R. Jeal .................................................................................................55 Methodology Underlying the Presentation of Visual Texture in the Gospel of John L. Gregory Bloomquist ............................................................................89 Eyes Wide Open, Seeing Nothing: The Challenge of the Gospel of John’s Nonvisualizable Texture for Readings Using Visual Texture L. Gregory Bloomquist ..........................................................................121Press Part 2: Visual Exegesis Using Roman Visual Material Culture Paul, Imperial Situation, and Visualization in the Epistle to the Colossians Harry O. SBLMaier .......................................................................................171 vi CNO TE TS The G alatian Suicide and the Transbinary Semiotics of Christ Crucified G( alatians 3:1): Exercises in Visual Exegesis and Critical Reimagination Brigitte Kahl ............................................................................................195 Armor, Peace, and Gladiators: A Visual Exegesis of Ephesians 6:10–17 Rosemary Canavan ................................................................................241 Part 3: Visual Exegesis Using Christian Art Graphic Exegesis: Reflections on the Difficulty of Talking about Biblical Images, Pictures, and Texts Christopher J. Nygren ............................................................................271 The Gifts fo Epiphany: Geertgen tot Sint Jans and the Adoration of the Magi Henry Luttikhuizen ................................................................................303 “Exactitude and Fidelity”? Paintings of Christ Healing the Blind by Nicolas Poussin and Philippe de Champaigne James Clifton ...........................................................................................337 Topos versus Topia: Herri met de Bles’s Visual Exegesis of the Parable of the Good Samaritan Michel Weemans ....................................................................................359 Signa Resurrectionis: Vision, Image, and Pictorial Proof in Pieter Bruegel’s Resurrection of Circa 1562–1563 Walter S. Melion .....................................................................................381 Bibliography ...................................................................................................441 Contributors ...................................................................................................485Press Ancient and Medieval Sources Index .........................................................487 Authors Index ................................................................................................497 Subject Index ..................................................................................................505 SBL Acknowledgments Canavan, Rosemary Figure 1. Roman coin with Nero (obv.) and Temple of Janus with closed doors (rev.). Photo courtesy of Classical Numismatic Group Inc. Figure 2. Roman coin with Titus under Vespasian (obv.) and Pax stand- ing (rev.). Photo courtesy of Classical Numismatic Group Inc. Figure 3. Roman coin with Vespasian (obv.) and Pax seated (rev.). Photo courtesy of Classical Numismatic Group Inc. Figure 4. Diagram of Sociorhetorical Model adapted from the original by Vernon K. Robbins. Figure 5. Roman oil lamp with depiction of gladiator. Burdur Museum, Turkey. Photo courtesy of Carole Raddato. Figure 6. White marble memorial stele for Nikephoros, ca. second– third century CE. Denizli Archaeological Museum, Hierapolis, Turkey. Photo by Rosemary Canavan (author). Figure 7a. Marble stele of gladiator, likely thraex style, ca. second century CE. Ephesus archaeological site, Turkey. Photo by Rosemary Canavan (author). Figure 7b. Marble stele of gladiator, ca. second century CE. Ephesus archaeological site, Turkey. Photo by Rosemary Canavan (author). Figure 8. Secutor style gladiator etched into the plaster on the wall of a terrace house, ca. second–third century CE. Ephesus archaeological site, Turkey. Photo courtesy of Alan