Clement of Alexandria and the Lord's Day Aecioe
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Rothaug, Alexander
Alexander Rothaug, Die drei Parzen (The Three Fates) 1870 – Vienna - 1946 tempera on canvas, circa 1910 48 ¾ by 68 ½ inches (124 by 174 cm) signed upper left: ‘ALEXANDER’ and upper right: ‘ROTHAUG’ provenance: Private collector, Germany, acquired directly from the artist, circa 1910; and by descent in the family until 2019 exhibited: Künstlerhaus, Vienna, XXXVI Jahresausstellung, 1910, no. 358. literature: “Jahresausstellung im Künstlerhaus,” Deutsches Volksblatt, March 17, 1910, p. 9 and April 3, 1910, p. 18. “36 Jahresausstellung im Künstlerhaus,” Wiener Abnendpost, March 23, 1910, p. 3. “Jahresausstellung im Künstlerhaus,” Neues Wiener Tagblatt, March 26, 1910, p. 1. “Kunstaustellungen – Künstlerhaus,” and “Besuch des Kaisers im Künstlerhaus,” Neue Frei Presse, March 24, 1910, p. 8 and April 3, 1910, p. 9. note: Born into a family of artists, including his father, his first teacher, and his older brother, Leopold, Alexander Rothaug (fig. 1) was active as a painter, stage designer, and illustrator in both Austria and Germany. He trained first in sculpture at the Vienna Academy of Fine Arts but in 1885 switched to painting, studying especially with the orientalist painter Leopold Carl Müller. Following Müller’s death in 1892, Rothaug went to Munich working primarily as a prolific magazine illustrator and had his first public exhibitions, but most importantly during the time spent in Munich he studied the work of the popular and sensational painter Franz von Stuck (1863-1928). Following in that master’s line, Rothaug produced a great many mythological and literary subjects as well as an occasional religious one, episodes from Wagner’s Ring Cycle, and his own inventive allegories, costumes for operas, and imaginary portraits of historical figures. -
Traces of Greco-Roman Mythology in Classical Turkish Literature: the Thread of Life / B
532 / RumeliDE Journal of Language and Literature Studies 2020.19 (June) Traces of Greco-Roman mythology in classical Turkish literature: The Thread of Life / B. Alpaydın (pp. 528-540) Traces of Greco-Roman mythology in classical Turkish literature: The Thread of Life Bilal ALPAYDIN1 APA: Alpaydın, B. (2020). Traces of Greco-Roman mythology in classical Turkish literature: The Thread of Life. RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, (19), 528-540. DOI: 10.29000/rumelide.752507. Abstract It is wholly acknowledged that prior to the Turks’ conquest of Anatolia, this land was inhabited by diverse cultures and civilizations. Following its conquest, however, large segments of the various populations living in Anatolia continued to reside in their native homelands, indicating that the Turks lived together with these indigenous cultures for centuries. Greeks and Romans made up only one aspect of these various cultures. Although nowhere near as pervasive as their Persian and Arab counterparts, the cultures and mythologies of both the Greeks and Romans are discernible in Turkish culture, which is only natural after having shared the same homeland for many years in Anatolia and Europe. One such example is the occasional likening of a beloved’s hair to snakes in classical Turkish literature, reminiscent of Medusa’s own snake-like hair in Greek mythology. Indeed, the poems written in Greek by Mawlānā Jalāl al-Dīn Rūmī and Ahmed Pasha demonstrate that Turkish poets were not complete strangers to Western sources. After providing information about the three Moirai sisters known as the goddesses of fate in Greek and Roman mythology, this article will move on to address how they indirectly appear in classical Turkish literature. -
A Reader in Comparative Indo-European Religion
2018 A READER IN COMPARATIVE INDO-EUROPEAN RELIGION Ranko Matasović Zagreb 2018 © This publication is intended primarily for the use of students of the University of Zagreb. It should not be copied or otherwise reproduced without a permission from the author. TABLE OF CONTENTS Abbreviations........................................................................................................................ Foreword............................................................................................................................... PART 1: Elements of the Proto-Indo-European religion...................................................... 1. Reconstruction of PIE religious vocabulary and phraseology................................... 2. Basic Religious terminology of PIE.......................................................................... 3. Elements of PIE mythology....................................................................................... PART II: A selection of texts Hittite....................................................................................................................................... Vedic........................................................................................................................................ Iranian....................................................................................................................................... Greek....................................................................................................................................... -
