By Heidi J. Hornik, Mikeal C. Parsons
Charting the theological and cultural efficiency of Acts around the timespan of Christian heritage, this paintings of profound scholarship finds the total quantity of the recent testomony book’s non secular, creative, literary, and political influence.
- Reveals the impression of Acts at key turning issues within the background of the Christian church
- Traces the wealthy and sundry creative and cultural historical past rooted in Acts, from song to literature
- Analyzes the political importance of the e-book as a touchstone within the church’s exterior relations
- Provides particular statement at the exegesis of Acts down the centuries
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Extra resources for Acts of the Apostles Through the Centuries
This skepticism regarding the historicity of Jesus’ ascension into heaven persisted among many twentieth‐century scholars. In 1942, Oxford University biblical scholar H. Wheeler Robinson queried whether the reference to the ascension in Acts 1 should be taken as “spatial in the literal sense” (1942, 201). ) who began his theological bombshell, Honest to God (1963), by asserting the impossibility of taking the ascension account literally. Dale Allison concludes that “whatever tradition may lie behind Acts 1:9–11, it is not likely to be very old” (2005, 260).
25; Cyp. Pat. 16; cf. Bovon 2006). 150– ca. 185–235) also make use of Acts. A list of fourth‐century sources containing references to Acts is illustrative of the material available: Apollinaris of Laodicea (310–390), Athanasius (295–373), Basil the Great (329–379), Didymus the Blind (ca. 313–98), Eusebius (260–339), Ephrem the Syrian (c. 306–373), “Commentary on Acts”; John Chrysostom (347–407), Homilies on the Acts of the Apostles; among others. Later authors include Arator (sixth century) On the Acts of the Apostles.
13r), the ascension (fol. 13v), Christ enthroned (fol. 14r), and Pentecost (fol. 14v). ) and also contains Acts. The figure of Christ is positioned in a mandorla (almond‐shaped frame) with his right hand in a blessing gesture and his left holding a scroll. The background of the mandorla is an aquamarine blue. Christ, flanked by two angels, is bearded and wears a golden nimbus (a special type of halo reserved for Christ that reveals the arms of the cross). Two additional angels on either side of Christ, clothed in pale blue gowns with rose‐colored mantles, offer crowns to Christ.