DOCSLIB.ORG

The Peformative Grotesquerie of the Crucifixion of Jesus

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Peformative Grotesquerie of the Crucifixion of Jesus THE GROTESQUE CROSS: THE PERFORMATIVE GROTESQUERIE OF THE CRUCIFIXION OF JESUS Hephzibah Darshni Dutt A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2015 Committee: Jonathan Chambers, Advisor Charles Kanwischer Graduate Faculty Representative Eileen Cherry Chandler Marcus Sherrell © 2015 Hephzibah Dutt All Rights Reserved iii ABSTRACT Jonathan Chambers, Advisor In this study I argue that the crucifixion of Jesus is a performative event and this event is an exemplar of the Grotesque. To this end, I first conduct a dramatistic analysis of the crucifixion of Jesus, working to explicate its performativity. Viewing this performative event through the lens of the Grotesque, I then discuss its various grotesqueries, to propose the concept of the Grotesque Cross. As such, the term “Grotesque Cross” functions as shorthand for the performative event of the crucifixion of Jesus, as it is characterized by various aspects of the Grotesque. I develop the concept of the Grotesque Cross thematically through focused studies of representations of the crucifixion: the film, Jesus of Montreal (Arcand, 1989), Philip Turner’s play, Christ in the Concrete City, and an autoethnographic examination of Cross-wearing as performance. I examine each representation through the lens of the Grotesque to define various facets of the Grotesque Cross. iv For Drs. Chetty and Rukhsana Dutt, beloved holy monsters & Hannah, Abhishek, and Esther, my fellow aliens v ACKNOWLEDGMENTS St. Cyril of Jerusalem, in instructing catechumens, wrote, “The dragon sits by the side of the road, watching those who pass. Beware lest he devour you. We go to the Father of Souls, but it is necessary to pass by the dragon.” No matter what form the dragon may take, it is of this mysterious passage past him, or into his jaws, that stories of any depth will always be concerned to tell… Flannery O’Connor Mystery and Manners: Occasional Prose I will spare you tales about the dragons, but tell you of the brave and kind who walked alongside me on my passage. First and foremost is my advisor, Dr. Jonathan Chambers. I could go on at length about his patience and insight, the breadth of his knowledge and how generous he is with his time, but the best tribute I can give this good teacher is that I am a stronger writer and scholar for having taken this journey under his guidance. It has been a privilege to be one of his students and I look forward to a time when I can be a teacher, artist and advisor of his caliber. I am grateful for my friend Dr. Scott Magelssen who was a co-conspirer during the early stages of this project. His infectious enthusiasm and unreserved encouragement about my topic gave me the courage to tackle this “big idea” dissertation. I also want to thank my committee members Dr. Eileen Cherry-Chandler, Marcus Sherrell, and Charles Kanwischer. The combined diversity and experience of these three scholar-artists is tremendous, and I am honored to have received their feedback, thoughts and ultimate approval of this project. To Karen Barker, Jeff Barker, and Robert Hubbard I will always be grateful: they helped me formulate a vision for being not just vi Christian artist, but a Christian who did good work and good art. Another teacher to whom I am indebted is Rev. Dr. Michael Malanga, except he would say there is no debt: we have received grace and so can give grace. I learned so much about the marvelous and mysterious intricacies of Christian doctrine through him, and the fruit of his teachings are also evidenced in this project. I am thankful for my teachers and friends in the Department of Theatre Film, especially Dr. Lesa Lockford, Steve Boone, Brad Clark, Jodi Shroeder, John Paul Staszel, and Stephen Harrick. Kari-Anne Innes and Sarah Katka were patient and inspiring collaborators during much of my early work with the Grotesque and biblical texts. During my years at Bowling Green State University, I had the immense privilege of finding myself in a community of like-minded scholars, poets, philosophers, creative-writers, musicians, and counselor-clinicians. The interdisciplinary, faith-integrative conversations (and friendly feuds) over all things nerdy challenged and fueled much of my work throughout my doctoral program. Most of them have gone before me out on their own passages, towards their own dragons, but I will always remember and be grateful for Angela Gentry, Joseph Celizic, Jeremy Cummings, Ian Deters, Anna Hawley, Jennifer Magee, Jeff Manchur and Sam McKnight. My dear friends, you encouraged and inspired me; your faith, and excellence in your own work held me accountable to mine. I am overwhelmingly grateful to my Bowling Green community friends who supported and encouraged me over the past few years. My “academic babysitters,” Wolfgang Lausenhammer and Elizabeth Green worked alongside me (literally) to make sure my moments of writer’s