title: Johannes Brahms

text: Despite the warm reception the first symphony received, Brahms remained dissatisfied and extensively revised the second movement before the work was published. There followed a succession of well-received orchestral works: the Second Symphony Op. 73 (1877), the Violin Concerto Op. 77 (1878), dedicated to Joachim who was consulted closely during its composition, and the "Academic Festival Overture" (written following the conferring of an honorary degree by the University of Breslau) and "Tragic Overture" of 1880. The commendation of Brahms by Breslau as "the leader in the art of serious music in Germany today" led to a bilious comment from Wagner in his essay "On Poetry and Composition": "I know of some famous composers who in their concert masquerades don the disguise of a street-singer one day, the hallelujah periwig of Handel the next, the dress of a Jewish Czardas-fiddler another time, and then again the guise of a highly respectable symphony dressed up as Number Ten" (referring to Brahms's First Symphony as a putative tenth symphony of Beethoven).


title: Johannes Brahms

text: Brahms was now recognised as a major figure in the world of music. He had been on the jury which awarded the Vienna State Prize to the (then little-known) composer Antonín Dvořák three times, first in February 1875, and later in 1876 and 1877 and had successfully recommended Dvořák to his publisher, Simrock. The two men met for the first time in 1877, and Dvořák dedicated to Brahms his String Quartet, Op. 34 of that year. He also began to be the recipient of a variety of honours; Ludwig II of Bavaria awarded him the Maximilian Order for Science and Art in 1874, and the music loving Duke George of Meiningen awarded him in 1881 the Commander's Cross of the Order of the House of Meiningen.


title: Johannes Brahms

text: At this time Brahms also chose to change his image. Having been always clean-shaven, in 1878 he surprised his friends by growing a beard, writing in September to the conductor Bernhard Scholz: "I am coming with a large beard! Prepare your wife for a most awful sight." The singer George Henschel recalled that after a concert "I saw a man unknown to me, rather stout, of middle height, with long hair and a full beard. In a very deep and hoarse voice he introduced himself as 'Musikdirektor Müller' ... an instant later, we all found ourselves laughing heartily at the perfect success of Brahms's disguise". The incident also displays Brahms's love of practical jokes.


title: Johannes Brahms

text: In 1882 Brahms completed his Piano Concerto No. 2, Op. 83, dedicated to his teacher Marxsen. Brahms was invited by Hans von Bülow to undertake a premiere of the work with the Meiningen Court Orchestra. This was the beginning of his collaboration with Meiningen and with von Bülow, who was to rank Brahms as one of the 'Three Bs'; in a letter to his wife he wrote: "You know what I think of Brahms: after Bach and Beethoven the greatest, the most sublime of all composers." The following years saw the premieres of his Third Symphony, Op. 90 (1883) and his Fourth Symphony, Op. 98 (1885). Richard Strauss, who had been appointed assistant to von Bülow at Meiningen, and had been uncertain about Brahms's music, found himself converted by the Third Symphony and was enthusiastic about the Fourth: "a giant work, great in concept and invention". Another, but cautious, supporter from the younger generation was Gustav Mahler who first met Brahms in 1884 and remained a close acquaintance; he rated Brahms as superior to Anton Bruckner, but more earth-bound than Wagner and Beethoven.


title: Johannes Brahms

text: In 1889, Theo Wangemann, a representative of the American inventor Thomas Edison, visited the composer in Vienna and invited him to make an experimental recording. Brahms played an abbreviated version of his first Hungarian Dance and of Josef Strauss's "Die Libelle" on the piano. Although the spoken introduction to the short piece of music is quite clear, the piano playing is largely inaudible due to heavy surface noise.


title: Johannes Brahms

text: Brahms had become acquainted with Johann Strauss II, who was eight years his senior, in the 1870s, but their close friendship belongs to the years 1889 and after. Brahms admired much of Strauss's music, and encouraged the composer to sign up with his publisher Simrock. In autographing a fan for Strauss's wife Adele, Brahms wrote the opening notes of "The Blue Danube" waltz, adding the words "unfortunately not by Johannes Brahms".


title: Johannes Brahms

text: After the successful Vienna premiere of his Second String Quintet, op. 111, in 1890, the 57-year-old Brahms came to think that he might retire from composition, telling a friend that he "had achieved enough; here I had before me a carefree old age and could enjoy it in peace." He also began to find solace in escorting the mezzo-soprano Alice Barbi and may have proposed to her (she was only 28). His admiration for Richard Mühlfeld, clarinettist with the Meiningen orchestra, revived his interest in composing and led him to write the Clarinet Trio, Op. 114 (1891); Clarinet Quintet, Op. 115 (1891); and the two Clarinet Sonatas, Op. 120 (1894). Brahms also wrote at this time his final cycles of piano pieces, Opp. 116–119 and the "Vier ernste Gesänge" (Four Serious Songs), Op. 121 (1896) which were prompted by the death of Clara Schumann and dedicated to the artist Max Klinger who was his great admirer. The last of the Eleven Chorale Preludes for organ, Op. 122 (1896) is a setting of "O Welt ich muss dich lassen" ("O world I must leave thee") and is the last notes that Brahms wrote. Many of these works were written in his house in Bad Ischl, where Brahms had first visited in 1882 and where he spent every summer from 1889 onwards.


title: Johannes Brahms

text: In the summer of 1896 Brahms was diagnosed with jaundice, and later in the year his Viennese doctor diagnosed him with cancer of the liver (from which his father Jakob had died). His last public appearance was on 7 March 1897 when he saw Hans Richter conduct his Symphony No. 4; there was an ovation after each of the four movements. He made the effort, three weeks before his death, to attend the premiere of Johann Strauss's operetta "Die Göttin der Vernunft" (The Goddess of Reason) in March 1897. His condition gradually worsened and he died on 3 April 1897, in Vienna, aged 63. Brahms is buried in the Vienna Central Cemetery in Vienna, under a monument designed by Victor Horta with sculpture by Ilse von Twardowski.


title: Johannes Brahms

text: Brahms maintained a classical sense of form and order in his works, in contrast to the opulence of the music of many of his contemporaries. Thus, many admirers (though not necessarily Brahms himself) saw him as the champion of traditional forms and "pure music", as opposed to the "New German" embrace of programme music.


title: Johannes Brahms

text: Brahms venerated Beethoven; in the composer's home, a marble bust of Beethoven looked down on the spot where he composed, and some passages in his works are reminiscent of Beethoven's style. Brahms's First Symphony bears strongly the influence of Beethoven's Fifth Symphony, as the two works are both in C minor and end in the struggle towards a C major triumph. The main theme of the finale of the First Symphony is also reminiscent of the main theme of the finale of Beethoven's Ninth, and when this resemblance was pointed out to Brahms he replied that any dunce could see that. In 1876, when the work was premiered in Vienna, it was immediately hailed as "Beethoven's Tenth". Indeed, the similarity of Brahms's music to that of late Beethoven had first been noted as early as November 1853 in a letter from Albert Dietrich to Ernst Naumann.


title: Johannes Brahms

text: Brahms was a master of counterpoint. "For Brahms, ... the most complicated forms of counterpoint were a natural means of expressing his emotions," writes Geiringer. "As Palestrina or Bach succeeded in giving spiritual significance to their technique, so Brahms could turn a canon in motu contrario or a canon per augmentationem into a pure piece of lyrical poetry." Writers on Brahms have commented on his use of counterpoint. For example, of Op. 9, "Variations on a Theme by Robert Schumann," Geiringer writes that Brahms "displays all the resources of contrapuntal art". In the A major piano quartet Opus 26, Jan Swafford notes that the third movement is "demonic-canonic, echoing Haydn's famous minuet for string quartet called the 'Witch's Round. Swafford further opines that "thematic development, counterpoint, and form were the dominant technical terms in which Brahms ... thought about music".


title: Johannes Brahms

text: Allied to his skill in counterpoint was his subtle handling of rhythm and meter. The "New Grove Dictionary of Music" speculates that his contact with Hungarian and gypsy folk music as a teenager led to "his lifelong fascination with the irregular rhythms, triplet figures and use of rubato" in his compositions. The Hungarian Dances are among Brahms's most-appreciated pieces. According to "only one composer rivals him in the advanced nature of his rhythmic thinking, and that is Stravinsky."


title: Johannes Brahms

text: His consummate skills in counterpoint and rhythm are richly present in "A German Requiem", a work that was partially inspired by his mother's death in 1865 (at which time he composed a funeral march that was to become the basis of Part Two, "Denn alles Fleisch"), but which also incorporates material from a symphony which he started in 1854 but abandoned following Schumann's suicide attempt. He once wrote that the Requiem "belonged to Schumann". The first movement of this abandoned symphony was re-worked as the first movement of the First Piano Concerto.


title: Johannes Brahms

text: Brahms loved the classical composers Mozart and Haydn. He especially admired Mozart, so much so that in his final years, he reportedly declared Mozart as the greatest composer. On 10 January 1896, Brahms conducted the Academic Festival Overture and both piano concertos in Berlin, and during the following celebration, Brahms interrupted Joachim's toast with "Ganz recht; auf Mozart's Wohl" (Quite right; here's Mozart's health). Brahms also compared Mozart with Beethoven to the latter's disadvantage, in a letter to Richard Heuberger, in 1896: "Dissonance, true dissonance as Mozart used it, is not to be found in Beethoven. Look at "Idomeneo". Not only is it a marvel, but as Mozart was still quite young and brash when he wrote it, it was a completely new thing. You couldn't commission great music from Beethoven since he created only lesser works on commission—his more conventional pieces, his variations and the like." Brahms collected first editions and autographs of Mozart and Haydn's works and edited performing editions. He studied the music of pre-classical composers, including Giovanni Pierluigi da Palestrina, Giovanni Gabrieli, Johann Adolph Hasse, Heinrich Schütz, Domenico Scarlatti, George Frideric Handel, and, especially, Johann Sebastian Bach. His friends included leading musicologists, and, with Friedrich Chrysander, he edited an edition of the works of François Couperin. Brahms also edited works by C. P. E. Bach and W. F. Bach. He looked to older music for inspiration in the art of counterpoint; the themes of some of his works are modelled on Baroque sources such as Bach's "The Art of Fugue" in the fugal finale of Cello Sonata No. 1 or the same composer's Cantata No. 150 in the passacaglia theme of the Fourth Symphony's finale. Peter Phillips hears affinities between Brahms's rhythmically charged contrapuntal textures and those of Renaissance masters such as Giovanni Gabrieli and William Byrd. Referring to Byrd's "Though Amaryllis dance", Philips remarks that "the cross-rhythms in this piece so excited E. H. Fellowes that he likened them to Brahms's compositional style."


