This interdisciplinary study explores Marian imagery and representations in world literature and art throughout the centuries, demonstrating the widespread deep veneration of the image of the Blessed Virgin Mary in various countries and different Christian traditions.
This interdisciplinary study explores Marian imagery and representations in world literature and art throughout the centuries, demonstrating the widespread deep veneration of the image of the Blessed Virgin Mary in various countries and different Christian traditions.
Elena V. Shabliy is visiting scholar at Harvard University.
Inhaltsangabe
Introduction: Ave Maria The Holy Mary as the Virgin Priest Chapter 1: The Flesh of Mary and the Body of Christ: Typological and Artistic Depictions of the Marian Priest Catholic Veneration of the Virgin Mary Chapter 2: Comparative Study of the Image of Virgin Mary of Cz¿stochowa and Virgin of Guadalupe The Mother of God in Byzantine Art Chapter 3: Fighting for the Spotlight: Mary in Byzantine Art and Literature The Blessed Virgin Mary in Medieval Times Chapter 4: Sing the Praise of Mary: Mariology in Medieval Latin Hymns The Virgin Mary in China and Japan Chapter 5: The Christian Bodhisttva in China: Sinicization of the Virgin Mary in Chinese Catholic Literature Chapter 6: The Mother of Sorrows as Hibakusha Conclusion
Introduction: Ave Maria The Holy Mary as the Virgin Priest Chapter 1: The Flesh of Mary and the Body of Christ: Typological and Artistic Depictions of the Marian Priest Catholic Veneration of the Virgin Mary Chapter 2: Comparative Study of the Image of Virgin Mary of Cz¿stochowa and Virgin of Guadalupe The Mother of God in Byzantine Art Chapter 3: Fighting for the Spotlight: Mary in Byzantine Art and Literature The Blessed Virgin Mary in Medieval Times Chapter 4: Sing the Praise of Mary: Mariology in Medieval Latin Hymns The Virgin Mary in China and Japan Chapter 5: The Christian Bodhisttva in China: Sinicization of the Virgin Mary in Chinese Catholic Literature Chapter 6: The Mother of Sorrows as Hibakusha Conclusion
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