despair did not dissipate into hours on Amazon or Netflix. I am especially grateful for Wolfgang. A relatively new-found friend made in the terrible winter of 2014, the hours during which he would sit across the dining table, cheerfully plugging away at his thesis were vii heartening, calming reminders that God can and will surprise us. Many thanks to my brother-in- law Justin Elder who not only proof-read pages for me at the drop of a hat, but delighted me with his eagerness to learn more about “intramundane grotesqueries.” Over the last few years, Kaitlyn Kielsmeier, Emily Celizic, Kristen Genson, Leigh Keylock and Esther Fidelia Dharmakasih worked hard to keep my academic, social and spiritual lives integrated, healthy and full of laughter. They were joined by Captain and Deb Shaffer and Jenny and Dan Harpster, friends who provided a parental presence during my time in Bowling Green. You are all true friends and I am so blessed by you. And finally, I want to express my immense gratitude to my family, amongst which I include my friend, Kimberly Bright: my parents, Drs. Chetty Sevanand and Rukhsana Dutt; my grandmother, Fatimah Sheikh; and my siblings Hannah, Abhishek and Esther. Over the course of this project, my experience of these amazing people has been truly grotesque: I saw the worst of me as it was embraced by the best in them; horror at myself always melded with wonder at the grace I was being given, fear of the unknown always countered by fascination that their human hearts could be so big. Hannah, thank you for your tenacious forgiveness; Abhishek, for your inspiring, radical compassion; Esther, for your cheer and crocheted gifts; and Naanijaan, for your unending optimism. Kimberly, you made me laugh on days I thought I could not smile. Thank you for devising creative strategies that motivated me through the tough phases of this project. And how do I begin to acknowledge my parents? They taught me the tenets of my faith, but they also gave me freedom—to explore, to fail, to find my way. My entire life as a scholar, artist and person of faith has been conditioned by the wisdom and courage of their choices, and by their continued joy in me. Daddy and Mama, you made me brave to tango with my dragons. I am truly grateful and blessed among daughters. Grace and peace on you always. viii TABLE OF CONTENTS Page INTRODUCTION………………………………………………………………………..... 1 CHAPTER ONE. THE CRUCIFIXION OF JESUS: A PERFORMANCE ACT, A PERFORMATIVE EVENT .................................................................................................. 19 Who Performed Crucifixion?: Historical Origins of Crucifixion .............................. 20 Where and When?: The Cultural Context for the Crucifixion of Jesus ..................... 23 What is Crucifixion?: Procedural Context for the Crucifixion of Jesus .................... 29 How was Crucifixion Performed?: Performing Power and Parodic Exaltation ........ 41 Why was the Crucifixion Performed?: Atonement as Performance .......................... 46 Performance, Performativity and the “Work” of the Cross ....................................... 49 CHAPTER TWO. THE GROTESQUE BODY AND JESUS OF MONTREAL .................. 53 The Baffling Body ..................................................................................................... 58 The Abject Body ........................................................................................................ 73 The Funny Body ........................................................................................................ 82 CHAPTER THREE. METAMORPHOSIS IN THE MARGINS: THE GROTESQUE AT WORK IN CHRIST IN THE CONCRETE CITY………………………. .............................. 91 The Cross and Doubleness ........................................................................................ 96 The Cross Decentered ................................................................................................ 112 Metamorphoses, Mutations and the Carnivalesque Disruptions of the Cross ........... 116 CHAPTER FOUR. HOLY MONSTERS: THE GROTESQUERIE OF WEARING THE CROSS……………………………. ...................................................................................... 122 This is My Body. Why is it Wearing a Cross? .......................................................... 128 ix Part 1: Shrines and Portents ........................................................................... 129 Part 2: The Cross-Wearer as an Alien ........................................................... 136 Part 3: Evil, Estrangement and Unmasking the Demons
Load more

Recommended publications
  • Outlaw: Wilderness and Exile in Old and Middle
