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February 18, 2018-No Deal with the Devil
Genesis 2:15-17; 3:1-13; Hebrews 4:14-16; Matthew 4:1-11 February 18, 2018 First Sunday in Lent Preached by Philip Gladden at the Wallace Presbyterian Church, Wallace, NC NO DEAL WITH THE DEVIL Let us pray: Let the words of my mouth and the meditation of my heart be acceptable to you, O Lord, our rock and our redeemer. Amen. Today at 2:00 p.m. the UNC-Wilmington theater department will present “Dr. Faustus.” The production will be set in a rock and roll dream world and is based on the 16th century play by Christopher Marlowe. The full title of the original play was “The Tragical History of the Life and Death of Doctor Faustus. Marlowe fashioned his play on old German folk tales about Doctor Faustus, an academic who made a deal with the devil, Lucifer, who is represented by the character Mephistophilis. Faustus gets bored with the regular academic subjects and trades his soul for twenty-four years of knowing and practicing the black arts and magic. Despite his misgivings about his deal with the devil as the end gets nearer, and frantic attempts to get out of the deal, Faustus is killed at the stroke of midnight.1 One legend says that when Doctor Faustus was first performed, actual devils showed up on stage and drove some audience members crazy. From that tragic story we get the phrase “a Faustian bargain.” This means trading in your values and morals, exchanging who you really are for some apparently awesome short-term goal. -
Faust Among the Witches: Towards an Ethics of Representation —David Hawkes
Faust Among the Witches: Towards an Ethics of Representation —David Hawkes I 1. Money rules the postmodern world, and money is an efficacious, or "performative," sign: a medium of representation that attains practical power. As we might expect, therefore, the concept of the performative sign is theoretically central to the postmodern era' s philosophy, politics, psychology, linguistics and -- a forteriori -- its economics. All of these disciplines, in their postmodern forms, privilege the performative, rather than the denotative, aspect of signs. They all assume that signs do things, and that the objective world is constructed for us via the realm of signification. In the work of such philosophers as Jacques Derrida and Judith Butler, the performative sign even acquires a vague association with political radicalism, since its power can be used to deconstruct such allegedly repressive chimeras as essence and self-identity. 2. The argument that signs are performative by nature leads to the conclusion that there is no prelinguistic or nonmaterial human subject, since subjective intention is irrelevant to the sign's efficacy. The idea that the subject is material thus takes its place alongside the notion that representation is efficacious as a central tenet of postmodern thought. It is not difficult to point to the connection between these ideas in the field of "economics." Money is an externalized representation of abstract human labor power -- that is to say, of human subjective activity, of human life. In addition to being a system of autonomous representation, then, money is the incarnation of objectified subjectivity. It is thus hardly surprising to find that the idea that the subject is material, that it is an object, is very prevalent in postmodern thought, or that materialism dominates intellectual disciplines from sociobiology to literary criticism. -
Joseph Smith and Diabolism in Early Mormonism 1815-1831
Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 5-2021 "He Beheld the Prince of Darkness": Joseph Smith and Diabolism in Early Mormonism 1815-1831 Steven R. Hepworth Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the History of Religion Commons Recommended Citation Hepworth, Steven R., ""He Beheld the Prince of Darkness": Joseph Smith and Diabolism in Early Mormonism 1815-1831" (2021). All Graduate Theses and Dissertations. 8062. https://digitalcommons.usu.edu/etd/8062 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. "HE BEHELD THE PRINCE OF DARKNESS": JOSEPH SMITH AND DIABOLISM IN EARLY MORMONISM 1815-1831 by Steven R. Hepworth A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF ARTS in History Approved: Patrick Mason, Ph.D. Kyle Bulthuis, Ph.D. Major Professor Committee Member Harrison Kleiner, Ph.D. D. Richard Cutler, Ph.D. Committee Member Interim Vice Provost of Graduate Studies UTAH STATE UNIVERSITY Logan, Utah 2021 ii Copyright © 2021 Steven R. Hepworth All Rights Reserved iii ABSTRACT “He Beheld the Prince of Darkness”: Joseph Smith and Diabolism in Early Mormonism 1815-1831 by Steven R. Hepworth, Master of Arts Utah State University, 2021 Major Professor: Dr. Patrick Mason Department: History Joseph Smith published his first known recorded history in the preface to the 1830 edition of the Book of Mormon. -
"With His Blood He Wrote"
:LWK+LV%ORRG+H:URWH )XQFWLRQVRIWKH3DFW0RWLILQ)DXVWLDQ/LWHUDWXUH 2OH-RKDQ+ROJHUQHV Thesis for the degree of philosophiae doctor (PhD) at the University of Bergen 'DWHRIGHIHQFH0D\ © Copyright Ole Johan Holgernes The material in this publication is protected by copyright law. Year: 2017 Title: “With his Blood he Wrote”. Functions of the Pact Motif in Faustian Literature. Author: Ole Johan Holgernes Print: AiT Bjerch AS / University of Bergen 3 Acknowledgements I would like to thank the following for their respective roles in the creation of this doctoral dissertation: Professor Anders Kristian Strand, my supervisor, who has guided this study from its initial stages to final product with a combination of encouraging friendliness, uncompromising severity and dedicated thoroughness. Professor Emeritus Frank Baron from the University of Kansas, who encouraged me and engaged in inspiring discussion regarding his own extensive Faustbook research. Eve Rosenhaft and Helga Muellneritsch from the University of Liverpool, who have provided erudite insights on recent theories of materiality of writing, sign and indexicality. Doctor Julian Reidy from the Mann archives in Zürich, with apologies for my criticism of some of his work, for sharing his insights into the overall structure of Thomas Mann’s Doktor Faustus, and for providing me with some sources that have been valuable to my work. Professor Erik Bjerck Hagen for help with updated Ibsen research, and for organizing the research group “History, Reception, Rhetoric”, which has provided a platform for presentations of works in progress. Professor Lars Sætre for his role in organizing the research school TBLR, for arranging a master class during the final phase of my work, and for friendly words of encouragement. -
Faust (Act V, Prison Scene – Trio: Anges Purs, Anges Radieux (Soprano, Tenor, Bass)): Full Score [A2816] by Charles Gounod READ ONLINE
Faust (Act V, Prison Scene – Trio: Anges Purs, Anges Radieux (soprano, Tenor, Bass)): Full Score [A2816] By Charles Gounod READ ONLINE If searching for the book Faust (Act V, Prison Scene – Trio: Anges purs, anges radieux (soprano, tenor, bass)): Full Score [A2816] by Charles Gounod in pdf format, in that case you come on to the correct website. We presented the complete release of this ebook in txt, doc, DjVu, ePub, PDF forms. You may read by Charles Gounod online Faust (Act V, Prison Scene – Trio: Anges purs, anges radieux (soprano, tenor, bass)): Full Score [A2816] or download. In addition to this book, on our website you can reading manuals and diverse art eBooks online, either downloading their as well. We want draw note what our website not store the eBook itself, but we grant url to the website whereat you can load either reading online. So that if you need to load Faust (Act V, Prison Scene – Trio: Anges purs, anges radieux (soprano, tenor, bass)): Full Score [A2816] by Charles Gounod pdf , in that case you come on to the loyal website. We have Faust (Act V, Prison Scene – Trio: Anges purs, anges radieux (soprano, tenor, bass)): Full Score [A2816] txt, PDF, doc, DjVu, ePub forms. We will be glad if you revert afresh. Faust, parts 1 and 2 - cliffsnotes About Faust, Parts 1 and 2; Summary and Analysis; Prison; Part 2: Act I Once again Mephisto summons Faust and they depart together. The scene closes with [PDF] Finite Element Structural Analysis.pdf Faust ( act v, prison scene trio: anges purs, Faust (Act V, Prison Scene Trio: Anges purs, anges radieux (soprano, tenor, bass)): Set of Parts [A2816] [Charles Gounod] on Amazon.com. -
