The Christ of history and of experience.

Mode of access: Internet.

Paul the interpreter of Christ,

Includes bibliographical references.

Christus consummator some aspects of the work and person of Christ in relation to modern thought /

Second ed. corr. reprint of 1st ed; 3rd ed. reprint of the 2nd ed.

Union : or, A treatise of the consanguinity and affinity between Christ and His church /

Shaw & Shoemaker : 26587.

An essay on the kingdom of Christ /

Separate t.p.: Doctrine of the covenants / by Samuel Jones.

An inquiry into the nature and design of Christ's temptation in the wilderness /

Originally published 1761.

Studies on the Gospels in harmony: being the fourth or Bible-class grade in the series of lessons on the life of Christ. Harmonized from the four evangelists.

Mode of access: Internet.

Jesus upon earth : or, the story of His birth, life, death, and resurrection.

"Designed for children" -- t.p.

The Enigma of the Silent Closing of Acts (28,16-31)

(Résumé de l'ouvrage) In the first volume of this long-anticipated collection by Moessner and Tiede, seventeen leading scholars of antiquity present an amazing "sea change" of opinion that Luke is indeed the interpreter of Israel. The book represents an unprecedented international consensus that the Hellenistic author Luke composed a carefully crafted narrative in two parts to claim Jesus of Nazareth as Israel's true heritage and enduring legacy to the world. Part One explores the nature of Luke's prologues and his intention to write a narrative of "events brought to fruition," using the narrative conventions and audience expectations of the Greco-Roman milieu. Part Two illuminates the relation of Luke's second "volume" to the first by inquiring about the consistency and coherence of his narrative-thematic strategies in retelling the story of Israel's legacy of "the Christ." Whether Luke completed Acts, the larger role of Paul and, most significantly, the meaning of Israel by the end of Acts are approached from new perspectives and charged with provocative insights. In addition to the volume editors, the contributors include L. Alexander, D. Schmidt, V. Robbins, C. Thornton, R. Pervo, W. Kurz, C. Holladay, G. Sterling, D. Balch, E. Plmacher, Charles H. Talbert, J.H. Hayes, D. Marguerat, M. Wolter, R. Tannehill, and I. H. Marshall.

"Acheiro-poïétique" du cinéma: le Christ révélé par l'écran

Selon la tradition orientale, les représentations de Jésus trouveraient toutes leur origine dans les images acheiropoïètes, c'est-à-dire dans des figurations de la "Sainte Face" du Christ non faites de main d'homme, mais survenues par apparition divine -sur le voile de Véronique, le Saint Suaire, le mandylion d'Edesse, etc. Ces images qui, pour des théologiens de l'icône tels que Léonide Ouspensky, ne sont rien moins que "la manifestation du miracle fondamental : la venue du Créateur dans sa création" (in L'Image du Christ non faite de main d'homme, 1989), ont toujours été le ferment d'expérimentations multiples chez les peintres et les sculpteurs.Mais la réflexion artistique s'est cristallisée au moment où ces images sont devenues l'apanage de médiums issus de "l'ère de la reproductibilité technique" chère à Benjamin. En effet, les images "théographes" auraient pour spécificité d'être engendrées et de se multiplier par empreinte immédiate: une toile quelconque n'aurait qu'à être touchée par le visage du Christ pour devenir instantanément le support du divin portrait, et acquérir dès lors le "pouvoir reconnu aux acheiropoïètes de créer des doubles de même valeur, par simple contact" (François Boespflug, Dieu et ses images. Une histoire de l'Eternel dans l'art, 2008). Comment mieux faire écho aux principes mêmes de l'image (ciné)photographique, générée par indicialité et reproductibilité? André Bazin a eu l'intuition de cette parenté dans le cadre de sa théorisation sur le pouvoir "révélateur" de l'image (ciné)photographique qui selon lui procéderait "par sa genèse" de "l'ontologie du modèle" et "serait" le modèle; il a évoqué le Saint Suaire de Turin comme rejouant, voire emblématisant cette même "ontologie de l'image photographique" (dans l'article homonyme de 1945). Si Bazin ne développe pas plus avant ses considérations, la corrélation des dispositifs (ciné)photographique et acheiropoïète a connu un questionnement « en actes », au sein des films cherchant à représenter Jésus.Valentine Robert s'intéresse à ces expérimentations, à commencer par un projet de film d'Abel Gance de 1947, resté inachevé, où le suaire de Turin devait se transformer en écran de cinéma. Plusieurs autres productions seront abordées, telles que Civilization ou The Robe, qui explorent les effets visuels permis par la pellicule pour montrer le Christ en surimpression, dans une sorte d'"apparition technologique", ou telles que The Jesus Film ou The Passion of the Christ, dont la projection a été reçue par certains publics comme une apparition sacrée réactualisant l'Incarnation. Les modalités de la représentation des images acheiropoïètes et plus généralement de l'apparition de Jésus à l'écran seront enfin évoquées - de la tradition hollywoodiennes qui consistait à refuser l'accès de la "Sainte Face" à la pellicule et de la rejeter hors-champ jusqu'aux séquences d'Ecce Homo de Scorsese et Zeffirelli, en passant par la révélation visuelle inaugurant The King of Kings, qui pousse à son paroxysme la collusion entre apparition divine et apparition cinématographique.