title: Johannes Brahms

text: The early Romantic composers had a major influence on Brahms, particularly Schumann, who encouraged Brahms as a young composer. During his stay in Vienna in 1862–63, Brahms became particularly interested in the music of Franz Schubert. The latter's influence may be identified in works by Brahms dating from the period, such as the two piano quartets Op. 25 and Op. 26, and the Piano Quintet which alludes to Schubert's String Quintet and Grand Duo for piano four hands. The influence of Chopin and Mendelssohn on Brahms is less obvious, although occasionally one can find in his works what seems to be an allusion to one of theirs (for example, Brahms's Scherzo, Op. 4, alludes to Chopin's Scherzo in B-flat minor; the scherzo movement in Brahms's Piano Sonata in F minor, Op. 5, alludes to the finale of Mendelssohn's Piano Trio in C minor).


title: Johannes Brahms

text: Brahms considered giving up composition when it seemed that other composers' innovations in extended tonality resulted in the rule of tonality being broken altogether. Although Wagner became fiercely critical of Brahms as the latter grew in stature and popularity, he was enthusiastically receptive of the early "Variations and Fugue on a Theme by Handel"; Brahms himself, according to many sources, deeply admired Wagner's music, confining his ambivalence only to the dramaturgical precepts of Wagner's theory.


title: Johannes Brahms

text: Brahms wrote settings for piano and voice of 144 German folk songs, and many of his lieder reflect folk themes or depict scenes of rural life.


title: Johannes Brahms

text: Brahms wrote a number of major works for orchestra, including four symphonies, two piano concertos (No. 1 in D minor; No. 2 in B-flat major), a Violin Concerto, a Double Concerto for violin and cello, and the "Tragic Overture", along with somewhat lesser orchestral pieces such as the two Serenades, and the "Academic Festival Overture".


title: Johannes Brahms

text: His large choral work "A German Requiem" is not a setting of the liturgical "Missa pro defunctis" but a setting of texts which Brahms selected from the Luther Bible. The work was composed in three major periods of his life. An early version of the second movement was first composed in 1854, not long after Robert Schumann's attempted suicide, and this was later used in his first piano concerto. The majority of the Requiem was composed after his mother's death in 1865. The fifth movement was added after the official premiere in 1868, and the work was published in 1869.


title: Johannes Brahms

text: His works in variation form include the "Variations and Fugue on a Theme by Handel" and the "Paganini Variations", both for solo piano, and the "Variations on a Theme by Haydn" (now sometimes called the "Saint Anthony Variations") in versions for two pianos and for orchestra. The final movement of the Fourth Symphony, Op. 98, is a passacaglia. He set a number of folksongs.


title: Johannes Brahms

text: His chamber works include three string quartets, two string quintets, two string sextets, a clarinet quintet, a clarinet trio, a horn trio, a piano quintet, three piano quartets, and four piano trios (the fourth being published posthumously). He composed several instrumental sonatas with piano, including three for violin, two for cello, and two for clarinet (which were subsequently arranged for viola by the composer). His solo piano works range from his early piano sonatas and ballades to his late sets of character pieces. Brahms was a significant Lieder composer, who wrote over 200 of them. His chorale preludes for organ, Op. 122, which he wrote shortly before his death, have become an important part of the organ repertoire. They were published posthumously in 1902. The last of this set is a setting of the choral. "O Welt ich muss dich lassen" ("O world I now must leave thee") and were the last notes he wrote.


title: Johannes Brahms

text: Brahms was an extreme perfectionist. He destroyed many early works – including a violin sonata he had performed with Reményi and violinist Ferdinand David – and once claimed to have destroyed 20 string quartets before he issued his official First in 1873. Over the course of several years, he changed an original project for a symphony in D minor into his first piano concerto. In another instance of devotion to detail, he laboured over the official First Symphony for almost fifteen years, from about 1861 to 1876. Even after its first few performances, Brahms destroyed the original slow movement and substituted another before the score was published.


title: Johannes Brahms

text: A factor that contributed to his perfectionism was Schumann's early enthusiasm, which Brahms was determined to live up to.


title: Johannes Brahms

text: Brahms strongly preferred writing absolute music that does not refer to an explicit scene or narrative, and he never wrote an opera or a symphonic poem.


title: Johannes Brahms

text: Brahms looked both backward and forward; his output was often bold in its exploration of harmony and rhythm. As a result, he was an influence on composers of both conservative and modernist tendencies. Within his lifetime, his idiom left an imprint on several composers within his personal circle, who strongly admired his music, such as Heinrich von Herzogenberg, Robert Fuchs, and Julius Röntgen, as well as on Gustav Jenner, who was his only formal composition pupil. Antonín Dvořák, who received substantial assistance from Brahms, deeply admired his music and was influenced by it in several works, such as the Symphony No. 7 in D minor and the F minor Piano Trio. Features of the "Brahms style" were absorbed in a more complex synthesis with other contemporary (chiefly Wagnerian) trends by Hans Rott, Wilhelm Berger, Max Reger and Franz Schmidt, whereas the British composers Hubert Parry and Edward Elgar and the Swede Wilhelm Stenhammar all testified to learning much from Brahms. As Elgar said, "I look at the Third Symphony of Brahms, and I feel like a pygmy."


title: Johannes Brahms

text: Ferruccio Busoni's early music shows much Brahmsian influence, and Brahms took an interest in him, though Busoni later tended to disparage Brahms. Towards the end of his life, Brahms offered substantial encouragement to Ernst von Dohnányi and to Alexander von Zemlinsky. Their early chamber works (and those of Béla Bartók, who was friendly with Dohnányi) show a thoroughgoing absorption of the Brahmsian idiom. Zemlinsky, moreover, was in turn the teacher of Arnold Schoenberg, and Brahms was apparently impressed by drafts of two movements of Schoenberg's early Quartet in D major which Zemlinsky showed him in 1897. In 1933, Schoenberg wrote an essay "Brahms the Progressive" (re-written 1947), which drew attention to his fondness for motivic saturation and irregularities of rhythm and phrase; in his last book ("Structural Functions of Harmony", 1948), he analysed Brahms's "enriched harmony" and exploration of remote tonal regions. These efforts paved the way for a re-evaluation of his reputation in the 20th century. Schoenberg went so far as to orchestrate one of Brahms's piano quartets. Schoenberg's pupil Anton Webern, in his 1933 lectures, posthumously published under the title "The Path to the New Music", claimed Brahms as one who had anticipated the developments of the Second Viennese School, and Webern's own Op. 1, an orchestral passacaglia, is clearly in part a homage to, and development of, the variation techniques of the passacaglia-finale of Brahms's Fourth Symphony. Ann Scott has shown how Brahms anticipated the procedures of the serialists by redistributing melodic fragments between instruments, as in the first movement of the Clarinet Sonata, Op. 120, No. 2.


title: Johannes Brahms

text: Brahms was honoured in the German hall of fame, the Walhalla memorial. On 14 September 2000, he was introduced there as the 126th "rühmlich ausgezeichneter Teutscher" and 13th composer among them, with a bust by sculptor .


title: Johannes Brahms

text: Brahms played principally on German and Viennese pianos. In his early years he used a piano made by the Hamburg company Baumgarten & Heins. Later, in 1864, he wrote to Clara Schumann about his attraction to instruments by Streicher. In 1873 he received a Streicher piano op. 6713 and kept it in his house until his death. He wrote to Clara: "There [on my Streicher] I always know exactly what I write and why I write one way or another." Another instrument in Brahm's possession was a Conrad Graf piano – a wedding present of the Schumanns, that Clara Schumann later gave to Brahms and which he kept until 1873.


title: Johannes Brahms

text: In the 1880s for his public performances Brahms used a Bösendorfer several times. In his Bonn concerts he played on a Steinweg Nachfolgern in 1880 and a Blüthner in 1883. Brahms also used a Bechstein in several of his concerts: 1872 in Würzburg, 1872 in Cologne and 1881 in Amsterdam.


title: Johannes Brahms

text: Brahms was baptised into the Lutheran church as an infant, and was confirmed at the age of fifteen (at St. Michael's Church, Hamburg), but has been described as an agnostic and a humanist. The devout Catholic Antonín Dvořák wrote in a letter: "Such a man, such a fine soul – and he believes in nothing! He believes in nothing!" When asked by conductor Karl Reinthaler to add additional explicitly religious text to his "German Requiem", Brahms is reported to have responded, "As far as the text is concerned, I confess that I would gladly omit even the word German and instead use Human; also with my best knowledge and will I would dispense with passages like . On the other hand, I have chosen one thing or another because I am a musician, because I needed it, and because with my venerable authors I can't delete or dispute anything. But I had better stop before I say too much."


title: Student of the Year 2

text: Student of the Year 2 is a 2019 Indian Hindi-language teen romantic action comedy film directed by Punit Malhotra and produced by Karan Johar's Dharma Productions. A standalone sequel to the 2012 film "Student of the Year", it stars Tiger Shroff, Tara Sutaria, Ananya Panday and Aditya Seal. It marks the debuts of both Panday and Sutaria in Hindi cinema.


title: Student of the Year 2

text: "Student of the Year 2" was released in on 10 May 2019. Upon its release the film was panned by critics, with criticism directed at the script, unreal situations and unrealistic depiction of Indian schools and colleges. Holding a rating of on Rotten Tomatoes, it is among the lowest-rated Indian films. It did poor at the box office with a worldwide collection of 98.6 crore against its 65 crore budget.


title: Student of the Year 2

text: Rohan Sachdev, a middle-class student, decides to go to the affluent St. Teresa's College after his childhood sweetheart, Mridula Chawla transfers there. The two begin a relationship when Rohan wins the college over by showing his sports skills. Rohan becomes friends with Manav Singh Randhawa, the reigning "Student of the Year", but is at odds with his sister Shreya, a popular girl who detests and insults him. One of her pranks creates a rift between Rohan and his friends from his previous school.


title: Student of the Year 2

text: Rohan-Mia and Manav-Shreya are coupled up for a dance competition which the latter wins after Mia falters. Rohan finds Mia getting intimate with Manav and realizes that he had deliberately planted her to spoil Rohan's image. He is expelled when he punches Manav. Initially discouraged, he eventually comes back and challenges Manav for the Student of the Year trophy.


title: Student of the Year 2

text: Rohan returns to his old school, Pishorilal, where Shreya, impressed by his sincerity, helps him make amends with his old friends. She also convinces him to join her in a national dance competition. Shreya falls in love with him as they practice. Meanwhile, Mia's attempts to win him back after Manav cheats on her, end in an argument where Shreya spills coffee over her.


