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Russian Christ

The Struggle of the Russian Orthodox Church to Introduce Religion into the Curriculum in the First Decade of the Twenty-first Century

Victor A. Shnirelman

Interest in the social role of religion, including religious education (RE), is on the increase in the European Union. Yet whereas Western educators focus mostly on the potential of religion for dialogue and peaceful coexistence, in Russia religion is viewed mostly as a resource for an exclusive cultural-religious identity and resistance to globalization. RE was introduced into the curriculum in Russia during the past ten to fifteen years. The author analyzes why, how, and under what particular conditions RE was introduced in Russia, what this education means, and what social consequences it can entail.

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Mario Slugan

Pia from 1898 (Wikimedia Commons, PD-1923). More important than what the image depicts is the belief that the image is made out of Christ’s sweat and blood, that is, out of actual parts of his body . Precisely the same relevant properties obtain in the

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Carl Plantinga

back, his body pierced by arrows, his arms splayed to the sides in an obvious reference to the sacrifice of Jesus Christ on the cross. The film did very well at the box office, with a lifetime gross revenue of over $450 million, which led to a sequel

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Enis Sulstarova

Christians and Christ by claiming that Christ was neither a holy man nor a god, but rather a prophet like all the others. The early Muslims believed that there was only one true god for all humanity. Thus, the Muslim Arabs and other peoples who embraced the

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Todd Berliner

-life situations. By contrast, ideologically complicated Hollywood films—such as The Third Man (|Carol Reed, 1949), Invasion of the Body Snatchers (Don Siegel, 1956), The Last Temptation of Christ (Martin Scorsese, 1988), and The Dark Knight (2008)—advance

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Elemental Imagination and Film Experience

Climate Change and the Cinematic Ethics of Immersive Filmworlds

Ludo de Roo

in rich or poor countries. Indeed, instead of schematizing the environment as merely a cognitive construct, Tim Christion Myers (2014) rightly points out that climate change must be taken as an existential threat; accordingly, ecocinema theory must

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Todd Berliner

audience's aesthetic experience, such as The Asphalt Jungle (John Huston, 1950), Die Hard (John McTiernan, 1988), The Last Temptation of Christ (Martin Scorsese, 1988), Starship Troopers (Paul Verhoeven, 1997), and other films in which ideological

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Daniela R. P. Weiner

religious education. Gaetano Salvemini and George La Piana were also highly critical, writing in 1943 that in primary school history grammar and religion textbooks “portraits of the Duce … rub elbows with the image of Christ. In the minds of the children

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“Loving and Cruel, All at the Same Time”

Girlhood Identity in The Craft

Emily Chandler

calls out, “I can feel you in me! I am your daughter now.” This positions Nancy “in Christlike terms, but as a perversion, an anti-Christ of sorts” ( P. Thomas 2009: 225 ). Sarah and Nancy are depicted as opposite sides of the same coin. While Sarah does

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Where to from Here?

Emerging Conversations on Girls’ Literature and Girlhood

Dawn Sardella-Ayres and Ashley N. Reese

Christ-like metaphorical turn as well, with the heroines becoming incapacitated in order to enact change. For Pollyanna, only when she is temporarily paralyzed is she able to transform Aunt Polly into the mother figure Pollyanna desires ( Reese 2014 ). It