Weaving in Polyphony: Destiny, Culture and the Human Condition
Tsobanopoulou, Fenia 2009. Weaving in Polyphony: Destiny, Culture and the Human Condition. In M. Rossetto, M. Tsianikas, G. Couvalis and M. Palaktsoglou (Eds.) "Greek Research in Australia: Proceedings of the Eighth Biennial International Conference of Greek Studies, Flinders University June 2009". Flinders University Department of Languages - Modern Greek: Adelaide, 310-319. FENIA TSOBANOPOULOU Weaving in Polyphony: Destiny, Culture and the Human Condition Fenia Tsobanopoulou Polyphonic singing, its roles and practice and the perception of destiny as represented in ancient Greek mythology, literature and philosophy are explored in this paper. An analogy drawn between them, between the living reality and the constructed reality, depicts connections that help weave polyphonic narration. Contextualization of polyphonic singing as a truly world phenomenon that encom- passes aspects inherent in human nature and condition, while forming a manifestation of cultural diversity, is achieved through a broad perspective employing linguistics, social anthropology and philosophy. Thus, cultural phenomena such as polyphonic singing, although often employed in political discourse and the formation of national identity — with the narrative of Self and Other, directly involved, particularly in border areas — can no longer constitute issues of culture ownership. Introduction Research on polyphony in ancient Greek literature, philosophy and mythology was triggered by the findings of my ethnographic, anthropological fieldwork and research in Epirus, North-Western Greece during the summer of 2007 (Tsobanopoulou and Apostolo- poulou: under publication).1 The current paper emphasizes the case aspects concerning ancient Greek mythology and philosophy.2 1 The ethnography itself has been presented and is currently under publication: Fenia Tsobanopoulou and Vassiliki Apostolopoulou, “Border Orality: Contextualizing a Polyphonic Singing Performance”, 6th Balkan Border Crossings Network Conference (Korca, Albania, May 2008). -
When God Alters Our Fate: Relational Freedom in Romans 5:1–11 and 8:18–39
start page: 223 Stellenbosch eological Journal 2018, Vol 4, No 2, 223–241 DOI: http://dx.doi.org/10.17570/stj.2018.v4n2.a11 Online ISSN 2413-9467 | Print ISSN 2413-9459 2018 © Pieter de Waal Neethling Trust When God alters our fate: Relational freedom in Romans 5:1–11 and 8:18–39 Stephan Joubert University of the Free State, Bloemfontein, South Africa [email protected] Abstract Fate played an enormous role in the Ancient Mediterranean world. Fate was personified in numerous ancient deities such as the Keres, the Moirae, and Fortuna. At the same time Stoic views on fate, as a chain of causes, impacted hugely on the ancients’ general view on fate as an inexorable force which cannot be opposed, or whose direction and eventual outcomes cannot be changed. Against the backdrop, Paul’s understanding of the nature of God’s presence, actions and influence in the lives of believers in Romans 5:1–10 and 8:18–39 is discussed. Fate, in the sense of that which has been predetermined and written into the lives of individuals before birth, and which comes into existence in many different, fixed forms, or fate as a chain of causes, is never on Paul’s mind. God’s foreordained plan is not a predetermined, unalterable fate for each and every person over which they have no control or say whatsoever. Rather, God’s πρόθεσις (prothesis) relates to the salvation of all believers. God refuses to surrender his people to their fate, namely death and eternal destruction. He changes fate into destiny for all who believe in Christ. -
Quareia—The Initiate Module III—Power Dynamics of Creation, Part II Lesson 4: the Weave