    THE ‘BESTLI’ OUTLAW: WILDERNESS AND EXILE IN OLD AND MIDDLE ENGLISH LITERATURE A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Sarah Michelle Haughey August 2011 © 2011 Sarah Michelle Haughey THE ‘BESTLI’ OUTLAW: WILDERNESS AND EXILE IN OLD AND MIDDLE ENGLISH LITERATURE Sarah Michelle Haughey, Ph. D. Cornell University 2011 This dissertation, The ‘Bestli’ Outlaw: Wilderness and Exile in Old and Middle English Literature explores the reasons for the survival of the beast-like outlaw, a transgressive figure who highlights tensions in normative definitions of human and natural, which came to represent both the fears and the desires of a people in a state of constant negotiation with the land they inhabited. Although the outlaw’s shelter in the wilderness changed dramatically from the dense and menacing forests of Anglo-Saxon England to the bright, known, and mapped greenwood of the late outlaw romances and ballads, the outlaw remained strongly animalistic, other, and liminal, in strong contrast to premodern notions of what it meant to be human and civilized. I argue that outlaw narratives become particularly popular and poignant at moments of national political and ecological crisis—as they did during the Viking attacks of the Anglo-Saxon period, the epoch of intense natural change following the Norman Conquest, and the beginning of the market revolution at the end of the Middle Ages. Figures like the Anglo-Saxon resistance fighter Hereward, the exiled Marcher lord Fulk Fitz Waryn, and the brutal yet courtly Gamelyn and Robin Hood, represent a lost England imagined as pristine and forested.
    [Show full text]
  • The Death Penalty: History, Exonerations, and Moratoria
    THEMES & DEBATES The Death Penalty: History, Exonerations, and Moratoria Martin Donohoe, MD Today’s topic is the death penalty. I will discuss is released to suffocate the prisoner, was introduced multiple areas related to the death penalty, including in 1924. its history; major Supreme Court decisions; contem- In 2001, the Georgia Supreme Court ruled that porary status; racial differences; errors and exonera- electrocution violates the Constitution’s prohibition tions; public opinion; moratoria; and ethics and mo- against cruel and unusual punishment, stating that it rality. I will also refute common myths, including causes “excruciating pain…cooked brains and blis- those that posit that the death penalty is humane; tered bodies.” In 2008, Nebraska became the last equally applied across the states; used largely by remaining state to agree. “Western” countries; color-blind; infallible; a deter- In the 1970s and 1980s, anesthesiologist Stanley rent to crime; and moral. Deutsch and pathologist Jay Chapman developed From ancient times through the 18th Century, techniques of lethal injection, along with a death methods of execution included crucifixion, crushing cocktail consisting of 3 drugs designed to “humane- by elephant, keelhauling, the guillotine, and, non- ly” kill inmates: an anesthetic, a paralyzing agent, metaphorically, death by a thousand cuts. and potassium chloride (which stops the heart beat- Between 1608 and 1972, there were an estimated ing). Lethal injection was first used in Texas in 1982 15,000 state-sanctioned executions in the colonies, and is now the predominant mode of execution in and later the United States. this country. Executions in the 19th and much of the 20th Cen- Death by lethal injection cannot be considered tury were carried out by hanging, known as lynching humane.
    [Show full text]
  • Josephus As Political Philosopher: His Concept of Kingship
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 Josephus As Political Philosopher: His Concept Of Kingship Jacob Douglas Feeley University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Ancient History, Greek and Roman through Late Antiquity Commons, and the Jewish Studies Commons Recommended Citation Feeley, Jacob Douglas, "Josephus As Political Philosopher: His Concept Of Kingship" (2017). Publicly Accessible Penn Dissertations. 2276. https://repository.upenn.edu/edissertations/2276 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2276 For more information, please contact [email protected]. Josephus As Political Philosopher: His Concept Of Kingship Abstract Scholars who have discussed Josephus’ political philosophy have largely focused on his concepts of aristokratia or theokratia. In general, they have ignored his concept of kingship. Those that have commented on it tend to dismiss Josephus as anti-monarchical and ascribe this to the biblical anti- monarchical tradition. To date, Josephus’ concept of kingship has not been treated as a significant component of his political philosophy. Through a close reading of Josephus’ longest text, the Jewish Antiquities, a historical work that provides extensive accounts of kings and kingship, I show that Josephus had a fully developed theory of monarchical government that drew on biblical and Greco- Roman models of kingship. Josephus held that ideal kingship was the responsible use of the personal power of one individual to advance the interests of the governed and maintain his and his subjects’ loyalty to Yahweh. The king relied primarily on a standard array of classical virtues to preserve social order in the kingdom, protect it from external threats, maintain his subjects’ quality of life, and provide them with a model for proper moral conduct.
