Daughter Of God Research Articles

Píslarsaga Krists í píslarsögu konu. Kvikmynd Dreyers um píslir og dauða Jóhönnu af Örk

In his movie, The Passion of Joan of Arc (1928), the Danish director, Carl Theodor Dreyer, presents a powerful representation of the medieval martyr. Dreyer’s film is not about Joan’s life itself, only the trial and her execution, i.e. her passion-story. During the trial the main focus is on the question about the truth of her revelations and whether she really is the daughter of God, she claims to be. Despite her young age it is evident that she poses a significant threat to the spiritual as well as worldly authorities. Her threat to the spiritual authorities has to do with her doubting their monopoly on salvation. When she refuses to recant, and to stop dressing as a man (which she claims to be God’s will), her destiny is set. The soldiers mock her and put a crown (made out of straw) on her head, before she is sent to the stake. She is burned with a sign above her head with the words idolater, heretic and apostate written on it. The aim of this article is to explore Dreyer’s portrayal of Joan of Arc in his film as a female Christ-Figure. At the same time, I will argue that the film can serve as an important dialogue partner in ongoing Christological discourse. The conclusion is that Dreyer’s Joan provides a vivid image of Jesus Christ that challenges our fixation on Jesus’ maleness, and helps us to understand better what we really mean when we claim that God, dressed-in flesh, became human, like us, female or male.

CAHİLİYE DEVRİ ARAPLARINDA DİN ANLAYIŞI

CAHİLİYE DEVRİ ARAPLARINDA DİN ANLAYIŞI

Репрезентация концепта юмо «бог» в марийских народных песнях

The article is devoted to the analysis of the religious views of Mari, which are reflected in such genres of folklore as guest and wedding songs. The purpose of the article is to identify ways and means of representing the concept of humo «god» in Mari folk songs. Research methods: continuous sampling, comparative method, component analysis. Results, discussion. The following characters of the Mari pantheon are represented in the songs: the Bright God, the predecessor, the mother of God, the mother of the earth, the mother of wealth, the angel, the daughter of God, the prophet, the daughter of the prophet, the son of the prophet, and the bridegroom prophet. Conclusion. The content of folk songs also presents some stories from mythology, fragments of religious rites and the foundations of the creed of the Mari traditional religion.

Jane Shaw, Octavia Daughter of God: The Story of a Female Messiah and her Followers (London: Jonathan Cape, 2011), pp. xvii + 397.

Jane Shaw, Octavia Daughter of God: The Story of a Female Messiah and her Followers (London: Jonathan Cape, 2011), pp. xvii + 397.

Sister Malia Tu‘ifua: Descendant of chiefs, daughter of God

This portrait of Sister Tu‘ifua (1924-2007), explores the life of high-ranking Halakihe‘umata Tu‘ifua from her inauspicious birth in Lapaha, Tonga, to her profession in becoming a Roman Catholic nun and her subsequent work for the church. The account details several features of her early life: her love of dancing and performing, her interaction with American servicemen during the Second World War, and her reason for becoming a nun. It then follows Sister Tu‘ifua's career: teaching children, development work with Tongan women and, latterly, her international role and work for the betterment of the poorest of Tongan people.

Sister Malia Tu‘ifua: Descendant of chiefs, daughter of God

This portrait of Sister Tu‘ifua (1924-2007), explores the life of high-ranking Halakihe‘umata Tu‘ifua from her inauspicious birth in Lapaha, Tonga, to her profession in becoming a Roman Catholic nun and her subsequent work for the church. The account details several features of her early life: her love of dancing and performing, her interaction with American servicemen during the Second World War, and her reason for becoming a nun. It then follows Sister Tu‘ifua's career: teaching children, development work with Tongan women and, latterly, her international role and work for the betterment of the poorest of Tongan people.

Review: Octavia, Daughter of God: The Story of a Female Messiah and Her Followers, by Jane Shaw

Book Review| May 01 2013 Review: Octavia, Daughter of God: The Story of a Female Messiah and Her Followers, by Jane Shaw Octavia, Daughter of God: The Story of a Female Messiah and Her Followers. By Jane Shaw. Yale University Press, 2011. xviii + 398 pages. $26.60 cloth. Margrethe Løøv Margrethe Løøv 1University Of Bergen Search for other works by this author on: This Site PubMed Google Scholar Nova Religio (2013) 16 (4): 146–148. https://doi.org/10.1525/nr.2013.16.4.146 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Margrethe Løøv; Review: Octavia, Daughter of God: The Story of a Female Messiah and Her Followers, by Jane Shaw. Nova Religio 1 May 2013; 16 (4): 146–148. doi: https://doi.org/10.1525/nr.2013.16.4.146 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentNova Religio Search This content is only available via PDF. © 2013 by The Regents of the University of California2013 Article PDF first page preview Close Modal You do not currently have access to this content.