Quareia—The Initiate Module III—Power Dynamics of Creation, Part II Lesson 4: The Weave by Josephine McCarthy Quareia Welcome Welcome to this lesson of the Quareia curriculum. The Quareia takes a magical apprentice from the beginning of magic to the level of adeptship and beyond. The course has no superfluous text; there is no dressing, no padding—everything is in its place and everything within the course has a good reason to be there. For more information and all course modules please visit www.quareia.com So remember—in order for this course to work, it is wise to work with the lessons in sequence. If you don’t, it won’t work. Yours, Quareia—The Initiate Module III—Power Dynamics of Creation, Part II Lesson 4: The Weave “Even the gods don’t fight against Ananke.” —Simonides The Weave and weaving (our human description) is a creative force that has two major octaves in the act of creation and destruction. The higher octave is deeper into the inner realm and sits beyond the three main creative powers that you have just looked at. The higher octave is a creative angelic pattern that captures the first impulse of Divine Creation in its ‘weave.’ As the impulse flows it joins with the weave and begins to lay down the first structure that holds all forms of manifest expression. The impulse is transformed from pure light/energy/air into a form that holds all potential for life: it becomes the ‘DNA’ of the manifest world. In this state the Divine impulse has the potential for all of creation and becomes the first building block of life. -
History and Religion Religionsgeschichtliche Versuche Und Vorarbeiten
History and Religion Religionsgeschichtliche Versuche und Vorarbeiten Herausgegeben von Jörg Rüpke und Christoph Uehlinger Band 68 History and Religion Narrating a Religious Past Edited by Bernd-Christian Otto, Susanne Rau and Jörg Rüpke with the support of Andrés Quero-Sánchez ISBN 978-3-11-044454-4 e-ISBN (PDF) 978-3-11-044595-4 e-ISBN (EPUB) 978-3-11-043725-6 ISSN 0939-2580 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2015 Walter de Gruyter GmbH, Berlin/Boston Printing and binding: CPI books GmbH, Leck ∞ Printed on acid-free paper Printed in Germany www.degruyter.com TableofContents Historyand Religion 1 Section I Origins and developments Introduction 21 Johannes Bronkhorst The historiography of Brahmanism 27 Jörg Rüpke Construing ‘religion’ by doinghistoriography: The historicisation of religion in the Roman Republic 45 Anders Klostergaard Petersen The use of historiography in Paul: Acase-study of the instrumentalisation of the past in the context of Late Second Temple Judaism 63 Ingvild Sælid Gilhus Flirty fishing and poisonous serpents: Epiphanius of Salamis inside his Medical chestagainstheresies 93 Sylvie Hureau Reading sutras in biographies of Chinese Buddhist monks 109 Chase F. Robinson Historyand -
Dictionary of Gods and Goddesses.Pdf
denisbul denisbul dictionary of GODS AND GODDESSES second edition denisbulmichael jordan For Beatrice Elizabeth Jordan Dictionary of Gods and Goddesses, Second Edition Copyright © 2004, 1993 by Michael Jordan All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data denisbulJordan, Michael, 1941– Dictionary of gods and godesses / Michael Jordan.– 2nd ed. p. cm. Rev. ed. of: Encyclopedia of gods. c1993. Includes bibliographical references and index. ISBN 0-8160-5923-3 1. Gods–Dictionaries. 2. Goddesses–Dictionaries. I. Jordan, Michael, 1941– Encyclopedia of gods. II. Title. BL473.J67 2004 202'.11'03–dc22 2004013028 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Text design by David Strelecky Cover design by Cathy Rincon Printed in the United States of America VBFOF10987654321 This book is printed on acid-free paper. CONTENTS 6 PREFACE TO THE SECOND EDITION v INTRODUCTION TO THE FIRST EDITION vii CHRONOLOGY OF THE PRINCIPAL RELIGIONS AND CULTURES COVERED IN THIS BOOK xiii DICTIONARY OF GODS AND GODDESSES denisbul1 BIBLIOGRAPHY 361 INDEX 367 denisbul PREFACE TO THE SECOND EDITION 6 It is explained in the introduction to this volume and the Maori. -
Scratched Images As Though It Was Pouring Down Rain. the Film Seems
The Thread and the Traces a film program curated by Eline Grignard January 31- February 14, 2015 opening January 30, 2015 Open from Tuesday to Saturday, from 11AM to 7PM Theo Angelopoulos, Le regard d’Ulysse (1995) Scratched images as though it was pouring down rain. The film seems wrinkled by contagion with the face of the spinners, captives of the Manákis brothers, those cameramen who ran from one end of the Balkans to the other at the dawn of the 20th century to film minuscule gestures and lives. Tentacular, they spin the wool into balls of yarn. I grope about blindly over the parchment face of a woman from a time past, in a small Greek village in 1905. The uneven depth of these images brings me to a full stop: these are the first minutes of the film by Théo Angelopoulos, Ulysses’ Gaze (1995). We can hear the humming of the projector, the film unreeling and the scratching of the images. The spinners, these are the Parcae, the sisters Nona, Decima and Morta who determine the fate of men, emerging between their agile fingers. Spinning out along a trace, filming the traces. What indications do these images give? The index, this is the pointed finger that indicates and identifies. It is said that images give access, allows us to attach to and enter into contact with something in the real. That, there, here. It is even said that the print is irrefutable, that it instils the real in the image, like an impregnated cloth. A trace that spreads, that blots, indelible. -
Abhiyoga Jain Gods
