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The fall of Communism in Eastern Europe opened up a new future—for theology, too, not least in Romania, perhaps of all Orthodox nations the most open to the West. Young Romanian Orthodox theologians seized the opportunity to study and research in the West, availing themselves of mentors and resources hitherto denied them; some have settled in the West, others returned home. This welcome volume displays a theological revival as young Romanian theologians draw on tradition and address new problems. We can discern here a welcome confidence in the Orthodox tradition, no longer on the defensive nor concerned to mark itself off from the theology of the ‘West’. It is a ‘generous Orthodoxy’ (a term that has been used of the theological approach of the late Metropolitan Kallistos), ready to share its treasures with other Christians and eager to learn from them and engage with them.
Over the last century unprecedented numbers of Christians from traditionally Orthodox societies migrated around the world. Once seen as an ‘oriental’ or ‘eastern’ phenomenon, Orthodox Christianity is now much more widely dispersed, and in many parts of the modern world one need not go far to find an Orthodox community at worship. This collection offers a compelling overview of the Orthodox world, covering the main regional traditions of Orthodox Christianity and the ways in which they have become global. The contributors are drawn from the Orthodox community worldwide and explore a rich selection of key figures and themes. The book provides an innovative and illuminating approach to the subject, ideal for students and scholars alike.
The essays collected in Jewish Roots of Eastern Christian Mysticism intend to honor Alexander Golitzin, a scholar known for his keen attention to the Jewish matrix of Eastern Orthodox spirituality. Following Golitzin's insights, this Festschrift explores influences of Jewish apocalypticism and mysticism on certain early and late Christian authors, including Irenaeus, Origen, Evagrius of Pontus, Pseudo-Dionysius, and Symeon the New Theologian. Special attention is given to Jewish theophanic traditions regarding the beatific vision of the divine Glory (Kavod), which profoundly shaped Eastern Christian theology and liturgy. This volume demonstrates that recent developments in the study of apocalyptic literature, the Qumran Scrolls, Gnosticism, and later Jewish mysticism throw new and welcome light on the sources and continuities of Orthodox theology, liturgy, and spirituality
Icons in Time, Persons in Eternity presents a critical, interdisciplinary examination of contemporary theological and philosophical studies of the Christian image and redefines this within the Orthodox tradition by exploring the ontological and aesthetic implications of Orthodox ascetic and mystical theology. It finds Modernist interest in the aesthetic peculiarity of icons significant, and essential for re-evaluating their relationship to non-representational art. Drawing on classical Greek art criticism, Byzantine ekphraseis and hymnography, and the theologies of St. Maximus the Confessor, St. Symeon the New Theologian and St. Gregory Palamas, the author argues that the ancient Greek concept of enargeia best conveys the expression of theophany and theosis in art. The qualities that define enargeia - inherent liveliness, expressive autonomy and self-subsisting form - are identified in exemplary Greek and Russian icons and considered in the context of the hesychastic theology that lies at the heart of Orthodox Christianity. An Orthodox aesthetics is thus outlined that recognizes the transcendent being of art and is open to dialogue with diverse pictorial and iconographic traditions. An examination of Ch’an (Zen) art theory and a comparison of icons with paintings by Wassily Kandinsky, Pablo Picasso, Mark Rothko and Marc Chagall, and by Japanese artists influenced by Zen Buddhism, reveal intriguing points of convergence and difference. The reader will find in these pages reasons to reconcile Modernism with the Christian image and Orthodox tradition with creative form in art.