Cadwallader. Figure 9. Fragment of stone frieze depictingPress gladiators, cemented into a stone wall. Modern city of Honaz, Turkey. Photo courtesy of Alan Cadwallader. Figure 10. Marble relief panel from the Sebasteion with the personifi- cation of Rome crowning Augustus, ca. first–second CE. Sevgi Gönul Sebasteion Hall, Aphrodisias Archaeological Museum. Turkey. Photo by Rosemary Canavan (author). SBL-vii - viii AKOC N WLEDGMENTS Clifton, James Figure 1. Nicolas Poussin, Jesus Healing the Blind, 1650, oil on canvas, 119 x 175.5 cm. Musée du Louvre, Paris. Figure 2. Étienne Villequin, Christ Healing the Blind Man of Jericho, oil on copper, 31.7 x 42 cm. Musée du Louvre, Paris. Figure 3. Nicolas Poussin, Jesus Healing the Blind, ca. 1650, graphite underdrawing, pen and brown ink, 151 x 220 mm. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015. Figure 4. Nicolas Poussin, Jesus Healing the Blind, pen and brown ink, 110 x 196 mm. Musée Bonnat, Bayonne. Figure 5. Pierre Firens, King Henri IV of France Touching for Scrofula, late sixteenth century, etching. Musée national du château de Pau. Figure 6. Philippe de Champaigne, Christ Healing the Blind, c. 1660 [?], oil on canvas, 104 x 142 cm. The PutnamF oundation, Timken Museum of Art, San Diego. Figure 7. Philippe de Champaigne, Christ Healing the Blind (detail), c. 1660 [?], oil on canvas, 104 x 142 cm. The Putnam Foundation, Timken Museum of Art, San Diego. Figure 8. Philippe de Champaigne, Saint Thaïs Freed from Her Cell by Paphnutius, 1656, oil on canvas, 230 x 356 cm. Musée du Louvre, Paris. Jeal, Roy R. Figure 1. Leo Mol, Moses. Leo Mol Sculpture Garden. Assiniboine Park Conservancy, Winnipeg. Photo by Roy R. Jeal (author). Figure 2. Illusory Contour. Public Domain Image. Creative Commons Attribution-Share-Alike License. Figure 3. Illusory Contour. Public Domain Image. Creative Commons Attribution-Share-Alike License. Kahl, Brigitte Figure 1. Exhibition hall at the Pergamon Museum in Berlin, 2011– 2012, with a display of the four “smallPress barbarians” from Naples/Italy—a Dead Giant, a Dying Galatian, a Dying Persian, and a Dead Amazon— together with plaster casts of the two “big” (or Ludovisi) Galatians/ Gauls—The Dying Galatian (or Trumpeter) and The Galatian Suicide at the front and center. All sculptures are Roman copies of Pergamene originals dating to the third/second century BCE. Photo by Brigitte Kahl (author). Figure 2. TheSBL Galatian Suicide. R oman marble copy from the late first/ AKOC N WLEDGMENTS ix early second century CE of a lost Pergamene bronze
Load more

Recommended publications
  • Strength for Contemplation: Spiritual Play in the Amsterdam Holy Kinship
    Georgia State University ScholarWorks @ Georgia State University Art and Design Faculty Publications Ernest G. Welch School of Art and Design 2016 More Strength for Contemplation: Spiritual Play in the Amsterdam Holy Kinship John Decker Georgia State University, [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/art_design_facpub Part of the Art and Design Commons Recommended Citation John R. Decker, “More Strength for Contemplation: Spiritual Play in the Amsterdam Holy Kinship,” JHNA 8:1 (Winter 2016) DOI: 10.5092/jhna.2016.8.1.2. This Article is brought to you for free and open access by the Ernest G. Welch School of Art and Design at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Art and Design Faculty Publications by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. Journal of Historians of Netherlandish Art Volume 8, Issue 1 (Winter 2016) More Strength for Contemplation: Spiritual Play in the Amsterdam Holy Kinship John R. Decker [email protected] Recommended Citation: John R. Decker, “More Strength for Contemplation: Spiritual Play in the Amsterdam Holy Kin- ship,” JHNA 8:1 (Winter 2016) DOI: 10.5092/jhna.2016.8.1.1 Available at http://www.jhna.org/index.php/vol-8-1-2016/322-john-r-decker Published by Historians of Netherlandish Art: http://www.hnanews.org/ Terms of Use: http://www.jhna.org/index.php/terms-of-use Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication.