A babylonian goddess of the moon A-a mesopotamian sun goddess A’as hittite god of wisdom Aabit egyptian goddess of song Aakuluujjusi inuit creator goddess Aasith egyptian goddess of the hunt Aataentsic iriquois goddess Aatxe basque bull god Ab Kin Xoc mayan god of war Aba Khatun Baikal siberian goddess of the sea Abaangui guarani god Abaasy yakut underworld gods Abandinus romano-celtic god Abarta irish god Abeguwo melansian rain goddess Abellio gallic tree god Abeona roman goddess of passage Abere melanisian goddess of evil Abgal arabian god Abhijit hindu goddess of fortune Abhijnaraja tibetan physician god Abhimukhi buddhist goddess Abhiyoga jain gods Abonba romano-celtic forest goddess Abonsam west african malicious god Abora polynesian supreme god Abowie west african god Abu sumerian vegetation god Abuk dinkan goddess of women and gardens Abundantia roman fertility goddess Anzu mesopotamian god of deep water Ac Yanto mayan god of white men Acacila peruvian weather god Acala buddhist goddess Acan mayan god of wine Acat mayan god of tattoo artists Acaviser etruscan goddess Acca Larentia roman mother goddess Acchupta jain goddess of learning Accasbel irish god of wine Acco greek goddess of evil Achiyalatopa zuni monster god Acolmitztli aztec god of the underworld Acolnahuacatl aztec god of the underworld Adad mesopotamian weather god Adamas gnostic christian creator god Adekagagwaa iroquois god Adeona roman goddess of passage Adhimukticarya buddhist goddess Adhimuktivasita buddhist goddess Adibuddha buddhist god Adidharma buddhist goddess -
Studying Eschatological Concepts in the Pentateuch Gerald Klingbeil Andrews University, [email protected]
Andrews University Digital Commons @ Andrews University Faculty Publications Old Testament April 2000 Looking at the End from the Beginning: Studying Eschatological Concepts in the Pentateuch Gerald Klingbeil Andrews University, [email protected] Follow this and additional works at: http://digitalcommons.andrews.edu/old-testament-pubs Part of the Biblical Studies Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation Klingbeil, Gerald, "Looking at the End from the Beginning: Studying Eschatological Concepts in the Pentateuch" (2000). Faculty Publications. Paper 87. http://digitalcommons.andrews.edu/old-testament-pubs/87 This Article is brought to you for free and open access by the Old Testament at Digital Commons @ Andrews University. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Digital Commons @ Andrews University. For more information, please contact [email protected]. Journal of the Adventist Theological Society, 11/1-2 (2000): 174Ð187. Article copyright © 2000 by Gerald Klingbeil. Looking at the End from the Beginning: Studying Eschatological Concepts in the Pentateuch Gerald Klingbeil Universidad Peruana Uni—n Eschatology, the study of last things,1 has been mostly studied from two distinct viewpoints: either by doing a systematic study of the questionÑas can be seen in systematic theologies of all colors, which predominantly focus upon NT texts2Ñor by concentrating upon specific books relevant to eschatological teachingsÑpredominantly the apocalyptic literature of the OT (including the book of Daniel) and the NT (as found in the book of Revelation).3 1S. H. Travis, ÒEschatology,Ó in: New Dictionary of Theology, ed. S. B. Ferguson and D. F. -
The Materiality of Magic
DIETRICH BOSCHUNG AND JAN N. BREMMER (EDS.) THE MATERIALITY OF MAGIC MORPHOMATA The Materiality of Magic is an exciting new book about an aspect of magic that is usually neglected. In the last two decades we have had many books and proceedings of conferences on the concept of magic itself as well as its history, formulas and incantations in antiquity, both in East and West. Much less attention, however, has been paid to the material that was used by the magicians for their conjuring activities. This is the first book of its kind that focuses on the material aspects of magic, such as amulets, drawings, figurines, gems, grimoires, rings, and voodoo dolls. The practice of magic required a specialist expertise that knew how to handle material such as lead, gold, stones, papyrus and terra cotta—material that sometimes was used for specific genres of magic. That is why we present in this well illustrated collection of studies new insights on the materiality of magic in antiquity by studying both the materials used for magic as well as the books in which the expertise was preserved. The main focus of the book is on antiquity, but we complement and contrast our material with examples ranging from the Ancient Near East, via early modern Europe, to the present time. BOSCHUNG, BREMMER (EDS.) – THE MATERIALITY OF MAGIC MORPHOMATA EDITED BY GÜNTER BLAMBERGER AND DIETRICH BOSCHUNG VOLUME 20 EDITED BY DIETRICH BOSCHUNG AND JAN N. BREMMER THE MATERIALITY OF MAGIC WILHELM FINK unter dem Förderkennzeichen 01UK0905. Die Verantwortung für den Inhalt der Veröffentlichung liegt bei den Autoren.