title: Student of the Year 2

text: During an inter-school multi-event tournament, a fight breaks out between Pishorilal and St. Teresa's students, ending in Rohan's teammate Abhishek being badly injured. At the hospital, Mia holds Rohan's hand in-front of Shreya to show that they had reconciled. She apologizes to Mia and after blessing them with happiness, she leaves. Rohan follows her and professes his love, but she refuses.


title: Student of the Year 2

text: Pishorilal manages to climb up the ranks and reach the final against St. Teresa. On the second night, Mia tries to kiss Rohan, but he refuses, saying that it was time to focus on accomplishing something. Although upset, she decides to support him and they become friends.


title: Student of the Year 2

text: Before the final, he confesses his love to Shreya again, which she accepts when he tells her that Mia is just his friend. Shreya and Mia support Pishorilal in the match. Rohan helps his team fight and win the tournament, defeating St. Teresa. Rohan and Shreya embrace, while Mia leaves smiling, knowing that Rohan's dream of being the Student of the Year will now come true. Pishorilal celebrates their first-ever victory, and Rohan becomes the Student of the Year, leaving Manav upset.


title: Student of the Year 2

text: "Student of the Year 2" is a sequel to the 2012 Karan Johar-directed romantic comedy-drama "Student of the Year". Shortly after the commercial success of the first film, a sequel was announced by the producers. In November 2017, a press release by Dharma Productions revealed that the sequel is slated to release in 2018; it would be directed by Punit Malhotra and star Tiger Shroff in one of the leading roles. The film was announced four years after Malhotra's previous directorial "Gori Tere Pyaar Mein" (2013). It was to be produced in association by Johar's Dharma Productions and Fox Star Studios. The film's announcement by the company initially conflicted with that of their another production, "Dhadak" (2018), which roused speculation that Ishaan Khatter would star in the film. Johar denied the news and stated that the reports were "baseless and untrue".


title: Student of the Year 2

text: The announcement did not reveal the rest of the cast; media reports speculated that either Disha Patani or Ananya Panday, daughter of Chunky Pandey, would play the leading lady opposite Shroff. In April 2018, Johar announced that the film's female leads would be Panday and Tara Sutaria, both debutantes. Television actor Abhishek Bajaj and Harsh Beniwal, a YouTuber, also make their film debuts. Beniwal, in preparation for the role, put on weight and grew a beard.


title: Student of the Year 2

text: Malhotra stated that the two films have unrelated storylines: "The intention of the film is not to make this a Me Too of first part, so Tiger. It's a fresh take on the subject. It's more about sports and action". He was initially supposed to work on a different film with Shroff, but two-three months before filming, they scrapped the project and wrote a new script, a sequel to "Student of the Year". In response to accusations that the film raised unhealthy expectations for college life, Shroff said, "What you see here is a fun school. It's a school that you want everyone to be a part of. We wanted everyone to fall in love with it". He plays an underdog in the film, expressing, "It's like Superman has been stripped of his powers".


title: Student of the Year 2

text: Samir Soni, who had previously appeared in Malhotra's "I Hate Luv Storys" in 2012 and since shifted to direction, returned to acting by playing a college principal, a supporting role similar to the one originally portrayed by Rishi Kapoor in "Student of the Year". However, the principal in the first film identified as gay, while the one played by Soni was heterosexual and more comical. Media outlets speculated that Sidharth Malhotra, Alia Bhatt and Varun Dhawan, who had starring debut roles in the previous film, would feature in a cameo appearance for a song. In May 2019, it was revealed that Bhatt features in a special appearance for the "Hook-up" song, alongside Shroff.


title: Student of the Year 2

text: As a part of "Will Smith's Bucket List", Will Smith appeared in a song in the film for satisfying his wish of appearing in a Bollywood production.


title: Student of the Year 2

text: Principal photography for "Student of the Year 2" began on 9 April 2018 in Dehradun. Shortly afterwards, parts of the film were shot at Rishikesh and Mussoorie as part of the schedule. Sets for the film were also erected in Film City, Mumbai. After the film's production was delayed, Sutaria's filming schedule began to clash with that of her other project "Kabir Singh"; she quit that film to ensure that shooting took place smoothly. In August 2018, a four-day sequence was filmed in Thailand. Filming ended in September 2018 with the shooting of the climax sequence. "Student of the Year 2" was produced on an estimated budget of 650 million, including promotion and advertising costs.


title: Student of the Year 2

text: The film's soundtrack was composed by Vishal–Shekhar with lyrics written by Anvita Dutt Guptan, Kumaar and first-time collaborator Vayu, and was released under the banner of Zee Music Company. Reviewing the soundtrack, Pratishruti Ganguly of "Firstpost" wrote, "Unfortunately, tracks like "Hook Up Song" and "Mumbai Dilli Ki Kudiyan" perhaps indicate that the understanding of the "jawaan" [] pulse is a tad misguided in this film".


title: Student of the Year 2

text: The song "Yeh Jawani Hai Deewani", originally sung by Kishore Kumar and composed by R. D. Burman for the soundtrack to the 1972 film "Jawani Diwani", was recreated for the film, with vocals provided by Vishal Dadlani and Payal Dev, and was rebranded as "The Jawaani Song".


title: Student of the Year 2

text: On 30 July 2018, a press release by Dharma Productions stated that the film's release date was postponed to 10 May 2019 due to what was speculated to be expected competition from the science fiction action film "2.0" (2018) starring Rajinikanth, Akshay Kumar and Amy Jackson.


title: Student of the Year 2

text: The film was announced via a first look poster featuring Shroff that was released on 20 November 2017 by Johar on various social media platforms; the poster carried the release date of 23 November 2018. In April 2018, first look posters featuring Sutaria and Panday announcing the new cast members were released; this was somewhat controversial owing to the cast being children of other actors, and this furthered the long-standing accusations of Johar promoting nepotism.


title: Student of the Year 2

text: Two new teaser posters were released on 10 April 2019 presenting Shroff's look as a student. Another set of posters featuring Sutaria and Panday were released on 11 April 2019. On 12 April 2019, a theatrical release poster of the film was shared by Johar on his Instagram account; Kshamaya Daniel of Rediff.com wrote of the trailer, "While the cast and their acting looks promising enough, the storyline – not so much".


title: Student of the Year 2

text: In India, the film had an average opening for the first shows with an occupancy rate of 20–25%. It went on to earn on its first day in India, becoming the fifth highest opener of the year. The film had fair growth on Saturday, earning . On Sunday, collections were affected by the IPL final and polling for the 2019 Indian general election, and the film's earning came down to . By next Friday, the film had a 60 percent drop as collections reached . Following a drop in collections in the second week, the film stopped screening at most theatres. It has earned worldwide, with from India and () overseas.


title: Student of the Year 2

text: "Student of the Year 2" released to widely negative reviews from critics. It holds a rating of on Rotten Tomatoes. Criticism was primarily directed to the script and unreal setting of the film.


title: Student of the Year 2

text: Writing for "Firstpost", Anna M. M. Vetticad gave the film one and a half stars out of five: "Cliché is piled on cliché in this unoriginal screenplay". Rajeev Masand of News18 gave it two stars out of five and said, ""Student of the Year 2" is both predictable, and far from original... It isn't unwatchable, it's just unnecessary."


title: Student of the Year 2

text: Saibal Chatterjee of NDTV gave it one and a half stars out of five and called the film "an egregiously escapist campus-rumpus musical in which nattily attired, unbelievably idle boys and skimpily clad girls... play games that make as much sense as a camel race on an airport tarmac", adding, "There isn't a single moment in the film that could be described as passable". Shubhra Gupta of "The Indian Express" gave one and a half stars out of five and expressed, "This class of 2019 has predictable beats, which is to be expected in an underdog story, but that it is so stilted is disappointing: from KJo [Karan Johar] I expect much more swish and sparkle". She felt Shroff "executes his dances-and-fights efficiently, even though [he] struggles to appear student-like".


title: Student of the Year 2

text: Taran Adarsh of Bollywood Hungama praised the screenplay for being "praiseworthy as its peppered with some entertaining, dramatic and even moving moments". He wrote, "On the whole, "Student of the Year 2" is an entertaining and an enjoyable fare which will strike a chord in the audience's hearts". Ronak Kotecha of "The Times of India" gave the film three stars out of five, writing that it "doesn't have that Ishq wala love, but there is ample dosti, high school drama and cool stuff to keep you going".


title: Student of the Year 2

text: Meena Iyer of "Daily News and Analysis" gave it three stars out of five, writing, "This is the kind of film, which draws inspiration from the Archie comics with Tiger being Archie, flanked by a Veronica (Ananya) and Betty (Tara)". She concludes, "Apart from Will Smith's miss-if-you-blink appearance, watch [the film] for Tiger. Even when things around him are caving in, his ballerina grace is intact".


title: Hail, Caesar!

text: Hail, Caesar! is a 2016 period mystery musical black comedy film written, produced, edited and directed by the brothers Joel and Ethan Coen. An American-British-Japanese co-production, the film stars Josh Brolin, George Clooney, Alden Ehrenreich, Ralph Fiennes, Jonah Hill, Scarlett Johansson, Frances McDormand, Tilda Swinton and Channing Tatum with Michael Gambon as the narrator. It is a fictional story that follows the real-life fixer Eddie Mannix (Brolin) working in the Hollywood film industry in the 1950s, trying to discover what happened to a star actor during the filming of a biblical epic.


title: Hail, Caesar!

text: First talked about by the Coens in 2004, "Hail, Caesar!" was originally to take place in the 1920s and follow actors performing a play about ancient Rome. The Coens shelved the idea until late 2013. Principal photography for the film began in November 2014 in Los Angeles, California. The film premiered at the Regency Village Theater in Los Angeles, California on February 1, 2016, and was theatrically released by Universal Pictures on February 5.


title: Hail, Caesar!

text: "Hail, Caesar!" grossed $63.6 million worldwide on a $22 million budget and received positive reviews from critics. The film was chosen by National Board of Review as one of the top ten films of 2016 and received nominations at the 89th Academy Awards and 70th British Academy Film Awards, both for production design.


title: Hail, Caesar!

text: In 1951 Hollywood, Eddie Mannix is head of physical production at Capitol Pictures. His duties as the studio "fixer" find him covering up for its scandalous stars, fending off twin gossip columnists Thora and Thessaly Thacker, and weighing a generous job offer from the Lockheed Corporation. When unmarried synchronized swimming actress DeeAnna Moran becomes pregnant, Mannix arranges for Moran to place her baby in foster care then discreetly adopt it, preserving her career.


title: Hail, Caesar!