Mystagogy: A Monastic Reading of Dionysius Areopagita proposes an interpretation of the Pseudo-Dionysian corpus in light of the liturgical and ascetic tradition that defined the author and his audience. Characterized by both striking originality and remarkable fidelity to the patristic and late neoplatonic traditions, the Dionysian corpus is a coherent and unified structure, whose core and pivot is the treatise known as the Ecclesiastical Hierarchy. Given Pseudo-Dionysius' fundamental continuity with earlier Christian theology and spirituality, it is not surprising that the church, and in particular the ascetic community, recognized that this theological synthesis articulated its own fundamental experience and aspirations. Alexander Golitzin is professor emeritus of patristics at Marquette University and a bishop in the Orthodox Church. He specializes in the origins of Eastern Christian ascetical and mystical tradition. He is the author of `Et introibo ad altare Dei': The Mystagogy of Dionysius Areopagita (Patriarchal Institute); St. Symeon the New Theologian on the Mystical Life: The Ethical Discourses, 3 vols. (St Vladimir's Seminary Press); and New Light from the Holy Mountain (St. Tikhon's Seminary Press), as well as several studies collected in The Theophaneia School: Jewish Roots of Christian Mysticism, ed. AndreiOrlov and Basil Lurie (Gorgias).
Explores the paradoxical symmetry between the divine and demonic in early Jewish mystical texts. Divine Scapegoats is a wide-ranging exploration of the parallels between the heavenly and the demonic in early Jewish apocalyptical accounts. In these materials, antagonists often mirror features of angelic figures, and even those of the Deity himself, an inverse correspondence that implies a belief that the demonic realm is maintained by imitating divine reality. Andrei A. Orlov examines the sacerdotal, messianic, and creational aspects of this mimetic imagery, focusing primarily on two texts from the Slavonic pseudepigrapha: 2 Enoch and the Apocalypse of Abraham. These two works are part of a very special cluster of Jewish apocalyptic texts that exhibit features not only of the apocalyptic worldview but also of the symbolic universe of early Jewish mysticism. The Yom Kippur ritual in the Apocalypse of Abraham, the divine light and darkness of 2 Enoch, and the similarity of mimetic motifs to later developments in the Zohar are of particular importance in Orlov’s consideration.
„Nu este nici cuvânt al ei, nici nume, nici cunoștință. Nu este nici întuneric, nici lumină, nici eroare, nici adevăr. Nu este defel nici postulare (thesis) a ei, nici îndepărtare (aphairesis). Ci, făcând postulările și îndepărtările a celor de după ea, nici nu o postulăm, nici nu o îndepărtăm, de vreme ce cauza deplină și una a tuturor este hyper toată postularea; și hyper toată îndepărtarea, ca cea care este preeminența (hyperoche) liberă de toate și dincolo de (epekeina) toate.” (Dionisie Areopagitul, Despre teologia mistică, V).
In Pre-Nicene Christology in Paschal Contexts Dragoş A. Giulea re-examines the earliest texts related to the festival of Easter in light of Second Temple traditions. Commonly portrayed as sacrificial lamb, the key actor of the paschal narrative is here designated as heavenly Kabod, Divine Image, King of the Powers, celestial Anthropos, Demiurge, Son of Man, each of these divine names implying a corresponding soteriological function. Dragoş A. Giulea indicates as well that the Greek philosophical vocabulary and certain idioms of the mystery religions inspired new categories which reshaped the traditional way of describing the nature of celestial entities and the epistemological capacities able to access these realities. Thus, the King of the Powers, or the Son of Man, is several times described as a noetic Anthropos, while initiation and noetic perception become the appropriate methods of accessing the divine.
Explores the paradoxical symmetry between the divine and demonic in early Jewish mystical texts. Divine Scapegoats is a wide-ranging exploration of the parallels between the heavenly and the demonic in early Jewish apocalyptical accounts. In these materials, antagonists often mirror features of angelic figures, and even those of the Deity himself, an inverse correspondence that implies a belief that the demonic realm is maintained by imitating divine reality. Andrei A. Orlov examines the sacerdotal, messianic, and creational aspects of this mimetic imagery, focusing primarily on two texts from the Slavonic pseudepigrapha: 2 Enoch and the Apocalypse of Abraham. These two works are part of a very special cluster of Jewish apocalyptic texts that exhibit features not only of the apocalyptic worldview but also of the symbolic universe of early Jewish mysticism. The Yom Kippur ritual in the Apocalypse of Abraham, the divine light and darkness of 2 Enoch, and the similarity of mimetic motifs to later developments in the Zohar are of particular importance in Orlov’s consideration.