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  1. Christ est-il appelé Dieu en Romains 9:5 ?
    L’argument des figures gorgianiques
    Autor*in: Marschall, Priscille
    Erschienen: 2022

    When working on Rom 9:5, exegetes face a crucial punctuation issue. The challenge consists in determining whether the expression ὁ ὢν ἐπὶ πάντων θεὸς εὐλογητὸς εἰς τοὺς αἰῶνας (9:5b) should be read as an independent clause, or, rather, as a relative... mehr

    Standort:
    Index theologicus der Universitätsbibliothek Tübingen
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    keine Fernleihe
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    When working on Rom 9:5, exegetes face a crucial punctuation issue. The challenge consists in determining whether the expression ὁ ὢν ἐπὶ πάντων θεὸς εὐλογητὸς εἰς τοὺς αἰῶνας (9:5b) should be read as an independent clause, or, rather, as a relative clause attached with ὁ Χριστὸς τὸ κατὰ σάρκα (9:5a). According to the first option, Paul merely concludes his development with a doxology to God the Father. Following the second line, however, the apostle would make a Christological claim by asserting that Christ is God. The stakes are high since Paul nowhere else in his letters makes a clear claim that Christ is God. This article aims to reconsider this famous crux interpretum in light of ancient colometry, taking into account the principles of colometric structuration described in Greek and Latin rhetorical treatises. Specifically, the author argues that the combined presence of the three so-called Gorgianic figures (parisosis, paromoiosis, and antithesis) supports the case of light punctuation (a comma) between v. 5a and v. 5b, which in turn suggests reading v. 5b as a relative clause that qualifies Christ.

     
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    Sprache: Französisch
    Medientyp: Aufsatz aus einer Zeitschrift
    Format: Online
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    Übergeordneter Titel: Enthalten in: Novum Testamentum; Leiden [u.a.] : Brill, 1956; 64(2022), 4, Seite 450-468; Online-Ressource

    Schlagworte: rhetoric; style; punctuation; colometry; Epistle to the Romans; Christology; Paul
  2. The “Space Between”
    Pasolini’s Il Vangelo Secondo Matteo and the Mediation of Scripture
    Autor*in: Clogher, Paul
    Erschienen: 2022

    Rooted in Italian neorealism, Marxist theory, and centuries of Christian art and music, Pier Paolo Pasolini’s Il Vangelo secondo Matteo reactivates the Gospel against the backdrop of Italian Marxism and social life in the mid-twentieth century.... mehr

    Standort:
    Index theologicus der Universitätsbibliothek Tübingen
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    keine Fernleihe
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    keine Fernleihe

     

    Rooted in Italian neorealism, Marxist theory, and centuries of Christian art and music, Pier Paolo Pasolini’s Il Vangelo secondo Matteo reactivates the Gospel against the backdrop of Italian Marxism and social life in the mid-twentieth century. Through a hermeneutical reflection, this paper argues for the film as a central moment in the mediation and reception of the Christian story. Pasolini’s transgressive and poetic cinema partakes in and expands a hermeneutical dynamic at the core of the Christian story. The film’s documentary style, political subtexts, and eclectic setting highlight how the Christian story is a lived historical experience and thus does not transcend the social or historical circumstances of its telling and retelling. In a reciprocal encounter, both film and Gospel reveal the Christian story’s multiple textuality. Taking this as its cue, this article explores how Pasolini’s Matthew reveals the role of cinema as a site of hermeneutical and Christological reflection.

     
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    Quelle: Verbundkataloge
    Sprache: Englisch
    Medientyp: Aufsatz aus einer Zeitschrift
    Format: Online
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    Übergeordneter Titel: Enthalten in: Biblical interpretation; Leiden : Brill, 1993; 30(2022), 1, Seite 98-123; Online-Ressource

    Schlagworte: theological hermeneutics; queer temporality; Pier Paolo Pasolini; mediation; new testament; Gospel of Matthew; cinema; Christology; biblical interpretation