    [Show full text]
  • Edinburgh Research Explorer
    Edinburgh Research Explorer 'Dating the Death of Jesus' Citation for published version: Bond, H 2013, ''Dating the Death of Jesus': Memory and the Religious Imagination', New Testament Studies, vol. 59, no. 04, pp. 461-475. https://doi.org/10.1017/S0028688513000131 Digital Object Identifier (DOI): 10.1017/S0028688513000131 Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: New Testament Studies Publisher Rights Statement: © Helen Bond, 2013. Bond, H. (2013). 'Dating the Death of Jesus': Memory and the Religious Imagination. New Testament Studies, 59(04), 461-475doi: 10.1017/S0028688513000131 General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 01. Oct. 2021 Dating the Death of Jesus: Memory and the Religious Imagination Helen K. Bond School of Divinity, University of Edinburgh, Mound Place, Edinburgh, EH1 2LX [email protected] After discussing the scholarly preference for dating Jesus’ crucifixion to 7th April 30 CE, this article argues that the precise date can no longer be recovered. All we can claim with any degree of historical certainty is that Jesus died some time around Passover (perhaps a week or so before the feast) between 29 and 34 CE.
    [Show full text]
  • Feature Films
    NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 ..........................
    [Show full text]
  • A Film by DENYS ARCAND Produced by DENISE ROBERT DANIEL LOUIS
    ÉRIC MÉLANIE MELANIE MARIE-JOSÉE BRUNEAU THIERRY MERKOSKY CROZE AN EYE FOR BEAUTY A film by DENYS ARCAND Produced by DENISE ROBERT DANIEL LOUIS before An Eye for Beauty written and directed by Denys Arcand producers DENISE ROBERT DANIEL LOUIS THEATRICAL RELEASE May 2014 synopsis We spoke of those times, painful and lamented, when passion is the joy and martyrdom of youth. - Chateaubriand, Memoirs from Beyond the Tomb Luc, a talented young architect, lives a peaceful life with his wife Stephanie in the stunning area of Charlevoix. Beautiful house, pretty wife, dinner with friends, golf, tennis, hunting... a perfect life, one might say! One day, he accepts to be a member of an architectural Jury in Toronto. There, he meets Lindsay, a mysterious woman who will turn his life upside down. AN EYE FOR BEAUTY | PRESS KIT cast Luc Éric Bruneau Stéphanie Mélanie Thierry Lindsay Melanie Merkosky Isabelle Marie-Josée Croze Nicolas Mathieu Quesnel Roger Michel Forget Mélissa Geneviève Boivin-Roussy Karine Magalie Lépine-Blondeau Museum Director Yves Jacques Juana Juana Acosta Élise Johanne-Marie Tremblay 3 AN EYE FOR BEAUTY | PRESS KIT crew Director Denys Arcand Producers Denise Robert Daniel Louis Screenwriter Denys Arcand Director of Photography Nathalie Moliavko-Visotzky Production Designer Patrice Bengle Costumes Marie-Chantale Vaillancourt Editor Isabelle Dedieu Music Pierre-Philippe Côté Sound Creation Marie-Claude Gagné Sound Mario Auclair Simon Brien Louis Gignac 1st Assistant Director Anne Sirois Production manager Michelle Quinn Post-Production Manager Pierre Thériault Canadian Distribution Les Films Séville AN EYE FOR BEAUTY | PRESS KIT 4 SCREENWRITER / DIRECTOR DENYS ARCAND An Academy Award winning director, Denys Arcand's films have won over 100 prestigious awards around the world.