    [Show full text]
  • The Institution of the Rosary. Establishing the Context for A
    Klara H. Broekhuijsen The Institution of the Rosary. Establishing the context for a recently discovered copy after a lost panel by Geertgen tot Sint Jans in the Pommersfelden Book of Hours, Ms. 343* In the Museum der bildenden Künste in Leipzig there is a sixteenth-century panel depicting The Institution of the Rosary. The style of the figures and the way in which different moments from the story are distributed organically over the picture surface suggest that it is a copy after a lost work that Geertgen tot Sint Jans painted for the Haarlem Confraternity of the Rosary (fig. 1).1 The left half shows the Virgin appear- ing to the kneeling St Dominic, who is receiving the rosary from the Christ Child. The door in the left background opens onto a room in which the bare-chested St 1 Dominic is kneeling before a crucifix with a rosary in his hand. The right half of Copy after Geertgen tot Sint Jans, the painting shows the dissemination of the rosary. In the foreground, St Dominic The Institution of the Rosary, panel, 28 x 42 cm. Leipzig, Museum der accompanied by another friar is presenting a rosary to Queen Blanche of Castile. He bildenden Künste. Photo: Museum is preaching its use from a pulpit in the background. der bildenden Künste, Leipzig. 220 Oud Holland Jaargang/Volume 123 - 2010 Nr. 3/4 2 Copy after Geertgen tot Sint Jans, St Dominic Presenting a Rosary to Queen Blanche of Castile, panel. England, private collection. Photograph taken from Ring 1952 (note 2). There are two other sixteenth century copies after Geertgen’s Institution of the Rosary, but they reproduce only parts of the scenes in the Leipzig painting.
    [Show full text]
  • Sermon on the Mount – Beatitudes
    Sermon on the Mount: BEATITUDES John Stott A chapter extracted from the book “Sermon on the Mount” 1) THE POOR IN SPIRIT It has already been mentioned that the Old Testament supplies the necessary background against which to interpret this beatitude. At first to be ‘poor’ meant to be in literal, material need. But gradually, because the needy had no refuge but God, ‘poverty’ came to have spiritual overtones and to be identified with humble dependence on God. Thus the psalmist designated himself ‘this poor man’ who cried out to God in his need, ‘and the Lord heard him, and saved him out of all his t r o u b l e s’. The ‘poor man’ in the Old Testament is one who is both afflicted and unable to save himself, and who therefore looks to God for salvation, while recognizing that he has no claim upon him. This kind of spiritual poverty is specially commended in Isaiah. It is ‘the poor and needy’, who ‘seek water and there is none, and their tongue is parched with thirst’, for whom God promises to ‘open rivers on the bare heights, and fountains in the midst of the valleys’, and to ‘make the wilderness a pool of water, and the dry land springs of water’. The ‘poor’ are also described as people with ‘a contrite and humble spirit’; to them God looks and with them (though he is ‘the high and lofty One who inhabits eternity, whose name is Holy’) he is pleased to dwell. It is to such that the Lord’s anointed would proclaim good tidings of salvation, a prophecy which Jesus consciously fulfilled in the Nazareth synagogue: ‘The Spirit of the Lord is upon me, because he has anointed me to preach good news to the poor.’ Further, the rich tended to compromise with surrounding heathenism; it was the poor who remained faithful to God.
    [Show full text]
  • John 19:1-16 Ecce Homo in Case Your Latin Is a Bit Rusty, the Sermon Title
    John 19:1-16 Ecce Homo In case your Latin is a bit rusty, the sermon title means “Behold the man” and was the title of a best selling devotional book in Great Britain 150 years ago, and at least a couple of movies about Jesus’ life have an actor playing the part of Pilate pointing to Jesus and speaking these Latin words “Ecce Homo.” Is this really what Pilate said? Did Pilate have a translator with him at all times; what languages are being spoken here in these scenes with Jesus and the priests and the Roman governor of Palestine: Aramaic or Latin or Greek or Hebrew? Did the High Priest understand Latin, the official language of the Empire, or would Pilate have presented the bloody and beaten Jesus to the priests with the Greek phrase from the New Testament “idou ho anthropos?” Greek being the universal language in the ancient world. Perhaps Pilate spoke a little Hebrew and so his words would have been “hinneh ish,” a phrase that happens to come from a passage by the prophet Zechariah (6:10-12). Listen to this word of the Lord from that Old Testament book, “Behold the man whose name is the Branch; for he shall build the temple of the Lord…and shall bear royal honor, and shall sit upon his throne and rule.” Yes, that sounds like he could be talking about Jesus. Does Pilate unwittingly prophesy about Jesus? An interesting idea, because more than once God has used unbelieving rulers and nations to do his will- even calling King Cyrus of Persia the Anointed One, that is, the Messiah (Isaiah 45:1).