text: Baird Whitlock, the talented but dim-witted star of the studio's major production "Hail, Caesar! A Tale of the Christ," is drugged and abducted. He awakens at a meeting of "The Future", a group of blacklisted Communist screenwriters, and is easily won over to their cause. The Future send a ransom note demanding $100,000 for Whitlock's return, which Mannix procures from the studio. He convinces Thora to withhold a story in exchange for information on singing Western film star Hobie Doyle.


title: Hail, Caesar!

text: Doyle has been hopelessly miscast in a sophisticated comedy of manners and, despite the efforts of director Laurence Laurentz, cannot overcome his thick Western American accent. When Laurentz requests Doyle's removal, Mannix convinces him to continue his coaching. Doyle admits to Mannix his trepidation about the role, but Mannix reassures him and confides in him about Whitlock's kidnapping.


title: Hail, Caesar!

text: That evening, Doyle attends the premiere of his latest Western with starlet Carlotta Valdez, as arranged by Mannix. The pair are accosted by the Thacker sisters, but Doyle spots the briefcase of ransom money, carried by musical star Burt Gurney. Mannix and Moran meet with surety agent Joseph Silverman, a trusted scapegoat for the studio, who agrees to foster Moran's child. His dependability proves immensely attractive to Moran. Doyle follows Gurney to The Future's beach house but finds only Whitlock inside. The Future have taken Gurney to rendezvous with a Soviet submarine and defect to the USSR, but lose the briefcase in the ocean. Doyle returns Whitlock to the studio as police arrive to arrest the group.


title: Hail, Caesar!

text: Whitlock spouts his newfound Communist beliefs to Mannix, who slaps Whitlock and orders him to "go out and be a star" and finish "Hail, Caesar!" The next morning, Mannix learns that Moran has married Silverman. Mannix declines Lockheed's offer, remaining at Capitol Pictures. Thora tells him that her column will reveal Whitlock won his role in an earlier picture by having sex with Laurentz, but Mannix tells her that if he exposes her source, Gurney—a Communist and recent Soviet defector—it will tarnish her reputation. Thora backs down from running the story and Mannix moves on, confident in his role in life.


title: Hail, Caesar!

text: The Coens first pitched the story to George Clooney in 1999 during the shooting of "O Brother, Where Art Thou?" Ethan Coen described it as a "thought experiment" rather than a viable project. The film was originally going to follow "a troupe of actors in the 1920s putting on a play about ancient Rome", with the focus on a matinée idol. Clooney was to play the main character, "a hammy actor with a pencil mustache". In February 2008, the Coens said the film had no script and was only an idea. They pitched it to Clooney as a fourth opportunity to play a "numbskull", following his roles in "O Brother, Where Art Thou?" (2000), "Intolerable Cruelty" (2003) and "Burn After Reading" (2008). Clooney was not initially enthused.


title: Hail, Caesar!

text: The project was mentioned in a December 2013 interview about "Inside Llewyn Davis". Joel Coen said they were working on "Hail, Caesar!", and that it would likely be their next project. In May 2014, the Coens reconfirmed the film's development, with the plot now focused on a "fixer" working in the 1950s Hollywood film industry.


title: Hail, Caesar!

text: Set in 1951, "Hail, Caesar!" takes place at a transitional time for the film industry. The studio system was breaking down, and a Supreme Court ruling had forced studios to divest their movie theaters. Television, then still in its early years, threatened to pull away audiences. The Cold War and the Red Scare were both under way. Hollywood responded with escapist fare: westerns, highly choreographed dance and aquatic spectacles, and Roman epics with massive casts.


title: Hail, Caesar!

text: In "The Washington Post", Kristen Page-Kirby wrote that nostalgia for Hollywood's golden age is heavily filtered by time. "It’s easy to look back at any part of the past and say, 'Yeah, that’s how it should be today'. "Hail, Caesar!" uses the uniformly terrible fake movies within it to show that while we all remember 1946 for stuff like "The Yearling" and "Notorious", it also gave us "Tarzan and the Leopard Woman."" The Coens cited their own examples of subpar films and performances from the era that they saw as television reruns while growing up: "That Touch of Mink" (1962), and Laurence Olivier co-starring with Charlton Heston in "Khartoum" (1966). "We loved that stuff. We just didn’t realize we were watching crap", Joel Coen said.


title: Hail, Caesar!

text: In December 2013, the Coens confirmed that Clooney remained involved with the project. In June 2014, Josh Brolin, Channing Tatum, Ralph Fiennes, and Tilda Swinton joined the cast, Universal Pictures was announced to be distributing the film, and Eric Fellner and Tim Bevan signed on to produce the film for Working Title Films. In July, Jonah Hill and Scarlett Johansson entered talks to join the production. The next month, Johansson and Hill were confirmed to have joined the cast, and Alden Ehrenreich entered negotiations to star. In a September 2014 interview with "The Daily Beast", Frances McDormand said she had a role in the film. In October, Patrick Fischler, David Krumholtz, and Fisher Stevens joined the cast as communist screenwriters, and Clancy Brown joined as an actor in the film within a film, also titled "Hail, Caesar!" The following month, Christopher Lambert was cast as Arne Slessum, a European filmmaker who has an affair with Johannson's character. In a November 2014 interview at the Ottawa Pop Expo, Robert Picardo said he had a role in the film and that he was set to begin filming in December. Also in November, Emily Beecham was said to have a role in the film. Norman Lloyd was considered for the part of philosopher Herbert Marcuse, but claimed that, owing to safety concerns regarding his centenarian age, the role ultimately went to the younger British comedian John Bluthal.


title: Hail, Caesar!

text: Costume designer Mary Zophres began work 12 weeks ahead of shooting, researching period wardrobe from the late 1940s on the assumption that most people routinely wear clothes purchased over the past few years. She designed for a working film studio of the early 1950s, plus six genre films, each of which featured a major actor working on the set for about a week. Photos from the MGM library and the Academy of Motion Pictures and Sciences showed that film crews dressed more formally than today—no shorts or sneakers. Zophres produced about 15 boards of preliminary sketches, including "sculptural Technicolor gowns" for the ballroom drama inspired by the work of Charles James. Her double-breasted suit for Brolin was intended to blend with his skin tone, his moustache was styled after Walt Disney's, his hair was permed, and his character alone wore a fedora. Zophres modeled Tatum's look on Troy Donahue and Tyrone Power. The costumes in "Ben Hur" in particular served as references for the gladiator sequences, although Zophres employed the contemporary technique of using painted hard plastic foam instead of metal. The film ultimately required more than 2,500 costumes, including 170 Roman extras, 120 Israelites and about 45 slaves. About 500 of the costumes were custom-made. Toward the end of the shoot, the scope of the project overtook the budget, and Zophres completed some of the sewing herself.


title: Hail, Caesar!

text: In October 2014, Roger Deakins posted on his website that he would be the film's cinematographer and was shooting test footage. Principal photography on the film began in Los Angeles, California, on November 10, 2014. According to the "Los Angeles Times", the Coen brothers' decision to film in Los Angeles increased filming activity in the city, which had previously been down by "a double-digit percentage... in the fourth quarter [of 2014]". In December, Clooney was photographed in full Roman regalia while filming scenes in Downtown Los Angeles.


title: Hail, Caesar!

text: Tatum dyed his hair blond for his role as a tap-dancing sailor, one of five in the "No Dames!" sequence set in the Swingin' Dinghy bar. Tatum had danced hip-hop and street, not tap, but worked without a double after much training. Other dancers came from Broadway, including Clifton Samuels, who said the scene's greatest challenge was not Christopher Gattelli's choreography per se, but maintaining the style of the period "in which the dancers must stay on the balls of their feet." A split-screen scene from the "That’s Entertainment!" trilogy influenced the Coens' decision to widen the shot to reveal film crew members pushing the set into place.


title: Hail, Caesar!

text: "Hail, Caesar!" was the first movie that Deakins shot on film since "True Grit" in 2010. The Coens themselves had said that their previous movie, "Inside Llewyn Davis," would probably be their last use of the medium. But with "Hail, Caesar!"s classic Hollywood theme making film an obvious choice, Deakins agreed to give it one more try. "I don't mind", he recalled saying, "I'll shoot it on a cell phone if you like." Ultimately, film proved a limited palette due to the narrowing choices of stocks and processing options in the wake of digital cinematography. Deakins didn't recall encountering those kinds of problems on earlier projects. "But it makes me nervous now. I don't want to do that again, frankly. I don't think the infrastructure's there."


title: Hail, Caesar!

text: Southern California locations were used throughout the film, presenting a challenge to location manager John Panzarella. He noted that "period locations are disappearing fast", including several employed in an earlier film he scouted, the 1997 Oscar-winning "L.A. Confidential". The Warner Bros. studio, which has retained its vintage buildings, stood in for most of the fictitious Capitol Pictures Productions after trailers, electrical hookups, and other contemporary fixtures were removed. Union Station in downtown Los Angeles was used for some studio exteriors. The synchronized swimming scene with Johansson was choreographed and directed by Mesha Kussman, and performed by the Aqualillies, a Los Angeles-based group of professional synchronized swimmers. They worked at the water tank on Stage 30 at Sony Pictures Studios; the tank was also used for Esther Williams films and was under restoration until a week before shooting. The wood-paneled conference room where Mannix vets the movie with religious leaders was filmed at the Cravens Estate's drawing room in Pasadena. The office of general counsel Sid Siegelstein was shot at a 1929 building in Los Angeles's Arts District later owned by Southwestern Bag Company. The building was designed by the same architecture firm as UCLA's Royce Hall.


title: Hail, Caesar!

text: Locations for scenes beyond Capitol Pictures included the Appian Way scenes, shot at the Big Sky Movie Ranch in Simi Valley, and the western sequence, filmed at Vasquez Rocks Natural Area Park. The well of Jehoshaphat sequence was shot at Bronson Canyon, formerly a quarry, in Griffith Park. The nightclub interiors, the scene of Carlotta and Hobie's date, was shot at the Hollywood Palladium, with the exterior at the Fonda Theatre and some reverse shots at the Chapman Plaza in Koreatown. Carlotta's house exterior was filmed at a 1927 home in the Los Feliz section of Los Angeles; this was also the locale for The Good Luck Bar, which stood in for the Imperial Gardens Chinese restaurant. The movie premiere was shot in the Los Angeles Theatre, selected for its spacious lobby.


title: Hail, Caesar!

text: Digital effects for "Hail, Caesar!" encompassed three areas: standard effects like Ehrenreich's lasso tricks, period effects including a matte painting of Rome that referenced the 1951 film "Quo Vadis," and effects intended to blur the line between a 2016 film and the vintage movie-making techniques it portrays. Examples of the latter include a green screen car sequence made to look as if it employed the older technique of rear projection, and the submarine sequence, which employed computer graphics that suggested the use of miniatures. "It was important that the "sub" not look silly", said effects supervisor Dan Schrecker, whereas "the whole point of that Rome matte painting was that it was ridiculous". The burning film frame in McDormand's Moviola scene was created by Sam Spreckley, a Scottish visual artist who experiments with the technique. The special effects of the beach house on the bluff were meant as an homage to "North by Northwest".


