| 1. |
- Heffermehl, Fabian
(author)
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Bildet sett fra innsiden : Ikonoklastiske og matematiske konsepter i Florenskijs omvendte perspektiv
- 2015
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Doctoral thesis (other academic/artistic)abstract
- For the Armenian-Russian mathematician, theologian and art-theoretician Pavel Florensky (1882–1937), the so-called reverse perspective of the Byzantine cult-image (in Greek: eikon) functioned not only as a phenomenon within painting, but also as an expression of a world-view that should ultimately define a cultural distinction between Russia and Europe. Florensky argued in various ways that the Russian-Orthodox reverse perspective represents ethical and aesthetical values that are superior to the Western linear perspective. He saw the lack of an exact definition of depth in the icon as an expression of true religious orientation towards a spiritual realm, which cannot be described within frames of our earthly – or Euclidean – categories of space and time. In other words, the reverse perspective became regarded as a real reversal of Western painting, requesting a different space, a different observer, and a different concept of reality.This dissertation is an “archeological excavation” in the 20th century Russian-Orthodox icon theology. By analyzing theories of Florensky in the first line, and also a number of his contemporaries and predecessors, I identify a complex of different layers similar to a palimpsest. In this palimpsest, archaism, paganism, patristic theology, and romanticism interact with a modern re-conceptualization of the medieval Orthodox icon. However, in a usual palimpsest the old letters shine through the new ones; Florensky, on the contrary, seems to project paradigms of his contemporary culture and science into his description of the medieval icon. In this case, would the reverse perspective not instead be a reverse palimpsest, where new texts become visible in the old texts? With this question, my dissertation introduces an approach to Florensky and the icon that is more complex than what has been the case in earlier research. A usual explanation of the formal aesthetics of the icon is that the icon painter directs his/her spirit towards Heaven and, consequently – and in contrast to the Renaissance painter – does not try to make a mimesis of the earthly things. However, I argue that this dichotomy between a profane and spiritual mentality should be regarded both as a condition for Florensky’s world view and, at the same time, as a construction produced by his thinking.
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| 2. |
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| 3. |
- Arentzen, Thomas, 1976-
(author)
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Fromme trær i tidlig kristendom
- 2020
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In: Svensk teologisk kvartalskrift. - 0039-6761. ; 96:2, s. 119-132
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Journal article (other academic/artistic)abstract
- It is often claimed that in Christian tradition trees and plants are reduced to passive material created for human exploitation, that the only important living creatures are Adam and Eve. But could such a view have less to do with Christianity as a religion and more to do with Cartesian notions in Western modernity? Earlier Christians undoubtedly exhibited a fascination with trees that exceeded a mere interest in the wood of the Cross or typologies thereof. According to literature produced by pre-modern Christians, they interacted actively with the arboreal realm, and trees interacted with them. The same body of literature suggests a sense of affinity between human beings and wooden beings. Exploring diverse texts about trees from the first Christian millennium, the article demonstrates that many Christians ascribed agency to plants. Trees could behave and communicate in various ways, those studied here were pious and acted with devotion in relation to the holy.
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| 4. |
- Arentzen, Thomas, docent, 1976-
(author)
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Trærnes evangelium
- 2023
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In: Vårt land. ; , s. 32-34, s. 32-32
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Journal article (pop. science, debate, etc.)
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| 5. |
- Arentzen, Thomas
(author)
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Ingen frelses alene
- 2010
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In: Nytt Norsk Kirkeblad. - 0800-1642. ; 6, s. 48-50
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Journal article (pop. science, debate, etc.)
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| 6. |
- Arentzen, Thomas, 1976-
(author)
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Livnende stoff, elementers lengsel : En nymaterialistisk inngang til Elias Blix’ dåpssalme (145)
- 2021
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In: SANG. - 2597-0518. ; :1-2, s. 57-67
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Journal article (peer-reviewed)abstract
- As the father of Lutheran hymns in the Norwegian Nynorsk language, Elias Blix (1836-1902) looms in the Scandinavian country’s songculture, and his compositions remain popular, both inside and outsidethe church. Blix lent significant space to the more-than-human in his poetry, expressing the Christian gospel in the changing of seasonsor the budding of plants. This article explores a baptismal hymn from a new-materialist perspective. It demonstrates how the poet cast the initiation rite as a dynamic, erotic dance between the two elements of water and spirit/breath/air. With what one might call an ecocentric sensibility, Blix adumbrated a Christian understanding that decenters the human, as baptismal transformation unfolds with the agency of the elements.
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| 8. |
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| 9. |
- Gardell, Mattias, 1959-
(author)
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Islamofobi
- 2011. - 2
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Book (peer-reviewed)
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| 10. |
- Guth, Stephan
(author)
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Moderne arabisk prosa : en oversikt
- 2012
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In: Orientalia Suecana. - Uppsala. - 0078-6578 .- 2001-7324. ; 61:Supplement, s. 119-137
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Journal article (peer-reviewed)abstract
- The article is a concise survey of modern Arabic prose from the middle of the 19th century AD until our days, with a focus on developments in Egypt and the Levant. The history of this literature is divided into seven major periods. An eighth section deals with the role Islamic religion has in novels and short stories among other prominent topics.
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