    [Show full text]
  • The Historical Origins of Antisemitism
    THE HISTORICAL ORIGINS OF ANTISEMITISM …Let me give you my honest advice. First, their synagogues or churches should be set on fire, and whatever does not burn up should be covered or spread over so that no one may ever be able to see a cinder of it. And this ought to be done for the honor of God and Christianity… (Martin Luther, 1543) When Wilhelm Marr, a 19th Century German journalist, coined the term antisemitism, he was giving a new expression to a very old hatred. Antisemitism, the hatred of Jews and Judaism, has roots of ancient origin, pre-dating the Christian era and evolving throughout the Middle Ages into the modern era. Throughout their history, Jews have been the victims of a persistent pattern of persecution, culminating finally in the 20th Century in mass murder. The term denoting hatred of the Jews – antisemitism – is spelled here and hereafter unhyphenated and in the lower case. This spelling is more historically and etymologically correct since “Semitic” refers not to a race of people, as Marr and other racists of his time wrongly believed, but to a group of languages which includes Arabic as well as Hebrew. Hence, the oft-used spelling “anti-Semitism” means, literally, a prejudice against Semitic-speaking people, not the hatred of people adhering to the Jewish religion and culture. ANTISEMITISM DURING THE PRE-CHRISTIAN ERA Expressions of anti-Jewish prejudice appeared as early as the 4th Century B.C.E. in Greece and Egypt, whose people drew stark distinction between themselves and others, whom they regarded as “strangers,” “foreigners,” or “barbarians.” Jewish religious practice, based as it was on an uncompromising monotheism and strict adherence to their religious laws and social customs, only heightened endemic suspicions and excited hostility in societies already prone to ethnocentric excess.
    [Show full text]
  • The Cross and the Crucifix by Steve Ray
    The Cross and the Crucifix by Steve Ray Dear Protestant Friend: You display a bare cross in your homes; we display the cross and the crucifix. What is the difference and why? The cross is an upright post with a crossbeam in the shape of a “T”. A crucifix is the same, but it has Christ’s body (corpus) attached to the cross. As an Evangelical Protestant I rejected the crucifix—Christ was no longer on the cross but had ascended to heaven. So why do I now tremble in love at the site of a crucifix? Let’s examine the history and issues surrounding the two. I will start with the Old Testament and the Jews’ use of images and prohibition of idols. I know in advance that it is not a thorough study, but it will give a general overview of the issues. I will try to provide a brief overview of the Cross and the Crucifix, the origin, the history, and the differing perspectives of Catholic and Protestant. It will try to catch the historical flow and include the pertinent points. The outline is as follows: 1. The Three Main Protestant Objections to the Crucifix 2. Images and Gods in the Old Testament 3. Images and Images of Christ in the New Testament 4. The Cross in the First Centuries 5. The Crucifix Enters the Picture 6. The “Reformation” and Iconoclasm 7. Modern Anti-Catholics and the Crucifix 8. Ecumenical Considerations The Three Main Protestant Objections to the Crucifix Let me begin by defining “Protestant” as used in this article.
    [Show full text]
  • Study 29 Presentation the Story Also Talks About Five Movements That
    Study 29 Presentation The Story also talks about five movements that take part in God’s Story: Movement 1: The Story of the Garden (Genesis 1-11) Movement 2: The Story of Israel (Genesis 12 – Malachi) Movement 3: The Story of Jesus (Matthew – John) Movement 4: The Story of the Church (Acts – Jude) Movement 5: The Story of a New Garden (Revelation) Paul’s Final Days Paul wrote most of the books of the New Testament. Reason for writing – Important to remember that he wrote books to reinforce what he had taught in those places and often to address specific questions that had been raised by the people – sometimes have to work backward to determine the reason for Paul’s responses Word of God – At the same time we recognize that the Bible is the inspired word of God so it speaks to us with timeless truths as well. Three years at Ephesus – Paul stayed there longer than any other place on his journeys; Paul met with the Ephesian elders on his way to Jerusalem at the end of the third missionary journey and wrote to Ephesus during his first imprisonment Ephesus Large and important city – on the coast of Asia Minor 300,000 residents – larger than the capitol, Pergamum Architecture – Community baths, gymnasiums, and impressive buildings, including a huge library Wealthy homes – with frescoed walls Temple of Artemis or Diana – one of the seven wonders of the ancient world Goddess of the hunt, moon, and fertility – temple prostitution and magic Silversmiths – sold images of Diana; big source of revenue Timeless Truth: Suffering and Perseverance are
