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Apart from the Christians, the book also touches upon the Manichaeans, Buddhists, Zoroastrians and other Sogdians, their languages, faiths, and material remnants.
Apart from the Christians, the book also touches upon the Manichaeans, Buddhists, Zoroastrians and other Sogdians, their languages, faiths, and material remnants.
Contributors are: Nadeen Mustafa A Alsulaimi, María Enid Barga, Bede Benjamin Bidlack, André van der Braak, Francis X. Clooney, Catherine Cornille, Jonathan Edelmann, Marianne Farina, James L. Fredericks, Rouyan Gu, Paul Hedges, Holly Hilgardner, Daniel Joslyn-Siemiatkoski, Louis Komjathy, Christian S. Krokus, LAI, Pan-chiu, Kristin Johnston Largen, John Makransky, Jerry L. Martin, Vahid Mahdavi Mehr, Marianne Moyaert, Emmanuel Nathan, Robert Cummings Neville, Hugh Nicholson, Jerusha Tanner Rhodes, Devorah Schoenfeld, Klaus von Stosch, Axel Marc Oaks Takacs, Pim Valkenberg, Maureen L. Walsh, Kijin James Wu
Contributors are: Nadeen Mustafa A Alsulaimi, María Enid Barga, Bede Benjamin Bidlack, André van der Braak, Francis X. Clooney, Catherine Cornille, Jonathan Edelmann, Marianne Farina, James L. Fredericks, Rouyan Gu, Paul Hedges, Holly Hilgardner, Daniel Joslyn-Siemiatkoski, Louis Komjathy, Christian S. Krokus, LAI, Pan-chiu, Kristin Johnston Largen, John Makransky, Jerry L. Martin, Vahid Mahdavi Mehr, Marianne Moyaert, Emmanuel Nathan, Robert Cummings Neville, Hugh Nicholson, Jerusha Tanner Rhodes, Devorah Schoenfeld, Klaus von Stosch, Axel Marc Oaks Takacs, Pim Valkenberg, Maureen L. Walsh, Kijin James Wu
Abstract
This article centres on the emblem book Jesus en de Ziel, Een Geestelycke Spiegel voor ’t Gemoed, first published in Amsterdam in 1678, with texts and images composed by Jan Luyken. From the time of its first publication, the book was part of the literary devotional life of the Dutch Republic, undergoing numerous editions and reprints, at least until the final decades of the eighteenth century. Using the information provided by Book Sales Catalogues, the article explores different modes in which Jesus en de Ziel was consumed, paying attention to the material conditions under which the object was provided and acquired by the consumer. The emblem book, as a religious object, was constantly reconfigured and mobilized by their manufacturers, their providers, and by the consumers themselves. I argue that these patterns of consumption, elucidated by the catalogues, can make a fundamental contribution for historical and cultural research on religious practices.
Abstract
“A Brief Sketch of the Christian Faith,” published in 1632, was written by Conradus Vorstius in 1620, at the request of Johannes Uytenbogaert. Uytenbogaert needed a Confession for the Remonstrant Society he had just founded, and asked Vorstius to assist the committee that was established for its production. Vorstius, who at the time lived in difficult conditions, was unable to deliver a full text, but managed to provide this Sketch, which was subsequently used by Simon Episcopius to compose his famous Remonstrant Confession. Vorstius’s sketch was never intended for publication.
Abstract
Everard appears frequently in studies of English antinomianism. His sermons, printed posthumously in 1653, reveal a startling array of influences, from Maimonides to Nicholas of Cusa, and a propensity for extravagant glosses on scripture. Notably, Everard saw the gospel as an allegory for the spiritual regeneration of the reader. The literal or ‘living’ sense of scripture played out in the annihilation and resurrection of the individual conscience-as-script. Starting with those few divines who chose to celebrate rather than disparage him, this article considers Everard’s work as a particularly colorful, but not altogether unrepresentative, sample in the thorny history of sixteenth and seventeenth century Protestant hermeneutics. Specially, Everard’s work constitutes a unique merger of an older spiritual tradition with Protestant discourse on the literal sense which not only addressed long-standing issues in Puritan thought but had a real claim to the mainstream in Cromwell’s England.