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In Christian tradition, the name of the Biblical Thomas is connected primarily to the story of John 20: 27 in which the apostle in invited by Jesus to touch his tortured body. This invitation is the result of Thomas’ prior scepticism to the reality of the resurrection. Contrary to popular belief, the text of John does not indicate clearly if Thomas accepts Jesus’ offer. John creates a narrative gap for the readers to fill in, stimulating the reader to contemplate the (...) relationship between the notion of seeing, touching and believing, and their mutual dependency. In this historical-literary article, the author investigates this literary dependency in the synoptic gospels, John’s gospel, several apocryphal texts, and four famous paintings, all focussing on the character of Thomas, in search of the different ways in which these authors and artists try to fill in John’s apparent narrative gap. (shrink)

The ninth century Heliand is a poetic retelling of the New Testament in Old Saxon, written by an anonymous monk for the purpose of confirming the conversion his fellow Saxons to the new faith. This conversion had been forced upon them by the Frankish invaders. The author adepts the story of Jesus Christ to fit within the feudal Saxon society and precursory Nordic mythology. This contribution focuses on the Saxon rendering of the Lord’s Prayer as it is situated in the (...) context of the Sermon on the Mount. Several key differences between the Saxon version and its biblical original are pointed out. These mirror and illustrate the attempt of the anonymous author to inculturate Jesus’ message. Finally, it is shown how, by some subtle phrases in the text of the Heliand, the poet of the Heliand is including his Saxon audience to fit themselves spiritually into the biblical story. Through the Heliand, Jesus seems to speak directly to its readers, thus stimulating a transformation of the reader-or hearer-himself. (shrink)

In the discussion of religion and art, it is quite difficult to exactly define what makes art ‘religious’. In this article, the author suggest six different perspectives in which a work of art—any work of art—could be interpreted as ‘religious’, as an embodiment of the complex relationship between art and religion. These perspectives are not mutually exclusive: one and the same art work could be approached on multiple levels at once. Nor do they disqualify other methodologies of studying art and (...) religion. These perspectives provide conceptual windows to understand what people (could) mean when they discuss religious art. The six perspectives are: (1) material, (2) contextual, (3) referential, (4) reflexive, (5) ritual, and (6) existential. They vary from the more or less objective to the more subjective, and as such from artist-intended to viewer/listener-perceived (with or without help of clues provided by the artist and/or the object itself). The author illustrates who these different perspectives can vary in defining certain pieces of art as religious by using three very different case studies: the Isenheimer Altarpiece, one of Hugo Ball’s famous sound poems, and the digital game Child of Light. (shrink)