title: Hail, Caesar!

text: The soundtrack album for the film, "Hail Caesar!: Original Motion Picture Soundtrack", features the original score by Carter Burwell and an original song, "No Dames!", performed by Channing Tatum. Back Lot Music released the film's soundtrack album on digital download and physical formats on February 5, 2016. Burwell also wrote original songs along with Henry Krieger and Willie Reale.


title: Hail, Caesar!

text: "Hail, Caesar!" had its world premiere at the Regency Village Theater in Los Angeles on February 1, 2016. The film also screened at the 66th Berlin International Film Festival on February 11, 2016. The film was theatrically released by Universal Pictures in the United Kingdom on March 4, 2016 and in the United States on February 5, 2016. Universal Home Entertainment released "Hail, Caesar!" on DVD and Blu-ray on June 7, 2016, in the United Kingdom and the United States.


title: Hail, Caesar!

text: "Hail, Caesar!" grossed $30.1 million in the United States and Canada, and $33.1 million in other countries, for a worldwide total of $63.2 million against a production budget of $22 million.


title: Hail, Caesar!

text: The film was released in North America on February 5, 2016, alongside "Pride and Prejudice and Zombies" and "The Choice", and was projected to gross $9–11 million from 2,231 theaters in its opening weekend. "Hail, Caesar!" made $4.3 million on its first day (including $543,000 from Thursday night previews). The film went on to gross $11.4 million in its opening weekend, finishing second at the box office behind "Kung Fu Panda 3" ($21.2 million). In its second weekend, it grossed $6.4 million (a 44% drop), finishing 6th at the box office.


title: Hail, Caesar!

text: On Rotten Tomatoes, the film holds an approval rating of 86% based on 361 reviews, with an average rating of 7.2/10. The website's critical consensus reads, "Packed with period detail and perfectly cast, "Hail, Caesar!" finds the Coen brothers delivering an agreeably lightweight love letter to post-war Hollywood." On Metacritic the film has a weighted average score of 72 out of 100, based on 50 critics, indicating "generally favorable reviews".


title: Hail, Caesar!

text: "The New Yorker"'s Richard Brody called the film "a comedy, and a scintillating, uproarious one, filled with fast and light touches of exquisite incongruity in scenes that have the expansiveness of relaxed precision, performed and timed with the spontaneous authority of jazz." In the "Los Angeles Times", Kenneth Turan called the film a "droll tribute to and spoof of Hollywood past [that] amuses from beginning to end with its site specific re-creation of the studio system and the movies that made it famous." The Coens were "helped enormously by a splendid and committed ensemble cast."


title: Hail, Caesar!

text: John Anderson of "The Wall Street Journal" wrote: "A dispiritingly vitriolic, only sporadically funny satire of ’50s Hollywood, "Hail, Caesar!" verifies a suspicion long held here, that the Coen brothers, Joel and Ethan, really hate the movies. Their central character, Eddie Mannix...is being wooed by Lockheed. Better hours. Better pay. Lifetime employment. Fewer nut jobs. And work that wouldn't be quite so... frivolous. The movie makes a strong case that the Coen brothers feel the same way. You start to wonder why you're sitting there watching."


title: Hail, Caesar!

text: "The Atlantic" associate editor David Sims concluded the opposite. Coen protagonists, he wrote, sometimes ask questions of higher powers—and receive no answer. "In "Hail, Caesar!" the answer is given, and it’s as hopeful as one could expect from the Coens: Cinema’s somber, weighty moments matter, but equally crucial are the frivolous, joyful bits of entertainment—watching Channing Tatum tap-dance on a table, or George Clooney ramble overwritten monologues."


title: Hail, Caesar!

text: Manohla Dargis of "The New York Times" wrote that "Hail, Caesar!" falls between the filmmakers' masterworks and duds. "It's a typically sly, off-center comedy, once again set against the machinery of the motion-picture business. And, as usual with the Coens, it has more going on than there might seem, including in its wrangling over God and ideology, art and entertainment."


title: Hail, Caesar!

text: Richard Roeper gave the film four out of four stars, calling it one of his favorite movies ever made about making movies. IGN gave the film 7.7/10, saying, ""Hail, Caesar!" may not be one of the Coen Brothers' finest efforts—and it might not engage viewers beyond Los Angeles or those who truly understand or work in the film industry—but it's nevertheless a fun, charming, and oft-hilarious take on Hollywood's Golden Age." In "The Village Voice", Melissa Anderson praised the performances, but found that the tone and humor of the film "too often goes flat."


title: Hail, Caesar!

text: Audiences polled by CinemaScore gave the film an average grade of "C−" on an A+ to F scale. 52% of the opening day audience were males while 84% were over 25, with both demographics giving the film a "D+" grade, while those over 50 years old gave the film a grade of "D−". Filmgoers polled by comScore's PostTrak service gave the film a 66% overall positive score and just a 40% "definite recommend".


title: Resurrection of Jesus

text: The resurrection of Jesus () is the Christian belief that God raised Jesus on the third day after his crucifixion, starting – or restoring – his exalted life as Christ and Lord. According to the New Testament writing, Jesus was firstborn from the dead, ushering in the Kingdom of God. He appeared to his disciples, calling the apostles to the Great Commission of forgiving sin and baptizing repenters, and ascended to Heaven.


title: Resurrection of Jesus

text: For the Christian tradition, the bodily resurrection was the restoration to life of a transformed body powered by spirit, as described by Paul and the Gospel authors, that led to the establishment of Christianity. In Christian theology, the resurrection of Jesus is "the central mystery of the Christian faith". It provides the foundation for that faith, as commemorated by Easter, along with Jesus' life, death and sayings. For Christians, his resurrection is the guarantee that all the Christian dead will be resurrected at Christ's (second coming).


title: Resurrection of Jesus

text: In secular and liberal Christian scholarship, the post-resurrection appearances of Jesus are explained as visionary experiences, which gave the impetus to the belief in the exaltation of Jesus, and a resumption of the missionary activity of Jesus' followers.


title: Resurrection of Jesus

text: The conviction that Jesus was raised from the dead is found in the earliest evidence of Christian origins.


title: Resurrection of Jesus

text: The moment of resurrection itself is not described in any of the gospels, but all four contain passages in which Jesus is portrayed as predicting his death and resurrection, or contain allusions that "the reader will understand". The New Testament writings do not contain any descriptions of a resurrection, but rather accounts of an empty tomb and post-resurrection appearances of Jesus.


title: Resurrection of Jesus

text: One of the letters sent by Paul the Apostle to one of the early Greek churches, the First Epistle to the Corinthians, contains one of the earliest Christian creeds referring to post-mortem appearances of Jesus, and expressing the belief that he was raised from the dead, namely 1 Corinthians 15:3–8. It is widely accepted that this creed predates Paul and the writing of First Corinthians. Scholars have contended that in his presentation of the resurrection, Paul refers to this as an earlier authoritative tradition, transmitted in a rabbinic style, that he received and has passed on to the church at Corinth. Geza Vermes writes that the creed is "a tradition he [Paul] has inherited from his seniors in the faith concerning the death, burial and resurrection of Jesus". The creed's ultimate origins are probably within the Jerusalem apostolic community, having been formalised and passed on within a few years of the resurrection. Hans Grass argues for an origin in Damascus, and according to Paul Barnett, this creedal formula, and others, were variants of the "one basic early tradition that Paul "received" in Damascus from Ananias in about 34 [AD]" after his conversion.


title: Resurrection of Jesus

text: In the Jerusalem (Church), from which Paul received this creed, the phrase "died for our sins" probably was an apologetic rationale for the death of Jesus as being part of God's plan and purpose, as evidenced in the scriptures. For Paul, it gained a deeper significance, providing "a basis for the salvation of sinful Gentiles apart from the Torah." The phrase "died for our sins" was derived from Isaiah, especially 53:4-11, and 4 Maccabees, especially 6:28–29. "Raised on the third day" is derived from Hosea 6:1-2:


title: Resurrection of Jesus

text: Paul, writing to the members of the church at Corinth, said that Jesus appeared to him in the same fashion in which he appeared to the earlier witnesses. In 2 Corinthians 12 Paul described "a man in Christ [presumably Paul himself] who ... was caught up to the third heaven", and while the language is obscure, a plausible interpretation is that the man believed he saw Jesus enthroned at the right hand of God.


title: Resurrection of Jesus

text: Jesus is described as the "firstborn from the dead," , the first to be raised from the dead, and thereby acquiring the "special status of the firstborn as the preeminent son and heir." His resurrection is also the guarantee that all the Christian dead will be resurrected at Christ's .


title: Resurrection of Jesus

text: After the resurrection, Jesus is portrayed as proclaiming "eternal salvation" through the disciples (), and subsequently called the apostles to the Great Commission, as described in Matthew 28:16–20, Mark 16:14–18, Luke 24:44–49, Acts 1:4–8, and John 20:19–23, in which the disciples received the call "to let the world know the good news of a victorious Saviour and the very presence of God in the world by the spirit." According to these texts, Jesus says that they "will receive power when the Holy Spirit has come upon you", that "repentance and forgiveness of sins is to be proclaimed in [the Messiah's] name to all nations, beginning from Jerusalem", and that "[i]f you forgive the sins of any, they are forgiven them; if you retain the sins of any, they are retained".


title: Resurrection of Jesus

text: The Gospel of Mark ends with the discovery of the empty tomb by Mary Magdalene, Salome, and "Mary the mother of James". A young man in a white robe at the site of the tomb announced to them that Jesus has risen, and instructed them to "tell Peter and the disciples that he will meet them in Galilee, 'just as he told you'" (Mark 16). It says that Jesus first appeared to Mary Magdalene, then to two followers outside Jerusalem, and then to the eleven remaining Apostles, commissioning them to spread "the good news" (often referred to as "The Great Commission"), saying: "The one who believes and is baptized will be saved; but the one who does not believe will be condemned."


title: Resurrection of Jesus

text: In Matthew, Luke and John, the resurrection announcement is followed by appearances of Jesus first to Mary Magdalene then to other followers. The Gospel of Matthew describes a single appearance in Galilee, Luke describes several appearances in Jerusalem, John mentions appearances in both Jerusalem and Galilee. At some point, these appearances ceased in the early Christian community, as reflected in the Gospel-narratives: the "Acts of the Apostles" says that "for forty days he had continued to appear to them". The Gospel of Luke describes Jesus ascending to heaven at a location near Bethany.