    [Show full text]
  • Jeffrey Eli Pearson
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Contextualizing the Nabataeans: A Critical Reassessment of their History and Material Culture Permalink https://escholarship.org/uc/item/4dx9g1rj Author Pearson, Jeffrey Eli Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Contextualizing the Nabataeans: A Critical Reassessment of their History and Material Culture By Jeffrey Eli Pearson A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Ancient History and Mediterranean Archaeology in the Graduate Division of the University of California, Berkeley Committee in Charge: Erich Gruen, Chair Chris Hallett Andrew Stewart Benjamin Porter Spring 2011 Abstract Contextualizing the Nabataeans: A Critical Reassessment of their History and Material Culture by Jeffrey Eli Pearson Doctor of Philosophy in Ancient History and Mediterranean Archaeology University of California, Berkeley Erich Gruen, Chair The Nabataeans, best known today for the spectacular remains of their capital at Petra in southern Jordan, continue to defy easy characterization. Since they lack a surviving narrative history of their own, in approaching the Nabataeans one necessarily relies heavily upon the commentaries of outside observers, such as the Greeks, Romans, and Jews, as well as upon comparisons of Nabataean material culture with Classical and Near Eastern models. These approaches have elucidated much about this
    [Show full text]
  • Easter Resources (Selected Titles – More Will Be Added) Available To
    Easter Resources (selected titles – more will be added) available to borrow from the United Media Resource Center http://www.igrc.org/umrc Contact Jill Stone at 217-529-2744 or by e-mail at [email protected] or search for and request items using the online catalog Key to age categories: P = preschool e = lower elementary (K-Grade 3) E = upper elementary (Grade 4-6) M = middle school/ junior high H = high school Y = young adult A = adult (age 30-55) S = adult (age 55+) DVDs: 24 HOURS THAT CHANGED THE WORLD (120032) Author: Hamilton, Adam. This seven-session DVD study will help you better understand the events that occurred during the last 24 hours of Jesus' life; to see more clearly the theological significance of Christ's suffering and death; and to reflect upon the meaning of these events for your life. DVD segments: Introduction (1 min.); 1) The Last Supper (11 min.); 2) The Garden of Gethsemane (7 min.); 3) Condemned by the Righteous (9 min.); 4) Jesus, Barabbas, and Pilate (9 min.); 5) The Torture and Humiliation of the King (9 min.); 6) The Crucifixion (13 min.); 7) Christ the Victor (11 min.); Bonus: What If Judas Had Lived? (5 min.); Promotional segment (1 min.). Includes leader's guide and hardback book. Age: YA. 77 Minutes. Related book: 24 HOURS THAT CHANGED THE WORLD: 40 DAYS OF REFLECTION (811018) Author: Hamilton, Adam. In this companion volume that can also function on its own, Adam Hamilton offers 40 days of reflection and meditation enabling us to pause, dig deeper, and emerge changed forever.
    [Show full text]
  • Aaron and the Golden Calf in the Rhetoric of the Pentateuch
    Syracuse University SURFACE Religion College of Arts and Sciences Fall 2011 Aaron and the Golden Calf in the Rhetoric of the Pentateuch James W. Watts Follow this and additional works at: https://surface.syr.edu/rel Part of the Biblical Studies Commons, and the Rhetoric Commons Recommended Citation Watts, James W. "Aaron and the Golden Calf in the Rhetoric of the Pentateuch." Journal of Biblical Literature 130 (2011), 417-430. This Article is brought to you for free and open access by the College of Arts and Sciences at SURFACE. It has been accepted for inclusion in Religion by an authorized administrator of SURFACE. For more information, please contact [email protected]. JBL 130, no. 3 (2011): 417–430 Aaron and the Golden Calf in the Rhetoric of the Pentateuch james w. watts [email protected] Syracuse University, Syracuse, NY 13244-1170 In the Pentateuch, the contrast between legal or instructional material, on the one hand, and stories, on the other, is nowhere more stark than in the relationship between the story of the golden calf (Exodus 32–34) and the instructions and nar- ratives (Exodus 25–31; 35–40) that surround it. The story tells of ritual failure with disastrous consequences, while the ritual instructions and narratives around it recount fulfilling those divine instructions to the letter. The contrast becomes most excruciating in each section’s characterization of the high priest: the golden calf story seems to vilify Aaron by placing him at the center of the idolatrous event, while the ritual texts celebrate Aaron and his sons as divinely consecrated priests.
    [Show full text]