No abstract

No abstract

No abstract

Within the discussion of religious art there arises the fascinating question of how art can engender the awareness of those special (hierophanous) moments in culture where the sacred dimension breaks through into otherwise profane experience. This question requires a consideration of the peculiar relationship which a given art form has to its world (e.g., imitation vs. interpretation, recording vs. transformation).The special potency of cinematic art in its relationship to physical and spiritual reality, and to surface and depth, is the subject of the present article. While religion-and-film discussions frequently focus upon religious themes in film, the purpose of the following analysis is that of considering a theology of film, taking account of fundamental questions of cinematic theory. Among thinkers whose systems suggest possibilities for dialogue are theologian (Paul Tillich), a phenómenologist (Mikel Dufrenne) and a “school” of film theorists, including especially the followers of André Bazin.

This article surveys the debate about the unity of Luke-Acts in recent scholarship. The study concentrates on monographs and articles written after Mikael C. Parsons and Richard I. Pervo's volume Rethinking the Unity of Luke and Acts, and identifies the recent contribution that reception-history studies have brought to the debate. This is followed with a brief analysis of the flashpoints in the debate, and a discussion of what is at stake for Lukan studies.