Octavia, daughter of God. The story of a female messiah and her followers. By Jane Shaw. Pp. xviii+398 + 16 plates. London: Jonathan Cape, 2011. £18.99. 978 0 224 07500 8

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JANE SHAW. Octavia, Daughter of God: The Story of a Female Messiah and Her Followers.

Jane Shaw's book explores the history of the Panacea Society, founded in 1919 by Mabel Bartrop, a curate's widow and a mother of four children. As Shaw outlines in her preface, some seventy members of the society lived together in Bedford in the 1920s and 1930s, and membership peaked in 1923 at 130,000 in Britain and throughout the world. Bartrop was renamed Octavia by her followers, who believed she was a female messiah. The book is organized into three sections. Part one successfully contextualizes Bartrop, a woman of vulnerable mental health, as a “seeker” disillusioned with the limitations (for women) of the Church of England and for whom the prophecies of Joanna Southcott, the nineteenth-century Devonian servant who still had 10,000 followers in the 1910s, had great appeal. This section also charts the development of Bartrop's circle and the emergent belief that she was Shiloh, Southcott's spiritual child. Shaw discusses the popularity of Bartrop's woman-centric theology among the growing group of women who gathered around her. Middle class and pro-suffrage, many of Bartrop's followers were inclined toward movements like vegetarianism, Theosophy, and spiritualism, and all were critical of the failure of the Church of England to meet their spiritual needs and allow women to develop meaningful roles.

Octavia, Daughter of God: The Story of a Female Messiah and Her Followers, by Jane Shaw.

<i>Octavia, Daughter of God: The Story of a Female Messiah and Her Followers</i>, by Jane Shaw.

Octavia, daughter of God: the story of a female messiah and her followers

Octavia, daughter of God: the story of a female messiah and her followers

Viramma: life of an untouchable

walked forward with my head lowered, my heart heavy and my tears readyu to fall. But I was all alone in feeling like this: around me it was a holiday, the streets were swept and strewn with coconut leaves, the sky was blue and cloudless ...As if I was in a trance, I felt hands putting the tali around my neck and tying three knots in the string. Without thinking I prostrated myself before the burning camphor. We were married. Viramma recalls her marriage at the age of 11. Virrama tells her fascinating life story with the unsentimentality, humour and dramatic sense of a born storyteller: her care free childhood; her marriage before puberty; giving birth to twelve children 'very gently, like stroking a rose'; adult life as an agricultural worker 'condemned to bake in the sun'; tales of gods and malign forces, like Irsi Katteri 'the foetus-eater', who cast their shadows over her daily life. Told over ten years to Josiane and Jean-Luc Racine, this is an intensely personal and moving self-portrait, informed by a sense of profound social change in contemporary India. To emancipationists Viramma is a Dalit, one of the oppressed; to Gandhians she is Harijan, a daughter of God; in her village she is still treated as an Untouchable, a Pariah. In this remarkable book she reveals the world of an extraordinary woman living at the very margins of Indian society.

Faith as Freedom: Solidarity with the Alienated and Confidence in the Future

AbstractAn introductory discussion of Christian perspectives on freedom is followed by a consideration of the developments that preceded the genesis of Liberation Theology. That leads into the issues: Given the complexity of contemporary structures in a technological society where the number of those marginated by the system has become acute, who is my neighbor and how do I concretely love him or her? Transformation of history requires action flowing from faith and a willingness to live conflict. But how does one announce God as Father in a non-human world? What are the implications when we tell a non-person that he or she is a son or daughter of God? Believers must develop a critical consciousness and a praxis which confronts the actual conditions of life. To be a Church is to be in solidarity with all who suffer but we must remember that the gospel message is not ideological since it does not identify with any social form. It hopes against hope.

The Mystery of Marriage in the Gospel of Philip

In the Old Testament one of the most striking analogies provided to the relation of God with Israel is derived from human marriage. This analogy does not come as a complete surprise when one recalls the importance of marriage in the patriarchal narratives and in the story of creation. The prophet Hosea did not entirely lack precedents when he acted out a parable of the relation of God to Israel in his marriage to the faithless Gomer. God loves Israel as a husband loves his wife; and in Hosea's parabolic action this love was revealed as established in grace rather than based on works. Among some of the rabbis the covenant at Sinai was treated as God's wedding with Israel 1. It is significant, however, that in Judaism only God was the husband. Neither Moses nor any messianic figure ever took his place 2. The Philonic allegories of the union of the soul with the Logos, or even with Wisdom, the daughter of God, seem to be the product of an individual's exegesis and they refer to individuals, not to a community 3. In two Matthaean parables, those of the Wedding Banquet (22:2-14) and the Wise and Foolish Virgins (25:1-13), the coming reign of God is portrayed as a wedding, but is by no means clear that Jesus is the bridegroom. On the other hand, according to Mark 2:19 (and parallels) Jesus referred to himself as a bridegroom and stated that the sons of the bridechamber could not fast