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GNOSIS and NAG HAMMADI Anne Mcguire
12 GNOSIS AND NAG HAMMADI Anne McGuire Introduction Introductory remarks on “gnosis” and “Gnosticism” “Gnosticism” is a modern European term that !rst appears in the seventeenth-century writings of Cambridge Platonist Henry More (1614–87). For More, “Gnosticism” designates one of the earliest Christian heresies, connected to controversies addressed in Revelation 2:18–29 and in his own day.1 The term “gnosis,” on the other hand, is one of several ancient Greek nouns for “knowledge,” speci!cally experiential or esoteric knowledge based on direct experience, which can be distinguished from mere perception, understanding, or skill. For Plato and other ancient thinkers, “gnosis” refers to that knowledge which enables perception of the underlying structures of reality, Being itself, or the divine.2 Such gnosis was valued highly in many early Christian communities,3 yet the claims of some early Christians to possess gnosis came under suspicion and critique in the post-Pauline letter of 1 Timothy, which urges its readers to “avoid the profane chatter and contradictions of falsely so-called gnosis.”4 With this began the polemical contrast between “false gnosis” and “true faith.” It is this polemical sense of “false gnosis” that Bishop Irenaeus of Lyons took up in the title of his major anti-heretical work: Refutation and Overthrow of Falsely So-Called Gnosis, or Against Heresies, written c. "# 180.5 Irenaeus used 1 Timothy’s phrase not only to designate his opponents’ gnosis as false, but, even more important, to construct a broad category of -
Another Look at Cain: from a Narrative Perspective
신학논단 제102집 (2020. 12. 31): 241-263 https://doi.org/10.17301/tf.2020.12.102.241 Another Look at Cain: From a Narrative Perspective Wm. J McKinstry IV, MATS Adjunct Faculty, Department of General Education Presbyterian University and Theological Seminary In the Hebrew primeval histories names often carry significant weight. Much etymological rigour has been exercised in determining many of the names within the Bible. Some of the meaning of these names appear to have a consensus among scholars; among others there is less consensus and more contention. Numerous proposals have come forward with varying degrees of convincing (or unconvincing as the case may be) philological arguments, analysis of wordplays, possi- ble textual emendations, undiscovered etymologies from cognates in other languages, or onomastic studies detailing newly discovered names of similarity found in other ancient Semitic languages. Through these robust studies, when applicable, we can ascertain the meanings of names that may help to unveil certain themes or actions of a character within a narrative. For most of the names within the primeval histories of Genesis, the 242 신학논단 제102집(2020) meaning of a name is only one feature. For some names there is an en- compassing feature set: wordplay, character trait and/or character role, and foreshadowing. Three of the four members in the first family in Genesis, Adam, Eve, and Abel, have names that readily feature all the elements listed above. Cain, however, has rather been an exception in this area, further adding to Genesis 4’s enigmaticness in the Hebrew Bible’s primeval history. While three characters (Adam, Eve, and Abel) have names that (1) sound like other Hebrew words, that are (2) sug- gestive of their character or actions and (3) foreshadow or suggest fu- ture events about those characters, the meaning of Cain’s name does not render itself so explicitly to his character or his role in the narrative, at least not to the same degree of immediate conspicuousness. -
LIKE FATHER, LIKE SON GENESIS 4:1–2 Why Did Cain Kill His Brother Abel?
CHAPTER ONE LIKE FATHER, LIKE SON GENESIS 4:1–2 You two are book-men: can you tell me by your wit; What was a month old at Cain’s birth, that’s not five weeks old as yet? (Shakespeare—Love’s Labor’s Lost 4.2.40) Why did Cain kill his brother Abel? It is usually assumed by modern commentators that God’s rejection of Cain’s offering led him to kill his brother in a fit of jealousy.1 Such a conclusion is logical in light of the way the action in the story is arranged. But the fact is we are never told the specific reason for the murder. Ancient exegetes, as we will see later, also speculated over Cain’s motive and sometimes provided the same conclusion as modern interpreters. But some suggested that there was something more sinister behind the killing, that there was something inborn about Cain that led him to earn the title of first murderer. These interpreters pushed back past the actual murder to look, as would a good biographer, at what it was about Cain’s birth and childhood that led him to his moment of infamy. Correspond- ingly, they asked similar questions about Abel. The result was a devel- opment of traditions that became associated with the brothers’ births, names and occupations. Who was Cain’s father? As we noted in the introduction, Cain and Abel is a story of firsts. In Gen 4:1 we find the first ever account of sexual relations between humans with the end result being the first pregnancy. -
