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Jesus, "was Heard" raises a lot of doubts because he prayed but still God allowed him to suffer and to die.
The purpose of this paper is to suggest that Hebrews 5:7 portrays the most righteous man of all, Jesus of Nazareth, in the Garden of Gethsemane asking God to save him from impending death; however, God denies this dimension of Jesus’ request in order to fulfill His own divine advances.
It is a protestant perspective on prayer. special emphasis is given to the prayer format and reflections of Luther, Calvin and Heiler. Then theology of prayer is also added as reflection.
The focus of this article is St. Thomas’s account of Christ’s prayer at ST III, q. 21. In this question His prayer in Gethsemane enjoys a particular prominence. At the outset Thomas reiterates what he has already said about prayer at question ST II-II, q. 83, in the course of a series of questions on the virtue of religion. In this regard, various texts indicate that prayer and subjection to God are intimately related. It should therefore be no surprise that Thomas places a question on Christ’s subjection to the Father before his treatment of Christ’s prayer. Christ’s obedience unto death on the Cross at once expresses both an attitude of perfect subjection to God and the ultimate realization of the virtue of religion. Since this attitude receives particular expression in his prayer in Gethsemane, Christ’s prayer can be said to possess a sacrificial character. The interpretation is further corroborated at question 22 of the tertia pars, which deals with Christ’s priesthood. Once again, Thomas’s treatment of the virtue of religion stands in the background, this time the question on sacrifice (ST II-II, q. 85). Of particular import is the idea that outward sacrifice points towards the “inward sacrifice” of “devotion, prayer, and other like interior acts.” The significance of Christ’s prayer in Gethsemane can be properly understood, however, only in the light of the doctrine of the hypostatic union, of which Christ’s prayer in general is a consequence. The first section thus engages with this doctrine.
Few biblical episodes have generated more theological interpretation across the centuries than that of Jesus praying in the Garden of Gethsemane, where he appears fearfully to resist the divine will in the moments before the passion sequence is initiated. Scholars of the early modern period, however, have tended not to notice how central the scene became in the wake of Protestant and Catholic reformation developments, renewed calls for spiritual selfexamination and the resurgent phenomenon of martyrdom. This article addresses this lacuna by arguing that, in the case of England, Jesus in Gethsemane not only held acute resonances across different confessions, but resulted in interpretations that perpetuated a new kind of subjectivity, and one that influenced modernity and its notions of the divided self in a state of faith and doubt.
2000
Este trabajo de grado está dedicado a nuestras familias, por el apoyo incondicional que nos han brindado durante todo este tiempo, con la comprensión y tolerancia que nos hace cada vez mejores personas y, más aún, mejores profesionales.
Vaccines
The coronavirus disease 2019 (COVID-19) pandemic resulted in the closure of schools to slow the spread of the virus across populations, and the administration of vaccines to protect people from severe disease, including school children and adolescents. In Zambia, there is currently little information on the acceptance of COVID-19 vaccines among school-going children and adolescents despite their inclusion in the vaccination programme. This study assessed the knowledge, attitudes, and acceptance of COVID-19 vaccines among secondary school pupils in Lusaka, Zambia. A cross-sectional study was conducted from August 2022 to October 2022. Of the 998 participants, 646 (64.7%) were female, and 127 (12.7%) would accept to be vaccinated. Those who were willing to be vaccinated had better knowledge (68.5% vs. 56.3%) and a positive attitude (79.1% vs. 33.7%) compared to those who were hesitant. Overall, the odds of vaccine acceptance were higher among pupils who had higher knowledge scores (AO...
Journal of the Short Story in English. Les Cahiers de la …, 2011
In "Silence," the final story of a trilogy including "Chance" and "Soon" anthologized in Runaway, the main protagonist suddenly finds herself estranged from her twenty-oneyear old daughter who decides to go incommunicado. While the story brings to the foreground a theme that runs through many stories by Alice Munro-the role of silence within the network of domestic relations-it offers one of Munro's most complex explorations of the reverberations of silence. As the young woman uses her silence as a weapon to sever the relationship with her mother, effectively wounding and punishing her, the short story first focuses on the power of silence. The reader then becomes aware that another loss, another dismissal and another silence lie at the heart of the story. Although "Silence" apparently reads like a tale of unresolved grief, a reversal of the values of silence is at work in the short story. As it weaves the fate of its heroines into a Greek tale and denies closure, the story leads us away from powerlessness to hope, from the politics of silence to a "rhetoric of silence." 1 2 In the opening scene, the main protagonist, Juliet, is on a ferry, crossing over to Denman Island to meet her daughter who has been spending six months on a retreat there. The crossing clearly signals a passage: Juliet will find Penelope gone, and this will change her life for ever. Penelope's disappearance and subsequent silence come as a complete shock to Juliet-if the reader accepts her point of view. In the first pages, Juliet's words to a woman she meets on the ferry and the silent speech she addresses to herself stress the strong bond between mother and daughter. She insists on Penelope's compassionate if not angelic nature: "she has grace and compassion […] She is also angelically pretty" (128). 2 Yet the silent speech simultaneously undermines the contentions it puts forward, giving the lie to this vision of Penelope. A comparison with a caryatid ("Molded, I should say, like a caryatid", 128) apparently aims at stressing Penelope's classic beauty; yet the association with a marble or stone pillar also suggests
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