title: Resurrection of Jesus

text: In the Gospel of Matthew, an angel appeared to Mary Magdalene at the empty tomb, telling her that Jesus is not there because he has been raised from the dead, and instructing her to tell the other followers to go to Galilee, to meet Jesus. Jesus then appeared to Mary Magdalene and "the other Mary" at the tomb; and next, based on Mark 16:7, Jesus appeared to all the disciples on a mountain in Galilee, where Jesus claimed authority over heaven and earth, and commissioned the disciples to preach the gospel to the whole world. Matthew presents Jesus's second appearance as an apotheosis (deification), commissioning his followers to "make disciples of all nations, baptizing them in the name of the Father and of the Son and of the Holy Spirit, [20] and teaching them to obey everything that I have commanded you." In this message, the end-times are delayed, "to bring the world to discipleship."


title: Resurrection of Jesus

text: In the Gospel of Luke, "the women who had come with him from Galilee" come to his tomb, which they find empty. Two angelic beings appeared to announce that Jesus is not there, but has been raised. Jesus then appeared to two followers on their way to Emmaus, who notify the eleven remaining Apostles, who respond that Jesus has appeared to Peter. While they were describing this, Jesus appeared again, explaining that he is the messiah who raised from the dead according to the scriptures, "and that repentance and forgiveness of sins is to be proclaimed in his name to all nations, beginning from Jerusalem." In Luke–Acts (two works from the same author) he then ascended into heaven, his rightful home.


title: Resurrection of Jesus

text: In the Gospel of John, Mary Magdalene found the tomb empty, and informed Peter. She then saw two angels, after which Jesus himself appeared to her. In the evening, Jesus appeared to the other followers, followed by another appearance a week later. He later appeared in Galilee to Peter, Thomas, and two other followers, commanding Peter to take care of his followers.


title: Resurrection of Jesus

text: In Acts of the Apostles, Jesus appeared to the apostles for forty days, and commanded them to stay in Jerusalem after which Jesus ascended to heaven, followed by the coming of the Holy Spirit at Pentecost, and the missionary task of the early church.


title: Resurrection of Jesus

text: The resurrection-narratives have been interpreted and analyzed in diverse ways. While the objective (historical event, concrete bodily resurrection) or subjective (subjective religious experience, visions) nature of the resurrection is a matter of debate, with Christian authors like N. T. Wright, Gary Habermas, and William Lane Craig defending the resurrection as an objective event, the central scholarly concern is the meaning and relevance of the resurrection-belief for the early Christian community.


title: Resurrection of Jesus

text: In Judaism, the idea of resurrection first emerges in the 2nd-century BC Book of Daniel as a belief in the resurrection of the soul alone, which was then developed by the Pharisees as a belief in bodily resurrection, an idea completely alien to the Greeks. Josephus tells of the three main Jewish sects of the 1st century AD, that the Sadducees held that both soul and body perished at death; the Essenes that the soul was immortal but the flesh was not; and the Pharisees that the soul was immortal and that the body would be resurrected to house it. Of these three positions, Jesus and the early Christians appear to have been closest to that of the Pharisees. Steve Mason notes that for the Pharisees, "the new body is a special, holy body," which is different from the old body, "a view shared to some extent by the ex-Pharisee Paul (1. Cor. 15:35ff)."


title: Resurrection of Jesus

text: The evidence from Jewish texts and from tomb inscriptions points to a more complex reality: for example, when the 2nd century BC author of the Book of Daniel wrote that "many of those sleeping in the dust shall awaken", religion scholar Dag Øistein Endsjø believes he probably had in mind a rebirth as angelic beings (metaphorically described as stars in God's Heaven, stars having been identified with angels from early times); such a rebirth would rule out a bodily resurrection, as angels were believed to be fleshless. Other texts range from the traditional Old Testament view that the soul would spend eternity in the underworld, to a metaphorical belief in the raising of the spirit. Most avoided defining what resurrection might imply, but a resurrection of the flesh was a marginal belief. As Lehtipuu states, "belief in resurrection was far from being an established doctrine of Second Temple Judaism".


title: Resurrection of Jesus

text: The Greeks held that the soul of a meritorious man could be translated into a god in the process of apotheosis (divination) which then transferred them to a special place of honor. Successors of Alexander the Great made this idea very well known throughout the Middle East through coins bearing his image, a privilege previously reserved for gods. The idea was adopted by the Roman emperors, and in the Imperial Roman concept of apotheosis, the earthly body of the recently deceased emperor was replaced by a new and divine one as he ascended into heaven. These stories proliferated in the middle to late first century.


title: Resurrection of Jesus

text: The apotheosised dead remained recognisable to those who met them, as when Romulus appeared to witnesses after his death, but as the biographer Plutarch () explained of this incident, while something within humans comes from the gods and returns to them after death, this happens "only when it is most completely separated and set free from the body, and becomes altogether pure, fleshless, and undefiled".


title: Resurrection of Jesus

text: Early on, the stories about the empty tomb were met with scepcis. Already in the first century AD, critics of the early Christian community asserted that Jesus had not really died on the cross. Other suggestions are that the body was stolen from the grave, or was lost due to naturally causes.


title: Resurrection of Jesus

text: According to Géza Vermes, the empty tomb and the post-resurrection appearances are never directly coordinated to form a combined argument. While the coherence of the empty tomb-narrative is questionable, it is "clearly an early tradition." Vermes rejects the literal interpretation of the story, and also notes that the story of the empty tomb conflicts with notions of a spiritual resurrection. According to Vermes, "[t]he strictly Jewish bond of spirit and body is better served by the idea of the empty tomb and is no doubt responsible for the introduction of the notions of palpability (Thomas in John) and eating (Luke and John)."


title: Resurrection of Jesus

text: According to Raymond E. Brown, the body of Jesus was buried in a new tomb by Joseph of Arimathea in accordance with Mosaic Law, which stated that a person hanged on a tree must not be allowed to remain there at night, but should be buried before sundown.


title: Resurrection of Jesus

text: Critical scholars have argued that there are historical discrepancies in the burial narratives. Martin Hengel argued that Jesus was buried in disgrace as an executed criminal who died a shameful death, a view which is "now widely accepted and has become entrenched in scholarly literature." John Dominic Crossan famously stated that Jesus' body was thrown into a shallow grave and eaten by dogs, the bones scattered. New Testament historian Bart D. Ehrman rejects the story of the empty tomb, and argues that "an empty tomb had nothing to do with it [...] an empty tomb would not produce faith." Referring to Hengel and Crossan, Ehrman argues that the empty tomb was needed to underscore the physical resurrection of Jesus, but it is doubtful that Jesus was buried by Joseph of Arimathea since it is unlikely that a member of the Sanhedrin would have buried Jesus; crucifixion was meant "to torture and humiliate a person as fully as possible," and the body was left on the stake to be eaten by animals; criminals were usually buried in common graves; and Pilate had no concern for Jewish sensitivities, which makes it unlikely that he would have allowed for Jesus to be buried.


title: Resurrection of Jesus

text: British New Testament scholar Maurice Casey took a middle position on the matter: he argues that Jesus was indeed buried by Joseph of Arimathea, but in a tomb for criminals owned by the Sanhedrin. He therefore rejects the empty tomb narrative as legendary.


title: Resurrection of Jesus

text: N. T. Wright emphatically and extensively argues for the reality of the empty tomb and the subsequent appearances of Jesus, reasoning that as a matter of "inference" both a bodily resurrection and later bodily appearances of Jesus are far better explanations for the empty tomb and the 'meetings' and the rise of Christianity than are any other theories, including those of Ehrman. Dale Allison has also argued for an empty tomb, that was later followed by visions of Jesus by the Apostles and Mary Magdalene.


title: Resurrection of Jesus

text: Both Ware and Cook argue, primarily from Paul's terminology and the contemporary Jewish, pagan and cultural understanding of the nature of resurrection, that Paul held to a physically resurrected body ("sōma"), restored to life, but animated by spirit ("pneumatikos") instead of soul ("psuchikos"), just like the later Gospel accounts. The nature of this resurrected body is a matter of debate. In 1 Corinthians 15:44, Paul uses the phrase "spiritual body" ("sōma pneumatikos"), which has been explained as a "Spirit-empowered body," but also as a "celestial body," made of a finer material than the flesh. In the Epistle to the Philippians Paul describes how the body of the resurrected Christ is utterly different from the one he wore when he had "the appearance of a man," and holds out a similar glorified state, when Christ "will transform our lowly body," as the goal of the Christian life – "flesh and blood cannot inherit the kingdom of God" (I Corinthians 15:50), and Christians entering the kingdom will be "putting off the body of the flesh" (Colossians 2:11). Paul opposed the notion of a purely spiritual resurrection, as propagated by some Christians in Corinth, which he addresses in 1 Corinthians. The developing Gospel-tradition emphasized the material aspects to counter this spiritual interpretation.


title: Resurrection of Jesus

text: Paul's views of a bodily resurrection went against the thoughts of the Greek philosophers to whom a bodily resurrection meant a new imprisonment in a corporeal body, which was what they wanted to avoid – given that for them the corporeal and the material fettered the spirit.


title: Resurrection of Jesus

text: James Dunn notes that there is a great difference between Paul's resurrection appearance, and the appearances described in the Gospels. Where "Paul's seeing was visionary [...], 'from heaven'," in contrast, the Gospel-accounts have a "massive realism" to them. Dunn contends that the "massive realism' [...] of the [Gospel] appearances themselves can only be described as visionary with great difficulty – and Luke would certainly reject the description as inappropriate." According to Dunn, most scholars explain this as a "legendary materialization" of the visionary experiences, "borrowing the traits of the earthly Jesus." Yet, according to Dunn, there was both "a tendency away from the physical [...] and a reverse tendency towards the physical." The tendency towards the material is most clear, but there are also signs for the tendency away from the physical, and "there are some indications that a more physical understanding was current in the earliest Jerusalem community."


title: Resurrection of Jesus

text: According to Wright, there is substantial unanimity among the early Christian writers (first and second century) that Jesus had been bodily raised from the dead, "with (as the early Christians in their different ways affirmed) a 'transphysical' body, both the same and yet in some mysterious way transformed." According to Wright, Paul "believed he had seen the risen Jesus in person, and [...] his understanding of who this Jesus was included the firm belief that he possessed a transformed but still physical body."


