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Extrait: \"RONDON: Mon triste ami, mon cher et vieux voisin, Que de bon cœur j'oublierai ton chagrin! Que je rirai! Quel plaisir! Que ma fille Va ranimer ta dolente famille! Mais mons ton fils, le sieur de Fierenfat, Me semble avoir un procédé bien plat. EUPHÉMON: Quoi donc? RONDON: Tout fier de sa magistrature, Il fait l'amour avec poids et mesure. Adolescent qui s'érige en barbon, Jeune écolier qui vous parle en Caton, Est, à mon sens, un animal bernable;...\"À PROPOS DES ÉDITIONS LIGARANLes éditions LIGARAN proposent des versions numériques de qualité de grands livres de la littérature classique mais également des livres rares en partenariat avec la BNF. Beaucoup de soins sont apportés à ces versions ebook pour éviter les fautes que l'on trouve trop souvent dans des versions numériques de ces textes. LIGARAN propose des grands classiques dans les domaines suivants: • Livres rares • Livres libertins • Livres d'Histoire • Poésies • Première guerre mondiale • Jeunesse • Policier

This article investigates the concept of hospitality (xenia) in the ancient Mediterranean world and its relevance to contemporary migrant communities. To bridge the gap between ancient texts and modern experiences, we utilize a combined lens of contextual biblical hermeneutics and migration theory to analyze the Parable of the Returning Son (Luke 15:11–32), highlighting the inherent tensions and complexities of welcoming the stranger. Ethnographic research among Latin Pentecostal migrant congregations in the Nordic countries reveals how these communities embody xenia through tangible acts of welcome, risk-taking, and prodigal hospitality. This analysis demonstrates the vital role of hospitality in fostering community building within contexts of mobility. Furthermore, the concept of xenia helps address the limitations of applying modern migration theories directly to ancient contexts by providing a framework for understanding the continuity and evolution of hospitality practices across time and cultures.

In the article the author explores how the Bible could be art theoretically \"read\" in biblical paintings. Most hermeneutical approaches towards the problem are art historical in nature, focusing on standardised visual symbols in biblical artworks. However, less research is concerned with the formal nature of biblical artworks, that is with the understanding how in biblical paintings, the Bible could be \"read\" through shapes and their spatial and compositional relations. In the article the author exemplifies this hermeneutical problem by comparing The Parable of the Prodigal Son and Rembrandt's painting The Return of the Prodigal Son.

The parable of the Prodigal Son is traditionally viewed from an androcentric perspective, focusing on the male characters, such as the father and brothers. However, this article suggests that the original listeners may have perceived female characters as present and significant. It briefly explores the roles of the Prodigal’s mother and the father’s mother, proposing an alternative interpretation. Evidence indicates that a 1st-century audience might have envisioned a parallel narrative, termed ‘the Parable of the Two Mothers’, within the story. This imagined parallel parable could reflect the high-context understanding of the original hearers. The article aims to reconstruct this proposed parallel parable not only as a potentially imagined narrative within the Prodigal Son but also as a counter-narrative tool. This tool seeks to aid faith communities in addressing gender-based violence (GBV) by offering a narrative device that brings women’s voices to the forefront in congregational and social contexts.Intradisciplinary and/or interdisciplinary implicationsThe interdisciplinary nature of this article contributes to the debate on the roles and importance of women in the church by investigating the value that women had in the parables of Jesus. Furthermore, this article promotes an inclusive reading of biblical texts aiming to combat the pandemic of GBV in South African communities. By reading women as present in the text, emphasis is given to the voices of women in the Bible and the importance of their representation today. This research is also in line with the United Nations (UN) Sustainable Development Goal (SDG) 5: Gender equality and women empowerment.