Representation of Identities in Neil Gaiman's the Sandman
SOMEWHERE OVER THE RAINBOW: REPRESENTATION OF IDENTITIES IN NEIL GAIMAN’S THE SANDMAN Andrés Romero Jódar Universidad de Zaragoza ABSTRACT Neil Gaiman’s The Sandman is a graphic novel that explores the complexities of reality and identity. The main asset of this work is its presentation of a plurality of narratives that, together, create not only a completely new world vision according to comic-book stand- ards, but also a novel conception of cultural identity. This essay aims to analyze how The Sandman deals with identity construction as fashioned by two different but related no- tions: on the one hand, identity as the outcome of the confrontation between old concep- tions of the world and new roles, duties and values; on the other hand, identity as a change of situation, as the individual wilfully escaping from old masks that imprison the self inside predetermined patterns of behaviour. KEY WORDS: Comic-book, graphic novel, Neil Gaiman, The Sandman, identity. RESUMEN The Sandman de Neil Gaiman es una novela gráfica que explora las complejidades de la 149 realidad y de la identidad. El principal valor de esta obra es la presentación de una plurali- dad de narrativas que, en conjunto, crean tanto una visión del mundo completamente nueva respecto a los cánones del cómic, así como una concepción novel de la identidad cultural. El objetivo de este ensayo es analizar cómo The Sandman trata la construcción de la identidad como resultado de dos conceptos diferentes pero relacionados: por un lado, identidad como el resultado de la confrontación entre viejas concepciones del mundo y nuevos roles, deberes y valores; por otro lado, identidad como un cambio de situación, en el que el individuo escapa voluntariamente de viejas máscaras que aprisionan al sujeto dentro de modelos de comportamiento predeterminados. -
Geometry of Force: Abel Ferrara and Simone Weil Tag Gallagher
Geometry of Force: Abel Ferrara and Simone Weil Tag Gallagher Uploaded 30 June 2000 7165 words Abstract The true hero, the true subject, the center of the Iliad is force. Force employed by man, force that enslaves man, force before which man's flesh shrinks away. In this work, at all times, the human spirit is shown as modified by its relations with force, as swept away, blinded, by the very force it imagined it could handle, as deformed by the weight of the force it submits to.... To define force-it is that x that turns anybody who is subjected to it into a thing....It makes a corpse out of him. Somebody was here, and the next minute there is nobody here at all...From [force's] first property (the ability to turn a human being into a thing by the simple method of killing him) flows another..., the ability to turn a human being into a thing while he is still alive. He is alive; he has a soul; and yet-he is a thing....And as for the soul, what an extraordinary house it finds itself in! Who can say what it costs it, moment by moment, to accommodate itself to this residence, how much writhing and bending, folding and pleating are required of it? It was not made to live inside a thing; if it does so, under pressure of necessity, there is not a single element of its nature to which violence is not done.... Perhaps all men, by the very act of being born, are destined to suffer violence; yet this is a truth to which circumstance shuts men's eyes....They have in common a refusal to believe that they both belong to the same species: the weak see no relation between themselves and the strong, and vice versa... -
House Secrets Free
FREE HOUSE SECRETS PDF Mike Lawson | 541 pages | 06 Aug 2010 | Grove Press / Atlantic Monthly Press | 9780802144805 | English | New York, United States The House of Secrets () - IMDb The House of Secrets is the name of several mysteryfantasyand horror House Secrets anthologies published by DC Comics. It is notable for being the title that introduced the House Secrets the Swamp Thing. It had a companion series titled House of Mystery. The series was revived three years later House Secrets a definite article as House Secrets House of Secretsbeginning with issue 81 Aug. Now its horror and suspense tales were introduced by a host named Abel[11] who would also host the satirical comic Plop! His House Secrets Cain hosted The House of Mystery. Canceled as a result of the DC Implosionit was then "merged" into The Unexpected with issue[16] through issue The series was 68 ad-free pages, allowing House Secrets three portions to be full-length issues. The House of Secrets also came to be the name of the actual edifice in which Abel lives. Writer Mike Friedrich and artist Jerry Grandenetti introduced the house and explained House Secrets origins. Later, Sanderson's wife went insane in the upper floors, leading the Senator to sell the house. The next four owners, none of them pure Kentuckians, found themselves driven away for various reasons. House Secrets following owner attempted to move the home from its House Secrets location, but the house tore itself free from its trailer, ran its owner over a cliff to his death, and settled less than yards from the Kentucky state line in a graveyard. -