title: Resurrection of Jesus

text: In Christian theology, the death, resurrection, and exaltation of Jesus are the most important events, and the foundation of the Christian faith. The Nicene Creed states: "On the third day he rose again in accordance with the Scriptures". According to Terry Miethe, a Christian philosopher at Oxford University, the question " 'Did Jesus rise from the dead?' is the most important question regarding the claims of the Christian faith." According to John R. Rice, a Baptist evangelist, the resurrection of Jesus was part of the plan of salvation and redemption by atonement for man's sin. According to the Roman Catechism of the Catholic Church, the resurrection of Jesus causes and is the model of the resurrection of all the dead, as well as the cause and model of repentance, which the catechism calls "spiritual resurrection." Summarizing its traditional analysis, the Catholic Church states in its Catechism:


title: Resurrection of Jesus

text: For orthodox Christians, including some scholars, the resurrection is taken to have been a concrete, material resurrection of a transformed body. According to Craig L. Blomberg, there are sufficient arguments for the historicity of the resurrection.


title: Resurrection of Jesus

text: In secular and liberal Christian scholarship, the post-resurrection appearances of Jesus are explained as visionary experiences, as articulated in the vision theory of Jesus' appearances. In the twenty-first century, modern scholars such as Gerd Lüdemann have proposed that Peter had a visual vision of Jesus, due to severe grief and mourning.


title: Resurrection of Jesus

text: The belief in the resurrection by Jesus' early followers formed the proclamation of the first "ekklēsia" (lit. "assembly"). The "visions of the resurrected/exalted Christ" reinforced the impact Jesus and his ministry had on his early followers, and interpreted in a scriptural framework they gave the impetus to Christ-devotion and the belief in the exaltation of Jesus. Jesus' death was interpreted in light of the scriptures as a redemptive death, being part of God's plan. The appearances also led to the resumption of the missionary activity of Jesus' followers, with Peter assuming the leadership role in the first "ekklēsia" (which formed the basis for the Apostolic succession).


title: Resurrection of Jesus

text: In the "Antiquities of the Jews", a 1st-century account of Jewish history by Josephus, believers of the resurrection are discussed. However, this reference to the resurrection is widely believed to have been added by a Christian interpolator. Within the non-canonical literature of Gospel of Peter, there is a retelling of the resurrection of Jesus.


title: Resurrection of Jesus

text: Jesus' followers expected God's Kingdom to come soon, and Jesus' resurrection was the first event of the Endtime.


title: Resurrection of Jesus

text: The New Testament writings contend that the resurrection was "the beginning of His exalted life" as Christ and Lord. Jesus is the "firstborn of the dead," "prōtotokos", the first to be raised from the dead, and thereby acquiring the "special status of the firstborn as the preeminent son and heir." According to Beale,


title: Resurrection of Jesus

text: Hurtado notes that soon after his death, Jesus was called Lord ("Kyrios"), which "associates him in astonishing ways with God." The term Lord reflected the belief that God had exalted Jesus to a divine status "at God's 'right hand'." The worship of God as expressed in the phrase "call upon the name of the Lord ["Yahweh"]" was also applied to Jesus, invocating his name "in corporate worship and in the wider devotional pattern of Christian believers (e.g., baptism, exorcism, healing)."


title: Resurrection of Jesus

text: According to Hurtado, powerful religious experiences were an indispensable factor in the emergence of Christ-devotion. Those experiences "seem to have included visions of (and/or ascents to) God's heaven, in which the glorified Christ was seen in an exalted position." Those experiences were interpreted in the framework of God's redemptive purposes, as reflected in the scriptures, in a "dynamic interaction between devout, prayerful searching for, and pondering over, scriptural texts and continuing powerful religious experiences." This initiated a "new devotional pattern unprecedented in Jewish monotheism," that is, the worship of Jesus next to God, giving Jesus a central place because his ministry, and its consequences, had a strong impact on his early followers. Revelations, including those visions, but also inspired and spontaneous utterances, and "charismatic exegesis" of the Jewish scriptures, convinced them that this devotion was commanded by God.


title: Resurrection of Jesus

text: Ehrman notes that both Jesus and his early followers were apocalyptic Jews, who believed in the bodily resurrection, which would start when the coming of God's Kingdom was near. According to Ehrman, "the disciples' belief in the resurrection was based on visionary experiences," arguing that visions usually have a strong persuasive power, but also noting that the Gospel-accounts record a tradition of doubt about the appearances of Jesus. Ehrman's "tentative suggestion" is that only a few followers had visions, including Peter, Paul and Mary. They told others about those visions, convincing most of their close associates that Jesus was raised from the dead, but not all of them. Eventually, these stories were retold and embellished, leading to the story that all disciples had seen the risen Jesus. The belief in Jesus' resurrection radically changed their perceptions, concluding from his absence that he must have been exalted to heaven, by God himself, exalting him to an unprecedented status and authority.


title: Resurrection of Jesus

text: It has long been argued that the New Testament writings contain two different Christologies, namely a "low" or adoptionist Christology, and a "high" or "incarnation Christology." The "low Christology" or "adoptionist Christology" is the belief "that God exalted Jesus to be his Son by raising him from the dead," thereby raising him to "divine status," as in The other early Christology is "high Christology," which is "the view that Jesus was a pre-existent divine being who became a human, did the Father’s will on earth, and then was taken back up into heaven whence he had originally come," and from where he appeared on earth. The chronology of the development of these early Christologies is a matter of debate within contemporary scholarship.


title: Resurrection of Jesus

text: According to the "evolutionary model" c.q. "evolutionary theories," as proposed by Bousset, followed by Brown, the Christological understanding of Christ developed over time, from a low Christology to a high Christology, as witnessed in the Gospels. According to the evolutionary model, the earliest Christians believed that Jesus was a human who was exalted, c.q. adopted as God's Son, when he was resurrected, signaling the nearness of the Kingdom of God, when all dead would be resurrected and the righteous exalted. Later beliefs shifted the exaltation to his baptism, birth, and subsequently to the idea of his eternal existence, as witnessed in the Gospel of John. Mark shifted the moment of when Jesus became the son to the baptism of Jesus, and later still Matthew and Luke shifted it to the moment of the divine conception, and finally John declared that Jesus had been with God from the beginning: "In the beginning was the Word".


title: Resurrection of Jesus

text: Since the 1970s, the late datings for the development of a "high Christology" have been contested, and a majority of scholars argue that this "High Christology" existed already before the writings of Paul. This "incarnation Christology" or "high Christology" did not evolve over a longer time, but was a "big bang" of ideas which were already present at the start of Christianity, and took further shape in the first few decades of the church, as witnessed in the writings of Paul.


title: Resurrection of Jesus

text: According to Ehrman, these two Christologies existed alongside each other, calling the "low Christology" an "adoptionist Christology, and "the "high Christology" an "incarnation Christology." While adoptionism was declared heresy at the end of the 2nd century, it was adhered to by the Ebionites, who regarded Jesus as the Messiah while rejecting his divinity and his virgin birth, and insisted on the necessity of following Jewish law and rites. They revered James the brother of Jesus (James the Just); and rejected Paul the Apostle as an apostate from the Law. They show strong similarities with the earliest form of Jewish Christianity, and their specific theology may have been a "reaction to the law-free Gentile mission."


title: Resurrection of Jesus

text: In the "pre-existence" Christology, Christ's resurrection and exaltation was a restoration of the exalted status he already had, but had not grasped at, as described in .


title: Resurrection of Jesus

text: Jesus' death was interpreted as a redemptive death "for our sins," in accordance with God's plan as contained in the Jewish scriptures. The significance lay in "the theme of divine necessity and fulfillment of the scriptures," not in the later Pauline emphasis on "Jesus' death as a sacrifice or an expiation for our sins." For the early Jewish Christians, "the idea that Messiah's death was a necessary redemptive event functioned more as an apologetic explanation for Jesus' crucifixion" "proving that Jesus' death was no surprise to God."


title: Resurrection of Jesus

text: According to Dunn, the appearances to the disciples have "a sense of obligation to make the vision known." Helmut Koester states that the stories of the resurrection were originally epiphanies in which the disciples were called to a ministry by the risen Jesus, and at a secondary stage were interpreted as physical proof of the event. He contends that the more detailed accounts of the resurrection are also secondary and do not come from historically trustworthy sources, but instead belong to the genre of the narrative types. Biblical scholar Géza Vermes argues that the resurrection is to be understood as a reviving of the self-confidence of the followers of Jesus, under the influence of the Spirit, "prompting them to resume their apostolic mission." They felt the presence of Jesus in their own actions, "rising again, today and tomorrow, in the hearts of the men who love him and feel he is near." According to Gerd Lüdemann, Peter convinced the other disciples that the resurrection of Jesus signaled that the end-times were near and God's Kingdom was coming, when the dead who would rise again, as evidenced by Jesus. This revitalized the disciples, starting-off their new mission.


title: Resurrection of Jesus

text: Peter claimed forcefully that Jesus appeared to him, and legitimised by Jesus' appearance he assumed leadership of the group of early followers, forming the Jerusalem "ekklēsia" mentioned by Paul. He was soon eclipsed in this leadership by James the Just, "the Brother of the Lord," which may explain why the early texts contain scarce information about Peter. According to Gerd Lüdemann, Peter was the first who had a vision of Jesus, noting that Peter and Mary both had appearance-experiences, but arguing that the tradition of Mary's appearance is a later development, and her appearance probably was not the first.


title: Resurrection of Jesus

text: According to Christian proto-orthodoxy, Peter was the first to who Jesus appeared, and therefore the rightful leader of the Church. The resurrection forms the basis of the Apostolic succession and the institutional power of orthodoxy, as the heirs of Peter, to whom Jesus appeared, and is described as "the rock" on which the church will be built. Though the Gospels, and Paul's letters, describe appearances to a greater number of people, only the appearances to the Twelve Apostles count as lending authority and Apostolic succession.


title: Resurrection of Jesus

text: The appearance of Jesus to Paul convinced him that Jesus was the risen Lord and Christ, who commissioned him to be an apostle to the Gentiles. According to Newbigin, "Paul presents himself not as the teacher of a new theology but as the messenger commissioned by the authority of the Lord himself to announce a new fact – namely that in the ministry, death and resurrection of Jesus God has acted decisively to reveal and effect his purpose of redemption for the whole world." The teachings of the apostle Paul form a key element of the Christian tradition and theology. Fundamental to Pauline theology is the connection between Christ's resurrection, and redemption. In 1 Corinthians 15:13–14, 15:17, and 15:20-22, Paul writes:


title: Resurrection of Jesus

text: The "kerygma" of 1 Corinthians 15:3 states that "Christ died for our sins." The meaning of that "kerygma" is a matter of debate, and open to multiple interpretations. Traditionally, this "kerygma" is interpreted as meaning that Jesus' death was an atonement or ransom for, or propitiation or expiation of, God's wrath against humanity because of their sins. With Jesus death, humanity was freed from this wrath. In the classical Protestant understanding, which has dominated the understanding of Paul's writings, humans partake in this salvation by faith in Jesus Christ; this faith is a grace given by God, and people are justified by God through Jesus Christ and faith in Him.