On the Occasion of His Fifth Solo Exhibition at Galerie Buchholz, Artist Julian Göthe Presents a New Group of Sculptures and Works on Paper
Finding the radical illusion or “la chasse magique” On the occasion of his fifth solo exhibition at Galerie Buchholz, artist Julian Göthe presents a new group of sculptures and works on paper. The currents that must have inspired these works are as hard to intercept as they are impossible to list. “A lion made of assimilated sheep”, this is perhaps how Paul Valéry would call Göthe's oevre, having delicately fed on and digested so many inspirational references. Only clue that the artist provides is in the exhibition's title, which is also the title of a song by British musician Colin Newman – Their Terrain is track number one on the album Commercial Suicide, 1986. The last verse reads: After this, what next could be a question? Build the megalith again As for history we may be on a winner Or the chorus, it's a shame The parodic charge of Göthe's work finds here another fortunate momentum, a distinctly sardonic laughter permeates the rooms: objects become strange, undefinable “attractors.” It is with them that Göthe touches the limit of his aesthetic adventure – which is also the end of the adventure of representation. Göthe's megaliths actually resemble a Saint Laurent bow-tie; the twin sculptures could almost be a tart refraction of a Giorgio De Chirico sketch for the Faust (I'm thinking in particular of a drawing where Mephistopheles is portrayed as wearing a blond wig, and an explosive set of ostrich feathers seems to have set his hat on fire). The practice of the DeChirichian transvestment can be related to Göthe's also for its dissimulatingly serious aspect. -
A Picture of Doctor Faustus309
530 S PATIAL R ELATIONS a play’s star turns was by Harriet Roberts as the saucy and coquettish Julia, the Cardinal’s mistress. Her timing was excellent. Maybe the essence of this production’s tackling of the absurd contradic- tions in John Webster’s tragic revenge play was embodied in Mark Tilly’s Bosolo (‘a malcontent’) and his perversities. Tilly played Bosolo as both panto-villain and traumatized wrestler of split personality – a Jekyll and Hyde act that could have fallen flat on its face, but didn’t. In fact, insofar as he is the machine driving the plot and the ephemeral nature of ‘conscience’, I think he nailed Bosolo. A Picture of Doctor Faustus309 HE LEGENDARY STORY OF FAUST, the scholar and physician who sold his soul to the devil in exchange for knowledge and insight into T the workings of the universe, and later from a lust for earthly passions and goods, is a central Western cultural metaphor and symbol for moral equi- vocation, false gain and inevitable punishment. It also has equivalents in other cultural spaces around the world, and has been adapted to illuminate a uni- versal human quandary in numerous reformulations through many geogra- phies and languages. What is so appealing about this tale that in many way derives from a crisis of church and state and indeed Christianity, in the late-fifteenth and the six- teenth century, that reaches a peak with Luther and his followers, and the violent break away from the Catholic church in the sixteenth century, is that it applies to the grand and the obscure, to the famous and the anonymous person, in equal measure. -
American Stories the Devil and Tom Walker by Washington Irving