Excommunicated Vol. 1, No. 1
Vol. 1, No. 1 (September 2014) excommunicated The newsletter of The International Society for Heresy Studies A biannual newsletter heresystudies.org Innaugural ISHS Conference: Brief Conference Heresy in the News Featured Heretic: Society News President’s Opening Remarks Impressions Geremy Carnes Simoni Deo Sancto Page 9 Gregory Erickson Jordan E. Miller Page 5 Edward Simon Page 1 Page 4 Gregory Erickson Page 8 Also: Robert Royalty Page 6 Check out the Vice-President’s Conference Page 4 John D. Holloway Teaching Corner Journal of Retrospective James Morrow Page 7 Bella Tendler Heresy Studies. Bernard Schweizer Page 4 Kathleen Kennedy Page 9 See page 10 for Page 2 Page 7 more information excommunicated is edited by Bernard Schweizer with assistance from Edward Simon and is designed by Jordan E. Miller The International Society for Heresy Studies Officers: Advisory Board Members: Contact: Gregory Erickson (president) Valentine Cunningham David Dickinson Gregory Erickson Bernard Schweizer (vice-president) Lorna Gibb Rebecca N. Goldstein 1 Washington Place, Room 417 John D. Holloway (secretary-treasurer) Jordan E. Miller James Morrow New York University Geremy Carnes (webmaster) Ethan Quillen Robert Royalty New York, NY 10003 James Wood INAUGURAL ISHS CONFERENCE: PRESIDENT’S OPENING REMARKS GREGORY ERICKSON Each of us was working with the concept of heresy in different ways. We agreed on wanting to form New York University some sort of organization. Much of our discussion I am very excited to welcome everyone to the first focused on why we each felt this sort of group was conference of the International Society of Heresy needed and what we meant by the word heresy. -
The Vampire Diaries
University of Wollongong Research Online Senior Deputy Vice-Chancellor and Deputy Vice- Senior Deputy Vice-Chancellor and Deputy Vice- Chancellor (Education) - Papers Chancellor (Education) 1-1-2013 Myriad mirrors: Doppelgangers and doubling in The Vampire Diaries Kimberley McMahon-Coleman University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/asdpapers Part of the Arts and Humanities Commons, and the Social and Behavioral Sciences Commons Recommended Citation McMahon-Coleman, Kimberley: Myriad mirrors: Doppelgangers and doubling in The Vampire Diaries 2013, 210-224. https://ro.uow.edu.au/asdpapers/441 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Myriad mirrors: Doppelgangers and doubling in The Vampire Diaries Abstract As Samantha George notes in Chapter 4 above, mirroring is of fundamental importance in Gothic literature and film. It is also a prevalent trope in the CW network teen drama, The Vampire Diaries. The television series is itself a ‘doubling’ in that it is an adaptation of a series of novels by L. J. Smith, creating a situation wherein the same central characters inhabit the parallel townships of the novels’ Fells Church and television’s Mystic Falls, and consequently have histories which are, at times, contradictory.2 The television version also explicitly explores the concept of the doppelgänger, and thus the idea of reflection, even as it manipulates the historical and cultural contexts of the characters. Nuclear families are noticeably absent in the television series, yet significant emphasis is placed on the twin themes of brothers as foils to each other, and an ongoing focus on matrilineal power. -
Crisis and Liminality in Irish and North American Vampire Stories: “Interviewing Contemporary Vampires”
Departamento de Filoloxía Inglesa e Alemá FACULTADE DE FILOLOXÍA Crisis and Liminality in Irish and North American Vampire Stories: “Interviewing Contemporary Vampires” Aitana Acuña Rodríguez TRABALLO FIN DE GRAO GRAO EN LINGUA E LITERATURA INGLESAS DIRECTORA: MARGARITA ESTÉVEZ-SAÁ LIÑA TEMÁTICA: ESTUDOS EN LITERATURA IRLANDESA FACULTADE DE FILOLOXÍA UNIVERSIDADE DE SANTIAGO DE COMPOSTELA CURSO 2018/ 2019 1 ACKNOWLEDGMENTS First and foremost, I would like to express my gratitude to my supervisor, Margarita Estévez-Saá, for her continuous support and encouragement. It has been a pleasure working with her; I have learnt many things during this last year of university thanks to her and I will be taking this experience with me during the rest of my academic life. My deepest gratefulness goes, moreover, to Laura María Lojo Rodríguez, a lecturer belonging to the English and German Philology Department, who prompted my deepest devotion to literature and who has been of great support during the four years I have known her. I will never be able to thank her enough, and, in fact, I feel that I am not only leaving behind a wonderful teacher, but a dear friend. I would also like to thank Constante González Groba, an excellent lecturer who has encouraged me to love North- American literature and whose lessons I will carry with me forever. A special mention is likewise made to Ignacio Palacios, who has always encouraged me to take this degree that I am now glad to finish. And last, but not least, I would like to extend my sincere gratitude to my parents and my brother, who have always supported me with their enthusiasm since the beginning of this adventure. -