    [Show full text]
  • Ecce Homo Mission
    PRESENTATION OF MISSION ECCE HOMO 1. I want to begin by thanking you for being here this evening. The mere fact that you have accepted the invitation shows that your Christian life matters to you, that there is in you a desire to grow in your friendship with Christ. If you remember, just a few Sundays ago, we heard at Holy Mass of the moment when two men, the youthful John and the sensible Andrew, met the Lord for the first time. To the question: "Where do you live?", Jesus answered them with the "Come and see" that would be for them the beginning of a new life. (Jn 1:38-39). I also asked you to “come and hear” this evening, although in reality, I have little to do with this story. You are here following a prompting of the Holy Spirit. It is He who has gently drawn you to this Mass, to this church, on this night. He has called you, but now it is up to each of you to give an answer. See Mission Ecce Homo as an outstretched hand, a help that the Lord offers to those who wish to set out on this journey. I want to explain up front the commitments that those of you who wish to get on this boat will assume. The boat will set sail on Sunday, February 14th, and will sail through the sea of Holy Lent until it reaches the port of the Easter Triduum, where we will contemplate the mystery of a God who will give his life for us.
    [Show full text]
  • "MAN with a BEER KEG" ATTRIBUTED to FRANS HALS TECHNICAL EXAMINATION and SOME ART HISTORICAL COMMENTARIES • by Daniel Fabian
    Centre for Conservation and Technical Studies Fogg Art Museum Harvard University 1'1 Ii I "MAN WITH A BEER KEG" ATTRIBUTED TO FRANS HALS TECHNICAL EXAMINATION AND SOME ART HISTORICAL COMMENTARIES • by Daniel Fabian July 1984 ___~.~J INDEX Abst act 3 In oduction 4 ans Hals, his school and circle 6 Writings of Carel van Mander Technical examination: A. visual examination 11 B ultra-violet 14 C infra-red 15 D IR-reflectography 15 E painting materials 16 F interpretatio of the X-radiograph 25 G remarks 28 Painting technique in the 17th c 29 Painting technique of the "Man with a Beer Keg" 30 General Observations 34 Comparison to other paintings by Hals 36 Cone usions 39 Appendix 40 Acknowl ement 41 Notes and References 42 Bibliog aphy 51 ---~ I ABSTRACT The "Man with a Beer Keg" attributed to Frans Hals came to the Centre for Conservation and Technical Studies for technical examination, pigment analysis and restoration. A series of samples was taken and cross-sections were prepared. The pigments and the binding medium were identified and compared to the materials readily available in 17th century Holland. Black and white, infra-red and ultra-violet photographs as well as X-radiographs were taken and are discussed. The results of this study were compared to 17th c. materials and techniques and to the literature. 3 INTRODUCTION The "Man with a Beer Keg" (oil on canvas 83cm x 66cm), painted around 1630 - 1633) appears in the literature in 1932. [1] It was discovered in London in 1930. It had been in private hands and was, at the time, celebrated as an example of an unsuspected and startling find of an old master.