American Stories The Devil and Tom Walker by Washington Irving Lesson Plan by Jill Robbins, Ph.D. Introduc5on This lesson plan is to accompany the American Stories series episode, The Devil and Tom Walker by Washington Irving. A transcript of the story is included at the end of this lesson to print so students can read as they listen. Teachers who cannot play the audio from the website can read the story aloud or have students read it. This lesson plan is based on the CALLA Approach. See the end of the lesson for more informaon and resources on teaching with the CALLA approach. The following slide shows the five parts of this lesson plan. Lesson Elements Prepare Present Pracce Self-Evaluate Expand Prepare Introduce the story. “Today we will read The Devil and Tom Walker, by Washington Irving. This story takes place near Boston, Massachuses. Boston is one of the oldest cies in the United States. The story takes place in 1727. What do you know about Boston at that me?” Listen to students’ answers. Show the map on the next slide to orient them to the locaon of Boston. Explain that the United States was not yet an independent country. It was sll made up of colonies of England. Teach vocabulary and new concepts Boston, Massachuses Explain that in the 1600s, Captain Kidd was a famous pirate. People thought he buried his treasure near Boston. This story tells us about people looking for pirate treasure. What do you know about pirates?” Listen to students’ answers. Explain that pirates stole from other people. -
Appendix 1 Gothic Novels, 1800-1834
Appendix 1 Gothic Novels, 1800-1834 1. [Roche, John Hamilton] A Suffolk Tale; or, The Perfidious Guardian. London: Printed for the Author by T. Hookman, Jr and E. T. Hookman, 1810. 2. [Green, William Child] The Abbot ofMontserrat; or, The Pool ofBlood. A Romance. London: A. K. Newman, 1826. 3. [Pilkington, Miss] Accusing Spirit; or, De Courcy and Eglantine. A Romance. London: Minerva Press for William Lane, 1802. 4. [Lamb, Lady Caroline] Ada Reis: A Tale. London: John Murray, 1823. 5. [Ker, Anne] Adeline St. Julian; or, The Midnight Hour. London: J. Bonsor, 1800. 6. [Maturin, Charles Robert] The Albigenses: A Romance. London: Hurst, Robinson, 1824. 7. [Belli, Nugent?] Alexena; or, The Castle of Santa Marco. A Romance. London: Minerva Press for A. K. Newman, 1817. 8. [Parker, Mary Elizabeth] Alfred; or, The Adventures of the Knight of the Castle. A Novel. London: Apollo Press, 1802. 9. [Green, William Child] The Algerines; or, The Twins of Naples. London: A. K. Newman, 1832. 10. [Green, William Child] Alibeg the Tempter: A Tale Wild and Wonderful. London: A. K. Newman, 1831. 11. [Meeke, Mary] Amazement. A Novel. London: Minerva Press for Lane, Newman and Co., 1804. 12. [Davenport, Selina] An Angel's Form and a Devil's Heart. A Novel. London: Minerva Press for A. K. Newman, 1818. 13. [Brewer, James Norris] An Old Family Legend; or, One Husband and Two Marriages. A Romance. London: A. K. Newman and Co., 1811. 14. [Curties, T. J. Horsley] Ancient Records; or, The Abbey of St. Oswythe. A Romance. London: Minerva Press for William Lane, 1801. -
They Sold Their Soul to the Devil Have You Noticed the Number of Hollywood and Music Industry Stars Claiming to Have Sold Their
They Sold Their Soul to the Devil Have you noticed the number of Hollywood and music industry stars claiming to have sold their souls to the devil? Souled out stars. •“Sold my soul, from heaven into hell.” - 30 Seconds to Mars •“Sell his soul for cheap. Let’s make a deal, sell me your soul. Designer of the devil.” - 50 Cent •“I sold my soul to the devil in L.A” - Aaron Lewis •“Some sell their soul for the easy road. The devil’s always buying. I can’t count the ones I’ve known who fell right into line.” - Aaron Tippin •“‘I sold my soul to the devil.” - Abi Titmuss •“I’m just a demon that means well. Freelance for God, but do the work of Satan.” - Ab- Soul •“Hey Satan, pay my dues. I’m gonna take you to hell, I’m gonna get ya Satan.” - AC/DC •“There’s plenty of money to be had. But you also lose your soul.” - Alan Alda •“And tempt the soul of any man. Between the devil and me. The gates of hell swing open.” - Alan Jackson •“Dr. Dre told me he sold his soul to the devil for a million bucks.” - Alonzo Williams •“The dark covers me and I cannot run now.” - Amy Winehouse •“I sold my soul.” - Andrew W.K. •“But when it comes time to decide your fate, they’ll sign you on the line right next to Satan. Cause’ they don’t care about us. They just use us up.” - Asher Roth •“I sold my soul to the devil.” - Aubrey Plaza •“Dance with the devil. -
