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In this book, Curtis Gruenler proposes that the concept of the enigmatic, latent in a wide range of medieval thinking about literature, can help us better understand in medieval terms much of the era’s most enduring literature, from the riddles of the Anglo-Saxon bishop Aldhelm to the great vernacular works of Dante, Chaucer, Julian of Norwich, and, above all, Langland’s Piers Plowman. Riddles, rhetoric, and theology—the three fields of meaning of aenigma in medieval Latin—map a way of thinking about reading and writing obscure literature that was widely shared across the Middle Ages. The poetics of enigma links inquiry about language by theologians with theologically ambitious literature. Each sense of enigma brings out an aspect of this poetics. The playfulness of riddling, both oral and literate, was joined to a Christian vision of literature by Aldhelm and the Old English riddles of the Exeter Book. Defined in rhetoric as an obscure allegory, enigma was condemned by classical authorities but resurrected under the influence of Augustine as an aid to contemplation. Its theological significance follows from a favorite biblical verse among medieval theologians, “We see now through a mirror in an enigma, then face to face” (1 Cor. 13:12). Along with other examples of the poetics of enigma, Piers Plowman can be seen as a culmination of centuries of reflection on the importance of obscure language for knowing and participating in endless mysteries of divinity and humanity and a bridge to the importance of the enigmatic in modern literature. This book will be especially useful for scholars and undergraduate students interested in medieval European literature, literary theory, and contemplative theology.
Reprint of the original, first published in 1875. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.
While researching celestial mythology at Brigham Young University, John McHugh stumbled upon the arcane code that is the template for the legends and miracles in all Mesopotamian, Greek, Roman, Jewish, Christian, and Islamic scriptures. This code was embedded in the archaic Mesopotamian belief system that conceptualized the astral sky as the “heavens,” and its constellations and planets as deities inhabiting this divine realm. Celestial tableaux were understood as historical scenes that had once taken place on earth. Mesopotamian astronomers were regarded as magicians, the magi, whose task was to interpret and elaborate secretly on this “Heavenly Writing”— the literal writing of the gods. The Celestial Code of Scriptures is the first book to present and explain this secret Mesopotamian cipher.
This volume analyzes the emergence of Jewish and Christian discourses of religious violence within their Roman imperial context with an emphasis on the shared textual practices through which authoritative scriptural traditions were redeployed to represent, legitimate, and indeed sacralize violence.
How might one describe early Christian exegesis? This question has given rise to a significant reassessment of patristic exegetical practice in recent decades, and H. Clifton Ward makes a new contribution to this reappraisal of patristic exegesis against the background of ancient Greco-Roman education. In tracing the practices of literary analysis and rhetorical memory in the ancient sources, Clement and Scriptural Exegesis argues that there were two modes of archival thinking at the heart of the ancient exegetical enterprise: the grammatical archive, a repository of the textual practices learned from the grammarian, and the memorial archive, the constellations of textual memories from which meaning is constructed. In a new treatment of the theological exegesis of Clement of Alexandria-the first study of its kind in English scholarship-this study suggests that an assessment of the reading practices that Clement employs from these two ancient archives reveals his deep commitment to scriptural interpretation as the foundation of a theological imagination. Clement employs various textual practices from the grammatical archive to navigate the spectrum between the clarity and obscurity of Scripture, resulting in the striking conclusion that the figurative referent of Scripture is one twofold mystery, bound up in the incarnation of Christ and the higher knowledge of the divine life. This twofold scriptural mystery is discovered in an act of rhetorical invention as Clement reads Scripture to uncover the constellations of texts-about God, Christ, and humanity-that frame its entire narrative.
What is true of Scripture as a result of being inspired? What should divine inspiration cause us to expect from it? The answers to these questions in the early church related not just to the nature of Scripture's truth claims but to the manner in which Scripture was to be interpreted. In this book Michael Graves delves into what Christians in the first five centuries believed about the inspiration of Scripture, identifying the ideas that early Christians considered to be logical implications of biblical inspiration. Many books presume to discuss how some current trend relates to the "traditional" view of biblical inspiration; this one actually describes in a detailed and nuanced way what the "traditional" view is and explores the differences between ancient and modern assumptions on the topic. Accessible and engaging, The Inspiration and Interpretation of Scripture presents a rich network of theological ideas about the Bible together with critical engagement with the biblical text.