    [Show full text]
  • 'A Man of Sorrows, and Acquainted with Grief'
    ‘A Man of Sorrows, and Acquainted with Grief’ Imagery of the Suffering Christ in the Art of the Late Medieval Low Countries and Counter-Reformation Spain Candidate Number: R2203 MA Art History, Curatorship and Renaissance Culture The Warburg Institute, School of Advanced Study 30/09/2015 Word Count: 14,854 Table of Contents Introduction 3 Chapter 1: The Man of Sorrows – A Reassessment 6 Chapter 2: Early Netherlandish Images of the Suffering Christ 14 Chapter 3: Counter-Reformation Spanish Polychrome Sculptures 21 Chapter 4: Comparison and Analysis: Netherlandish Influences on Spanish Polychrome Sculpture 27 Conclusion 35 Figures 37 Table of Figures 56 Bibliography 58 2 Introduction During the later Middle Ages in Europe, there was a great increase in private devotion: a rise in the production of Books of Hours, the increase of mendicant orders and the new development of private chapels in churches and cathedrals all contributed towards religion being much more personal and intimate than ever before.1 Especially in Northern Europe, where the Imitatio Christi of Thomas à Kempis2 gained previously unknown popularity, private devotion was encouraged. The Devotio Moderna, which took hold especially in the Low Countries and Germany, emphasised a systematic and personal approach to prayer.3 Devotional images, which could engage with believers on a one-on-one, personal level, were majorly important features of way of practising religion, and the use of images as foci for devotion was encouraged by many writers, not only Thomas à Kempis, but also
    [Show full text]
  • The Old Testament Background of “Ecce Homo” in John 19:5
    Adam Kubiś The John Paul II Catholic University of Lublin [email protected] 11 (2018) 4: 495–519 ORCID: 0000-0003-4961-2254 ISSN (print) 1689-5150 DOI: http://dx.doi.org/10.12775/BPTh.2018.024 ISSN (online) 2450-7059 The Old Testament Background of “Ecce Homo” in John 19:5 Starotestamentowe tło „Ecce homo” w Ewangelii św. Jana 19,5 Abstract. Pilate’s declaration ἰδοὺ ὁ ἄνθρωπος found in John 19:5 has given rise to a number of interpretations that seem in basic agreement, yet, at the same time, many others of a divergent and opposing nature. Among the many treatments of this verse is a whole set of proposals that see in Pilate’s words an allusion to various Old Testament texts. The present article aims at presenting the range of these scholarly interpreta- tions (both older and modern ones) which resort to an Old Testament background for the famous ecce homo phrase. The article then focuses the discussion on Daniel’s “Son of Man”, the Isaianic “Suffering Servant”, the messianic “man” of Zec 6:12 and Num 24:17 (LXX), Adamic typology, the king of 1 Sm 9:17, and finally the figure of the bridegroom from the Song of Songs. In each case, an evaluation of the hypothetical Old Testament background is given. The author concurs with the idea of multiple intertex- tual Old Testament references encapsulated in Pilate’s ecce homo utterance. Streszczenie. Słowa Piłata ἰδοὺ ὁ ἄνθρωπος (J 19,5) spotkały się z całą gamą różno- rodnych interpretacji, czasem wzajemnie się wykluczających.
    [Show full text]
  • |||GRATIS||| Geertgen Tot Sint Jans Ebook
    GEERTGEN TOT SINT JANS GRATIS EBOOK Auteur: Aart Van Der Kuijl Aantal pagina's: 304 pagina's Verschijningsdatum: 2019-12-13 Uitgever: Uitgeverij Loutje Bv EAN: 9789491936227 Taal: nl Link: Download hier The Holy Kinship (Geertgen tot Sint Jans) - Wikipedia Geertgen tot Sint Jans ca. The principal source of knowledge concerning Geertgen tot Sint Jans, also called Geertgen van Haarlem, is the Dutch biographer Karel van Mander, who wrote about him in John as well as a pupil of Albert van Ouwater. Van Mander records that Geertgen died at the age of More recent discoveries, however, suggest that he was actually born in Leiden and that he served a portion of his apprenticeship in Flanders, probably at Bruges. In any case, his paintings display a marked Flemish influence, especially from the works of Hugo van der Goes. The earliest painting attributed to Geertgen is the Holy Kinship ca. Geertgen's Adoration of the Magi in Geertgen tot Sint Jans, from a few years later, reveals the added inspiration of Van der Goes for the composition and the quality of the continuous landscape recession. Geertgen's Geertgen tot Sint Jans works are characterized by feelings of intense devotion as well Geertgen tot Sint Jans increasing formal innovation. A small Nativity in London, for example, is not only profoundly emotive but highly original, representing as it does the first true nocturne in Western art. In much the same way, the famous St. John the Baptist in the Wilderness is expressive of deep religious sentiment yet also reveals the "most advanced conception of landscape to appear in 15th-century Flemish painting" Charles D.