The Anti-Semitic Tradition of Reading Mephistopheles As the “Jewish Spirit”
Austausch, Vol. 1, No. 1, April 2011 The Dark Shadow of Faust: The Anti-Semitic Tradition of Reading Mephistopheles as the “Jewish Spirit” Jonas Karlsson Kenyon College, Gambier, Ohio ([email protected]) (I) Every student of European literature knows about Thomas Mann’s application of the Faust legend to German history in his novel Doktor Faustus, in which Mephistopheles comes to approximate the dark force of fascism that leads the country into the abyss. Mann’s appropriation of this 16th century story was so powerful, and the collapse of the Third Reich so total, that his interpretation almost completely wiped out even the traces of an earlier, and altogether different reading of the Faustian pact with the devil. This was the reading that formed a tradition among German anti-Semites, who saw in the devil not the spectre of a burgeoning movement of racist totalitarianism, but the spectre of Judaism. Particularly Goethe’s famous dramatization, which played a pivotal role in placing the Faust legend squarely at the centre of the German literary imagination, was interpreted in this light from time to time. Kurt Lüdecke, a high- ranking Nazi during the party’s early years who later fell from grace and emigrated to the US, relates in his memoirs how, when as a young boy he had attempted to read Goethe’s play, his father had admonished him: “Faust you cannot understand if you do not know that Goethe personified in Faust the struggling German soul and in Mephistopheles the tempting Jew.”1 The man Faust is still the embodiment of the German spirit, in restless pursuit of the beyond; but his eternal adversary, his metaphysical nemesis and greatest danger is not to be sought in any totalitarian ideology, but in the devilish force of “the Jew.” In what follows, we will trace the tradition of this sinister reading, from its hesitant emergence towards the end of the 19th century, through to its full-blown development in the fiercely aggressive works of Dietrich Eckart, a Nazi demagogue often identified as Hitler’s mentor. -
Branding Brussels Musically: Cosmopolitanism and Nationalism in the Interwar Years
BRANDING BRUSSELS MUSICALLY: COSMOPOLITANISM AND NATIONALISM IN THE INTERWAR YEARS Catherine A. Hughes A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2015 Approved by: Annegret Fauser Mark Evan Bonds Valérie Dufour John L. Nádas Chérie Rivers Ndaliko © 2015 Catherine A. Hughes ALL RIGHTS RESERVED ii ABSTRACT Catherine A. Hughes: Branding Brussels Musically: Cosmopolitanism and Nationalism in the Interwar Years (Under the direction of Annegret Fauser) In Belgium, constructions of musical life in Brussels between the World Wars varied widely: some viewed the city as a major musical center, and others framed the city as a peripheral space to its larger neighbors. Both views, however, based the city’s identity on an intense interest in new foreign music, with works by Belgian composers taking a secondary importance. This modern and cosmopolitan concept of cultural achievement offered an alternative to the more traditional model of national identity as being built solely on creations by native artists sharing local traditions. Such a model eluded a country with competing ethnic groups: the Francophone Walloons in the south and the Flemish in the north. Openness to a wide variety of music became a hallmark of the capital’s cultural identity. As a result, the forces of Belgian cultural identity, patriotism, internationalism, interest in foreign culture, and conflicting views of modern music complicated the construction of Belgian cultural identity through music. By focusing on the work of the four central people in the network of organizers, patrons, and performers that sustained the art music culture in the Belgian capital, this dissertation challenges assumptions about construction of musical culture.