Search results for "Apocrypha"
showing 3 items of 13 documents
Shaping women's agency through temporality in "The life and activity of the holy and blessed teacher Syncletica"
2020
The present article attempts to discuss the relationship between two female characters, Thecla and Syncletica, against the wider theoretical background of temporality as it was perceived and construed through literary texts. Syncletica is portrayed as a ‘disciple’ of Thecla. However, while the apocryphal Acts of Paul and Thecla appear to be pervaded with an eschatological expectation, the Life of Saint Syncletica shows signs of a different temporality. The detailed description of the whole life of Syncletica, with an emphasis on the course of illness, reveals a temporality more focused on the stages of life. Building on this evidence, I aim to identify a set of key features that…
Apocryphal Passions of the Apostles in Croatian Glagolitic Texts
2020
In the course of the Middle Ages, apocryphal and hagiographic texts of The Acts of the Apostles of various origins became part of the Croatian Glagolitic literature. The Passion of Saint Andrew, for example, is documented in the sanctorale of nineteen Croatian Glagolitic breviaries dating from the period between the 14th and mid-16th centuries. The Glagolitic Passion is an abbreviated translation of the Latin Epistula presbyterorum et diaconorum Achaiae (BHL 428) from the 6th century. The texts of the Passion of Jamesthe Apostle (Jacobus Maior, apost., filius Zebedaei, frater Johannis, Passio, BHL 4057) are found in two Glagolitic breviaries, namely the Breviary of Vitus of Omi?alj (1396) a…
Nowe filmy biblijne - między ortodoksją a apokryfem
2016
Although biblical movies could be considered an almost defunct genre, television and cinema audiences in the first years of the 21st century are discovering a new interest of producers, motivated more by the desire for profit than by religious reasons. Among films, modern audiovisual apocrypha, we can observe new tendencies: animated feature films aimed at large family audiences, the appearance of a “professional Jesus” (Bruce Marchiano), and the tendency to put the figure of historical Jesus in modern ahistorical situations and in racial contexts (black Jesus).