The parables of Jesus have historically been attributed with a plethora of interpretations. The first hearers of the parables of Jesus had native (emic) knowledge of the social realities embedded in the parables told by Jesus, that is, cultural scripts present in the parables that might not be apparent to modern readers. Because of this, the modern reader of a parable might not be aware of all the different cultural scripts in a given parable, especially if these scripts are not specifically mentioned or explained by the gospel narrators. Using the parable of the Prodigal Son as an example, this study argues that there are voices in the parable most probably heard by its first hearers that modern hearers might not be aware of. These ‘muted’ voices not heard by modern readers of the parables often include the voices of women and other minority figures. In this study, a case is made for the possible value that a ‘realistic reading’ of familial parables could bring to the interpretation of the parables.Contribution: It is suggested that this reading can contribute to feminist biblical scholarship’s deconstruction and reconstruction of gender paradigms of Christian theology if the voices of women are ‘exhumed’ from or ‘unhidden’ within, patriarchal and androcentric texts.

The parable of the Prodigal Son in Luke 15 elicits profound responses and emotions in various times, places, and cultures. Why has it stood the test of time as one of Jesus’ most famous parables? One possible answer is that the story carries enduring appeal because of the underlying structure of the parable, a recurring pattern in literature called the monomyth. Peeling back the layers of the parable, one may uncover the foundational archetypes of the parable that make it timeless. Hidden significance of the parable may be illuminated by comparing its narrative to the hero quest of Joseph Campbell and the monomyth archetypes of Northrop Frye and Leland Ryken, both of which emphasize a cyclical movement that unifies all of literature. Also important are the specific archetypes within the general monomyth archetype, such as father and mother, bread and water. The parable also contains the four elements (mythoi) of the circular monomyth: romance, tragedy, anti-romance, and comedy. Using archetypal and myth criticism, this article demonstrates that the parable has enduring attraction because its underlying archetypes appeal to a deep layer of the human psyche and to what is elemental to the human experience.

Martín de Riquer apuntó en 1955 algunos parecidos entre el Fiel desengaño contra la ociosidad y los juegos (1603) de Francisco de Luque Fajardo y El celoso extremeño de Cervantes, que amplío y desarrollo, a mi vez, en el presente artículo. Tanto la obra de Luque como El celoso extremeño y La ilustre fregona (1613) reelaboran en distinto grado la parábola del hijo pródigo (Lucas 15:11-32), una suerte de microrrelato bíblico que parece haber interesado a ambos autores como elemento constructivo y referencia moral. In this article I explore similarities between Francisco de Luque Fajardo's Fiel desengaño contra la ociosidad y los juegos (1603) and Cervantes' El celoso extremeño, some of which were pointed to by Martín de Riquer in 1955. Luque's text, El celoso extremeño and La ilustre fregona (1613) rework to some extent the biblical parable of the prodigal son (Luke 15:11-32), a sort of biblical micro-story that seems to have been used as a constructive element and a moral reference by both authors.

This article focuses on Guercino’s Return of the Prodigal Son, commissioned in the name of Cardinal Alessandro Ludovisi and on his marketing choices. This is a case study in terms of self-promotion tactics employed by an ambitious artist. My argument is that one finds in the painting a secondary and more sophisticated level of interpretation, which relates to the relationship between the painter and his patron. To the most traditional iconography of the scene, Guercino added musicians and spectators, thus positioning the entire composition in the theatre. One of the musicians is depicted in a way that casts him as a representative of the painter. The patron understood Guercino’s intentions and commissioned what became Guercino’s most important artworks. It was Guercino’s ability of shifting the attention of a given iconography and deliver current political meaning that is discernible in his Roman works commissioned by the same Cardinal Ludovisi who was elected Pope Gregory XV.

In both Tobit and the parable of the Prodigal Son in Luke 15:11-32 there is featured a father-son relationship that revolves around the extended journey of the son and the son's return to his father. This paper explores the figure of the traveling son in Tobit in close parallel with that of the traveling son in Luke 15:11-32. The aim is to indicate not solely similarities and contrasts between the two narratives but to show how Tobit might have been used as a source for the Lukan composition.