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In the Cross of Christ not only is the Redemption accomplished through suffering, but also human suffering itself has been redeemed,. Christ, - without any fault of his own - took on himself "the total evil of sin". The experience of this evil determined the incomparable extent of Christ's suffering, which became the price of the Redemption. [8]
The poem, a rondeau, [3] has been cited as one of Dunbar's most famous poems. [4]In her introduction to The Collected Poetry of Paul Laurence Dunbar, the literary critic Joanne Braxton deemed "We Wear the Mask" one of Dunbar's most famous works and noted that it has been "read and reread by critics". [5]
One extreme example of redemptive suffering, which existed in the 13th and 14th centuries in Europe, was the Flagellant movement. As a partial response to the Black Death , these radicals, who were later condemned as heretics in the Catholic Church , engaged in body mortification, usually by whipping themselves, to repent for their sins , which ...
The concept of a victim soul is an unofficial belief derived from interpretations of the Catholic Church teachings on redemptive suffering.A person believes himself or is considered by others to be chosen by God to suffer more than most, accepting this condition based on the example of Christ's own Passion.
Harnack’s work was considered to be a rediscovering of the concept of the Hidden and Revealed God whereby ‘the notion of hiddenness expresses a double relation of God to the world: outside of Christ he is the free, all-working, majestic God of the Law; in Christ he is the gracious Redeemer who has bound himself to his Word and Sacraments ...
In Agony in the Garden, Jesus prays in the garden after the Last Supper while the disciples sleep and Judas leads the mob, by Andrea Mantegna c. 1460.. In Roman Catholic tradition, the Agony in the Garden is the first Sorrowful Mystery of the Rosary [8] and the First Station of the Scriptural Way of the Cross (second station in the Philippine version).
God the Father turning the press and the Lamb of God at the chalice. Prayer book of 1515–1520. The image was first used c. 1108 as a typological prefiguration of the crucifixion of Jesus and appears as a paired subordinate image for a Crucifixion, in a painted ceiling in the "small monastery" ("Klein-Comburg", as opposed to the main one) at Comburg.
This is an example of the Christian approach to the construction of a gospel harmony, in which material from different gospels is combined, producing an account that goes beyond each gospel. [3] [4] Since the 16th century, these sayings have been widely used in sermons on Good Friday, and entire books have been written on theological analysis ...