title: Resurrection of Jesus

text: More recent scholarship has raised several concerns regarding these interpretations. According to E. P. Sanders, who initiated the so-called "New Perspective on Paul", Paul saw the faithful redeemed by participation in Jesus' death and rising. Though "Jesus' death substituted for that of others and thereby freed believers from sin and guilt," a metaphor derived from "ancient sacrificial theology," the essence of Paul's writing is not in the "legal terms" regarding the expiation of sin, but the act of "participation in Christ through dying and rising with him." According to Sanders, "those who are baptized into Christ are baptized into his death, and thus they escape the power of sin [...] he died so that the believers may die with him and consequently live with him." Just as Christians share in Jesus' death in baptism, so they will share in his resurrection. James F. McGrath notes that Paul "prefers to use the language of participation. One died for all, so that all died. This is not only different from substitution, it is the opposite of it."


title: Resurrection of Jesus

text: Paul insists that salvation is received by the grace of God; according to Sanders, this insistence is in line with Judaism of ca. 200 BC until 200 AD, which saw God's covenant with Israel as an act of grace of God. Observance of the Law is needed to maintain the covenant, but the covenant is not earned by observing the Law, but by the grace of God.


title: Resurrection of Jesus

text: The Apostolic Fathers, discussed the death and resurrection of Jesus, including Ignatius (50–115), Polycarp (69–155), and Justin Martyr (100–165). The understanding of the Greek Fathers of the death and resurrection of Jesus as an atonement is the "classic paradigm" of the Church Fathers, who developed the themes found in the New Testament.


title: Resurrection of Jesus

text: During the first millennium AD, the ransom theory of atonement was the dominant metaphor, both in eastern and western Christianity, until it was replaced in the west by Anselmus' satisfaction theory of atonement. The ransom theory of atonement says that Christ liberated humanity from slavery to sin and Satan, and thus death, by giving his own life as a ransom sacrifice to Satan, swapping the life of the perfect (Jesus), for the lives of the imperfect (humans). It entails the idea that God deceived the devil, and that Satan, or death, had "legitimate rights" over sinful souls in the afterlife, due to the fall of man and inherited sin.


title: Resurrection of Jesus

text: The ransom theory was first clearly enunciated by Irenaeus (c. 130–c. 202), who was an outspoken critic of Gnosticism, but borrowed ideas from their dualistic worldview. In this worldview, humankind is under the power of the Demiurg, a lesser God who has created the world. Yet, humans have a spark of the true divine nature within them, which can be liberated by gnosis (knowledge) of this divine spark. This knowledge is revealed by the Logos, "the very mind of the supreme God," who entered the world in the person of Jesus. Nevertheless, the Logos could not simply undo the power of the Demiurg, and had to hide his real identity, appearing as a physical form, thereby misleading the Demiurg, and liberating humankind. In Irenaeus' writings, the Demiurge is replaced by the devil, while Justin Martyr had already equated Jesus and the Logos.


title: Resurrection of Jesus

text: Origen (184–253) introduced the idea that the devil held legitimate rights over humans, who were bought free by the blood of Christ. He also introduced the notion that the devil was deceived in thinking that he could master the human soul.


title: Resurrection of Jesus

text: Following the conversion of Constantine and the Edict of Milan in 313, the ecumenical councils of the 4th, 5th and 6th centuries, that focused on Christology, helped shape the Christian understanding of the redemptive nature of resurrection, and influenced both the development of its iconography, and its use within Liturgy.


title: Resurrection of Jesus

text: Belief in bodily resurrection was a constant note of the Christian church in antiquity. Augustine of Hippo accepted it at the time of his conversion in 386. Augustine defended resurrection, and argued that given that Christ has risen, there is resurrection of the dead. Moreover, he argued that the death and resurrection of Jesus was for the salvation of man, stating: "to achieve each resurrection of ours, the savior paid with his single life, and he pre-enacted and presented his one and only one by way of sacrament and by way of model."


title: Resurrection of Jesus

text: The 5th-century theology of Theodore of Mopsuestia provides an insight into the development of the Christian understanding of the redemptive nature of resurrection. The crucial role of the sacraments in the mediation of salvation was well accepted at the time. In Theodore's representation of the Eucharist, the sacrificial and salvific elements are combined in the "One who saved us and delivered us by the sacrifice of Himself". Theodore's interpretation of the Eucharistic rite is directed towards the triumph over the power of death brought about by the resurrection.


title: Resurrection of Jesus

text: The emphasis on the salvific nature of the resurrection continued in Christian theology in the next centuries, e.g., in the 8th century Saint John of Damascus wrote that: "... When he had freed those who were bound from the beginning of time, Christ returned again from among the dead, having opened for us the way to resurrection" and Christian iconography of the ensuing years represented that concept.


title: Resurrection of Jesus

text: Lorenzen finds "a strange silence about the resurrection in many pulpits". He writes that among some Christians, ministers and professors, it seems to have become "a cause for embarrassment or the topic of apologetics". The idea of a bodily resurrection remains controversial.


title: Resurrection of Jesus

text: According to Warnock, many Christians neglect the resurrection because of their understandable preoccupation with the Cross.


title: Resurrection of Jesus

text: Easter (or Easter Sunday) is the preeminent Christian feast that celebrates the resurrection of Jesus, and, according to Susan J. White, "is clearly the earliest Christian festival." According to James Dunn, "In Easter we celebrate man become God [...] that in the death and resurrection of Christ God has broken the stranglehold of human selfishness, has proved the enduring and conquering strength of divine love." According to Thorwald Lorenzen, the first Easter led to a shift in emphasis from faith "in God" to faith "in Christ". According to Raymond Harfgus Taylor, Easter "focuses upon the consummation of the redemptive act of God in the death/resurrection of Jesus Christ."


title: Resurrection of Jesus

text: Easter is linked to the Passover and Exodus from Egypt recorded in the Old Testament through the Last Supper and crucifixion that preceded the resurrection. According to the New Testament, Jesus gave the Passover meal a new meaning, as he prepared himself and his disciples for his death in the upper room during the Last Supper. He identified the loaf of bread and cup of wine as his body soon to be sacrificed and his blood soon to be shed. 1 Corinthians 5:7 states, "Get rid of the old yeast that you may be a new batch without yeastas you really are. For Christ, our Passover lamb, has been sacrificed"; this refers to the Passover requirement to have no yeast in the house and to the allegory of Jesus as the Paschal lamb. The Jewish feast of First-fruits is regarded by dispensationalists as foreshadowing its fulfilment in the resurrection of Jesus based on 1 Corinthians 15:20 "But Christ has indeed been raised from the dead, the firstfruits of those who have fallen asleep."


title: Resurrection of Jesus

text: In the Catacombs of Rome, artists indirectly hinted at the resurrection by using images from the Old Testament such as the fiery furnace and Daniel in the Lion's den. Depictions prior to the 7th century generally showed secondary events such as the Myrrhbearers at the tomb of Jesus to convey the concept of the resurrection. An early symbol of the resurrection was the wreathed Chi Rho (Greek letters representing the word "Khristos" or "Christ"), whose origin traces to the victory of emperor Constantine I at the Battle of the Milvian Bridge in 312, which he attributed to the use of a cross on the shields of his soldiers. Constantine used the Chi Rho on his standard and his coins showed a labarum with the Chi Rho killing a serpent.


title: Resurrection of Jesus

text: The use of a wreath around the Chi Rho symbolizes the victory of the resurrection over death, and is an early visual representation of the connection between the Crucifixion of Jesus and his triumphal resurrection, as seen in the 4th-century sarcophagus of Domitilla in Rome. Here, in the wreathed Chi Rho the death and Resurrection of Christ are shown as inseparable, and the Resurrection is not merely a happy ending tucked at the end of the life of Christ on earth. Given the use of similar symbols on the Roman military banner, this depiction also conveyed another victory, namely that of the Christian faith: the Roman soldiers who had once arrested Jesus and marched him to Calvary now walked under the banner of a resurrected Christ.


title: Resurrection of Jesus

text: The cosmic significance of the resurrection in Western theology goes back to Saint Ambrose, who in the 4th century said that "The universe rose again in Him, the heaven rose again in Him, the earth rose again in Him, for there shall be a new heaven and a new earth". This theme developed gradually in the West, later than in the East where the resurrection had been linked from an earlier date to redemption and the renewal and rebirth of the whole world. In art this was symbolized by combining the depictions of the resurrection with the Harrowing of Hell in icons and paintings. A good example is from the Chora Church in Istanbul, where John the Baptist, Solomon and other figures are also present, depicting that Christ was not alone in the resurrection. The depiction sequence at the 10th-century Hosios Loukas shows Christ as he pulls Adam from his tomb, followed by Eve, signifying the salvation of humanity after the resurrection.


title: Resurrection of Jesus

text: The resurrection of Jesus has long been central to Christian faith and appears within diverse elements of the Christian tradition, from feasts to artistic depictions to religious relics. In Christian teachings, the sacraments derive their saving power from the passion and resurrection of Christ, upon which the salvation of the world entirely depends.


title: Resurrection of Jesus

text: An example of the interweaving of the teachings on the resurrection with Christian relics is the application of the concept of "miraculous image formation" at the moment of resurrection to the Shroud of Turin. Christian authors have stated the belief that the body around whom the shroud was wrapped was not merely human, but divine, and that the image on the shroud was miraculously produced at the moment of resurrection. Quoting Pope Paul VI's statement that the shroud is "the wonderful document of His Passion, Death and Resurrection, written for us in letters of blood" author Antonio Cassanelli argues that the shroud is a deliberate divine record of the five stages of the Passion of Christ, created at the moment of resurrection.


title: Resurrection of Jesus

text: Groups such as Jews, Muslims, Baháʼís, and other non-Christians, as well as some liberal Christians, dispute whether Jesus actually rose from the dead. Arguments over death and resurrection claims occur at many religious debates and interfaith dialogues.


title: Resurrection of Jesus

text: Christianity split from Judaism in the 1st century AD, and the two faiths have differed in their theology since. According to the "Toledot Yeshu", the body of Jesus was removed in the same night by a gardener named Juda, after hearing the disciples planned to steal the body of Jesus. However, "Toledot Yeshu" is not considered either canonical or normative within rabbinic literature. Van Voorst states that "Toledot Yeshu" is a medieval document set without a fixed form which is "most unlikely" to have reliable information about Jesus. The Blackwell Companion to Jesus states that the "Toledot Yeshu" has no historical facts as such, and was perhaps created as a tool for warding off conversions to Christianity.