    [Show full text]
  • An Expanded View of the Forms and Functions of 15Th-Century Netherlandish Devotional Art
    SEEKING THE PERSONAL: AN EXPANDED VIEW OF THE FORMS AND FUNCTIONS OF 15TH-CENTURY NETHERLANDISH DEVOTIONAL ART By BRENNA FRANCES BRALEY A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Brenna Frances Braley ACKNOWLEDGMENTS I would first like to thank the members of my committee, John L. Ward and Robin Poynor, for all of their help and encouragement while working on this project. I also thank Julie Kauffman, Johanna Kauffman, Bonnie Hampton, and Jody Berman (for their technological assistance), Joshua Braley, Linda Braley, and Rance Braley (for their help as proofreaders), and all the rest of my friends and family (for their unending patience and moral support). iii TABLE OF CONTENTS page ACKNOWLEDGMENTS ................................................................................................. iii LIST OF FIGURES .............................................................................................................v ABSTRACT...................................................................................................................... vii CHAPTER 1 INTRODUCTION ........................................................................................................1 2 HISTORICAL AND THEOLOGICAL CONTEXT....................................................5 3 THE PHYSICAL AND THE SPIRITUAL ................................................................26 4 RELIGIOUS EXPERIENCE AND
    [Show full text]
  • Behold the Man Free
    FREE BEHOLD THE MAN PDF Michael Moorcock | 160 pages | 12 Jun 2014 | Orion Publishing Co | 9780575080997 | English | London, United Kingdom John KJV - Then came Jesus forth, wearing the - Bible Gateway Behold the Man is a science fiction novel by British writer Michael Moorcock. And Pilate said to them Behold the Man. In the novel, Moorcock weaves an existentialist tale about Karl Glogauer, a man who travels from the year in a time machine to 28 AD, where he hopes to meet the historical Jesus of Nazareth. The story Behold the Man with Karl's violent arrival Behold the Man the Holy Land of AD 28, where his time machine, a womb-like, fluid-filled sphere, cracks open and becomes useless. By interpolating numerous memories and flashbacks, Moorcock tells the parallel story Behold the Man Karl's troubled past in 20th century London, and tries to Behold the Man why he's willing to risk everything to meet Jesus. We learn that Karl has chronic problems with women, homosexual tendencies, an interest in the ideas of Jungand many neuroses Behold the Man, including a messiah complex. Karl, badly injured during his journey, crawls halfway out of the time machine, then faints. John the Baptist and a group of Essenes find him there, and take him back to their community, where they care for him for some time. Since the Essenes witnessed his miraculous arrival in the time machine, John decides Karl must be a magusand asks him to help lead a revolt against the occupying Romans. When he asks Karl to baptise him, however, the latter panics and flees into the Behold the Man, where he wanders alone, hallucinating from heat and thirst.
    [Show full text]
  • The Old Testament Background of “Ecce Homo” in John 19:5
    Adam Kubiś The John Paul II Catholic University of Lublin [email protected] 11 (2018) 4: 495–519 ORCID: 0000-0003-4961-2254 ISSN (print) 1689-5150 DOI: http://dx.doi.org/10.12775/BPTh.2018.024 ISSN (online) 2450-7059 The Old Testament Background of “Ecce Homo” in John 19:5 Starotestamentowe tło „Ecce homo” w Ewangelii św. Jana 19,5 Abstract. Pilate’s declaration ἰδοὺ ὁ ἄνθρωπος found in John 19:5 has given rise to a number of interpretations that seem in basic agreement, yet, at the same time, many others of a divergent and opposing nature. Among the many treatments of this verse is a whole set of proposals that see in Pilate’s words an allusion to various Old Testament texts. The present article aims at presenting the range of these scholarly interpreta- tions (both older and modern ones) which resort to an Old Testament background for the famous ecce homo phrase. The article then focuses the discussion on Daniel’s “Son of Man”, the Isaianic “Suffering Servant”, the messianic “man” of Zec 6:12 and Num 24:17 (LXX), Adamic typology, the king of 1 Sm 9:17, and finally the figure of the bridegroom from the Song of Songs. In each case, an evaluation of the hypothetical Old Testament background is given. The author concurs with the idea of multiple intertex- tual Old Testament references encapsulated in Pilate’s ecce homo utterance. Streszczenie. Słowa Piłata ἰδοὺ ὁ ἄνθρωπος (J 19,5) spotkały się z całą gamą różno- rodnych interpretacji, czasem wzajemnie się wykluczających.
    [Show full text]