Patristic Perspectives On Luke S Transfiguration

Peter Anthony explores how visionary elements in Luke's Gospel had a particular influence on early interpretation of the Transfiguration, by examining the rich hermeneutical traditions that emerged - particularly in the Latin West - as the Transfiguration was first depicted visually in art. Anthony begins by comparing the visual and visionary culture of antiquity with that of the present, and their differing interpretations of the Transfiguration. He then examines the Transfiguration texts in the synoptic gospels and their interpretation in modern scholarship, and the reception of the Transfiguration in 2 Peter, the Apocalypse of Peter and the Acts of Peter, Tertullian and Origen. Proceeding to look at interpretations found in the Greek East and the Latin West, Anthony finally discusses the earliest visual depictions of the Transfiguration from the sixth century onward, drawn from a wealth of different art forms. Anthony concludes that early commentators' and artists' understanding of how we see and visualise, and therefore, how the Transfiguration was apprehended, is closer to that of the writers of the New Testament than many modern interpreters' is.

Peter Anthony explores how visionary elements in Luke's Gospel had a particular influence on early interpretation of the Transfiguration, by exploring the rich hermeneutical traditions that emerged - particularly in the Latin West - as the Transfiguration was first depicted visually in art. Anthony begins by comparing the visual and visionary culture of antiquity with that of the present, and their differing interpretations of the Transfiguration. He then examines the Transfiguration texts in the synoptic gospels and their interpretation in modern scholarship, and the reception of the Transfiguration in 2 Peter, the Apocalypse of Peter and the Acts of Peter, Tertullian and Origen. Proceeding to look at interpretations found in the Greek East, the Latin West, Anthony finally discusses the earliest visual depictions of the Transfiguration from the sixth century onward, drawn from a wealth of different art forms. Anthony concludes that ancient commentators and artists have a closer understanding of the mechanisms of vision with the writers of the New Testament than their modern commentators.

Peter Anthony explores how visionary elements in Luke's Gospel had a particular influence on early interpretation of the Transfiguration, by examining the rich hermeneutical traditions that emerged - particularly in the Latin West - as the Transfiguration was first depicted visually in art. Anthony begins by comparing the visual and visionary culture of antiquity with that of the present, and their differing interpretations of the Transfiguration. He then examines the Transfiguration texts in the synoptic gospels and their interpretation in modern scholarship, and the reception of the Transfiguration in 2 Peter, the Apocalypse of Peter and the Acts of Peter, Tertullian and Origen. Proceeding to look at interpretations found in the Greek East and the Latin West, Anthony finally discusses the earliest visual depictions of the Transfiguration from the sixth century onward, drawn from a wealth of different art forms. Anthony concludes that early commentators' and artists' understanding of how we see and visualise, and therefore, how the Transfiguration was apprehended, is closer to that of the writers of the New Testament than many modern interpreters' is.

All three Synoptic Gospels tell the story of Jesus's transfiguration. Yet there has been surprisingly little written about this key event, and many readers struggle to understand its significance and place in redemptive history, let alone how it might be applied. Here, Patrick Schreiner provides a clear and accessible study of the transfiguration with an eye toward its theological significance and practical application. Namely, this event points to Jesus's double sonship, revealing the preexistent glory of the eternal Son and the future glory of the suffering Messianic Son. Further, the transfiguration points to Christians' own formation and transfiguration. Schreiner traces the transfiguration theme through Scripture and employs hermeneutical, trinitarian, and christological categories to assist his exegesis, thus challenging modern readings. This enlightening study will be of interest to students, pastors, and serious lay readers.

Most people would agree that human perfection is unattainable. Indeed, theologians have typically expressed ambivalence about the possibility of human perfection. Yet, paradoxically, depictions of human perfection are widespread. In this volume, Robin Gill offers an interdisciplinary study of human perfection in contemporary secular culture. He demonstrates that the language of perfection is present in church memorials, popular depictions of sport, food, music and art, liturgy, and philosophy. He contrasts these examples with the socio-psychological concept of 'maladaptive perfectionism', using commercial cosmetic surgery as an example, as well as the 'adaptive perfectionism' suggested in the lives of Henry Holland, Paul Farmer, and, more ambivalently, Ludwig Wittgenstein. Gill then provides an in-depth analysis of New Testament and Septuagint usage of teleios and theological debates about the human perfection of Jesus. He argues that the Synoptic accounts of the Transfiguration offer a template for a Christian understanding of perfection that has important ecumenical implications within social ethics.

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A lushly illustrated, magisterial exploration of the imaginative truth of the gospel In the modern academy, truth and imagination are thought to be mutually exclusive. But what if truth can spring from other fonts, like art, literature, and invention? The legacy of the Enlightenment favors historical and empirical inquiry above all other methods for searching for truth. But this assumption stymies our theological explorations. Though the historicity of Jesus’s life, death, and resurrection is important, it is not of sole importance. For instance, is John’s Gospel any less “true” than the Synoptics just because it’s less historically accurate? David Brown challenges us to expand our understanding of the gospel past source criticism and historical Jesus studies to include works of imagination. Reading Scripture in tandem with works of art throughout the centuries, Brown reenvisions the gospel as an open text. Scholars of theology and biblical studies, freed from literalism, will find new avenues of revelation in Gospel as Work of Art. This volume includes over one hundred color illustrations.