Oscar Wilde. De profundis: a severe judgement of Sophocles as a poet

O. Wilde considers that Christ ranks with the poets and Shelley and Sophocles are of his company. Nevertheless, the result of this comparison becomes unfavourable as far Sophocles is concerned, who, precisely as a poet can reach neither the sublimity nor the real tragic sufferance which Christ symbolises. According to Wilde, Christ is both a poet and a tragic poem, while Sophocles is merely a poet, thus being certified the impossibility of the above mentioned comparison.

The Byzantine Church of the Nutrition in Nazareth rediscovered

Although Nazareth has usually been seen by scholars as a relatively minor Byzantine pilgrimage centre, it contained perhaps the most important ‘lost’ Byzantine church in the Holy Land, the Church of the Nutrition ‐ according to De Locis Sanctis built over the house where it was believed that Jesus Christ had been a child. This article, part of a series of final interim reports of the PEF-funded ‘Nazareth Archaeological Project’, presents evidence that this church has been discovered at the present Sisters of Nazareth convent in central Nazareth. The scale of the church and its surrounding structures suggests that Nazareth was a much larger, and more important, centre for Byzantine-period pilgrimage than previously supposed. The church was used in the Crusader period, after a phase of desertion, prior to destruction by fire, probably in the 13th century.

Has Jesus’ Nazareth house been found?

Summary and discussion of the work of the Nazareth Archaeological Project between 2004-2010, focussing on the discovery of a first-century AD house below the 'lost' Byzantine 'Church of the Nutrition', said to have been built over the house where Jesus Christ was brought up.

Den moderna frälsaren : En komparativ analys av Harry Potter och Jesus

The books about Harry Potter have been read by people all over the world, but is there some-thing more to them than just the magical adventure novels they first appear to be? Many have discovered the multiple layers of understanding that the author J. K. Rowling has put in her famous books, and since I was curious about a few features in the story that reminded me of certain elements which can be found in the Bible, I decided to find out more. The following essay investigates which specific features in the books about Harry Potter that can be traced to which specific parts of the Bible. The main focus is the comparison between the character Harry Potter and Jesus Christ. I use a comparative analyzing method and secure my theory with quotes from both Harry Potter and the Bible. In the end, I found a wide range of similarities between the two characters, and in my discus-sion, I raised the question whether or not the likenesses were intentional by Rowling. I reached the conclusion that the authors intention is not as important as the reader’s interpreta-tion and what they can learn from it.

The Holy Bible, containing the Old and New Testaments, with copious marginal references : also, the introductions to all the books and chapters in the Bible : with the general preface, as affixed to the commentary of Thomas Scott.

New Testament has special t.p.: The New Testament of our Lord and Saviour Jesus Christ : with copious marginal references by Thomas Scott.