Principles of Patristic Exegesis: Romans 9-11 in Origen, John Chrysostom, and Augustine

1986 ◽  
Vol 105 (1) ◽  
pp. 166
Author(s):  
Joseph F. T. Kelly ◽  
Peter Gorday
Keyword(s):  
John Chrysostom ◽  
Patristic Exegesis

John Chrysostom on Philemon: A Response To Margaret M. Mitchell

1995 ◽  
Vol 88 (1) ◽  
pp. 149-156
Author(s):  
Allen Dwight Callahan
Keyword(s):  
John Chrysostom ◽  
Patristic Exegesis

I thank Margaret M. Mitchell for her thoughtful criticisms of my article on the interpretation of Paul's Epistle to Philemon. She has pointed out certain limitations of my arguments, both on the culpability of John Chrysostom as the earliest disseminator of the familiar interpretation that Onesimus is a slave and runaway, against which I have inveighed, and also in other areas where, in her parlance, my constructive arguments seem vulnerable. I am gratified that my admittedly unconventional reading has been engaged seriously and thoughtfully by a colleague well versed in both the Pauline corpus and patristic exegesis.

Repentance According To St. John Chrysostom

1993 ◽  
Author(s):  
Athanasios G. Mellissaris
Keyword(s):  
John Chrysostom

Art, Craft, and Theology in Fourth-Century Christian Authors

2020 ◽  
Author(s):  
Morwenna Ludlow
Keyword(s):  
Fourth Century ◽  
Detailed Examination ◽  
Fine Art ◽  
Active Response ◽  
Gregory Of Nyssa ◽  
Starting Point ◽  
Shared Practice ◽  
John Chrysostom ◽  
Literary Techniques ◽  
Applied Arts

Ancient authors commonly compared writing with painting. The sculpting of the soul was a common philosophical theme. This book takes its starting-point from such figures to recover a sense of ancient authorship as craft. The ancient concept of craft (ars, technē) spans ‘high’ or ‘fine’ art and practical or applied arts. It unites the beautiful and the useful. It includes both skills or practices (like medicine and music) and productive arts like painting, sculpting, and the composition of texts. By using craft as a guiding concept for understanding fourth-century Christian authorship, this book recovers a sense of them engaged in a shared practice which is both beautiful and theologically useful, which shapes souls but which is also engaged in the production of texts. It focuses on Greek writers, especially the Cappadocians (Basil of Caesarea, Gregory of Nazianzus, and Gregory of Nyssa) and John Chrysostom, all of whom were trained in rhetoric. Through a detailed examination of their use of two particular literary techniques—ekphrasis and prosōpopoeia—it shows how they adapt and experiment with them, in order to make theological arguments and in order to evoke an active response from their readership.

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