Pistis Sophia;
PISTIS SOPHIA; A GNOSTIC MISCELLANY: BEING FOR THE MOST PART EXTRACTS FROM THE BOOKS OF THE SAVIOUR, TO WHICH ARE ADDED EXCERPTS FROM A COGNATE LITERATURE; ENGLISHED By G. R. S. Mead. London: J. M. Watkins [1921] Biographical data: G. R. S. (George Robert Stow) Mead [1863-1933] NOTICE OF ATTRIBUTION. {rem Scanned at sacred-texts.com, June 2005. Proofed and formatted by John Bruno Hare. This text is in the public domain in the United States because it was published prior to 1923. It also entered the public domain in the UK and EU in 2003. These files may be used for any non-commercial purpose, provided this notice of attribution is left intact in all copies. p. v CONTENTS PAGE PREFACE xvii INTRODUCTION The Askew Codex xxi The Scripts xxii The Contents xxiii The Title xxiv The Date of the MS. xxv Translated from the Greek xxvi Originals composed in Egypt xxviii Date: The 2nd-century Theory xxix The 3rd-century Theory xxix The 'Ophitic' Background xxxi Three vague Pointers xxxii The libertinist Sects of Epiphanius xxxiii The Severians xxxiv The Bruce Codex xxxv The Berlin Codex xxxvi The so-called Barbēlō-Gnostics xxxvii The Sethians xxxviii The present Position of the Enquiry xxxviii The new and the old Perspective in Gnostic Studies xxxix The Ministry of the First Mystery xl The post-resurrectional Setting xli The higher Revelation within this Setting xlii The Æon-lore xlii The Sophia Episode xliii The ethical Interest xliii The Mysteries xliv The astral Lore xlv Transcorporation xlv The magical Element xlvi History and psychic Story xlvii The P.S. -
1485405395410.Pdf
C L A N B O O K : C A I T I F F Contents Introduction: Bullshit 2 Chapter One: Orphans 7 Chapter Two: The Lonely Night 0 Chapter Three: Luckless Bastards 0 1 BULLSHIT Adrienne awoke only slowly, a coppery taste on her tongue and her lips closed around something soft and warm, the thick, liquid contents of which she was swallowing in great gulps – which was little surprise, given how thirsty she realized she was. The young woman opened her eyes, and found she had her mouth clamped around a clear plastic packet, drinking down the dark red liquid inside – Blood, she suddenly realized. In horror, she recoiled from the package, which had been held by a man in a suit, and began gagging and spitting out what remained in her mouth. She tried to lean forward, but whatever chair she was in, she was tied to it quite securely. “Gah!” the man who had been feeding her blood exclaimed, stepping back from her spit. He tossed aside the package of blood and looked down at his outfit, upon which a few droplets of crimson had appeared. “This was a brand-new suit! Tailored in Italy! It cost more than that entire bookstore you worked at!” Adrienne was breathing heavily, looking around. She was in, from the looks of things, an airplane cabin, and a small one at that, with only a few large, comfortable beige seats, but the rear of which had a table with drawers. It looked, she guessed, like the interior of a private jet, not that she could really be sure of that, having never been in a private jet before. -
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INSIDE: CREATE A COMIC FROM START TO FINISH! 11994 --2004 # $ 95 8 5 August In the USA 2004 MAGAZINE SEE A BOLD NEW CHARACTER CREATED BEFORE YOUR EYES! PLUS: STUART MOORE DON CROS SOVER WITH McGREGOR INDY CREATORS’ SECRETS! The Magazine About Writing For Comics, Animation, and SCI-FI MAGAZINE Issue #8 August 2004 Read Now! Message from the Editor-in-Chief . page 2 SPECIAL SECTION: Write Now!/Draw! Crossover Danny Fingeroth and Mike Manley show you all the steps involved in creating a new character from scratch—including her origin story! Meet comics’ newest action-adventure superstar: The Thief of Time! . .page 3 Introduction . .page 4 Memos . .page 5 Character Description and Design . .page 8 Story Outline . .page 12 Origin Plot . .page 15 Pencil Roughs . .page 18 Script and Balloon Placement Conceived by . .page 22 DANNY FINGEROTH Inked Pages . .page 28 Editor-in-Chief Creators’ Conversation . .page 29 Designer CHRISTOPHER DAY The WRITE NOW! Comics School Transcribers Lesson: Character Development . .page 11 STEVEN TICE Lesson: Story Structure . .page 14 Publisher JOHN MORROW Lesson: Conflict . .page 17 Lesson: Scripting Methods . .page 21 COVER Art by MIKE MANLEY Lesson: Writing Dialogue . .page 27 Photography by SOFIA NEGRON Special Thanks To The Science of Fiction (and the Art of it, too) ALISON BLAIRE Interview with Stuart Moore . .page 41 WILLIAM HARMS Talent, Inc. MIKE MANLEY Interview with Don McGregor . page 53 DON McGREGOR Clawing My Way to the Top STUART MOORE William Harms , writer of Abel , traces his career path . .page 63 ERIC NOLEN-WEATHINGTON CHRIS POWELL Feedback BEN REILLY Letters from Write Now !’s Readers .