Love Thy Neighbor
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Merbecke (1510–1585) Gathering of the Community
ĎPMýIZQ[PāP]ZKP Ash Wednesday WNí \ĉ]SM 26 February 2020 We acknowledge that we meet and work in the Treaty One Land, Welcome Guests the traditional land of the Anishinaabe, Cree, and Dakota people, Newcomers are encouraged to make themselves known to the and the homeland of the Métis Nation. clergy and to phone the parish office at 204.452.3609 should you We are grateful for their stewardship of this land and their hospitality wish to express any needs or concerns. Please complete a visitor which allows us to live, work, and serve God the Creator here. leaflet or envelope with your email address if you would like to receive parish newsletters sent to you regularly. 19:30 – Sung Eucharist and Imposition of Ashes Service Music Setting: Communion Service - John Merbecke (1510–1585) Gathering of the Community Voluntary (Mr. Kinnard) Miserere mei, Deus - Gregorio Allegri (1582–1652) Hymn 67 Come down, O love divine §stand Down Ampney Greeting Priest The Lord be with you. People And with thy spirit. Let us pray. Collect for Ash Wednesday Priest Almighty and everlasting God, you despise nothing you have made and forgive the sins of all who are penitent. Create and make in us new and contrite hearts, that we, worthily lamenting our sins and acknowledging our brokenness, may obtain of you, the God of all mercy, perfect remission and forgiveness; through Jesus Christ our Lord, who lives and reigns with you and the Holy Spirit, one God, for ever and ever. Amen. Proclamation of the Word First Lesson Isaiah 58.1–12 §sit Lector A Reading from the Book of Isaiah. -
Theatricality and Historiography in Shakespeare's Richard
H ISTRIONIC H ISTORY: Theatricality and Historiography in Shakespeare’s Richard III By David Hasberg Zirak-Schmidt This article focuses on Shakespeare’s history drama Richard III, and investigates the ambiguous intersections between early modern historiography and aesthetics expressed in the play’s use of theatrical and metatheatrical language. I examine how Shakespeare sought to address and question contemporary, ideologically charged representations of history with an analysis of the characters of Richard and Richmond, and the overarching theme of theatrical performance. By employing this strategy, it was possible for Shakespeare to represent the controversial character of Richard undogmatically while intervening in and questioning contemporary discussions of historical verisimilitude. Historians have long acknowledged the importance of the early modern history play in the development of popular historical consciousness.1 This is particularly true of England, where the history play achieved great commercial and artistic success throughout the 1590s. The Shakespearean history play has attracted by far the most attention from cultural and literary historians, and is often seen as the archetype of the genre. The tragedie of kinge RICHARD the THIRD with the death of the Duke of CLARENCE, or simply Richard III, is probably one of the most frequently performed of Shakespeare’s history plays. The play dramatizes the usurpation and short- lived reign of the infamous, hunchbacked Richard III – the last of the Plantagenet kings, who had ruled England since 1154 – his ultimate downfall, and the rise of Richmond, the future king Henry VII and founder of the Tudor dynasty. To the Elizabethan public, there was no monarch in recent history with such a dark reputation as Richard III: usurpation, tyranny, fratricide, and even incest were among his many alleged crimes, and a legacy of cunning dissimulation and cynical Machiavellianism had clung to him since his early biographers’ descriptions of him. -
St. Peter's Anglican Cathedral Evensong
Evensong The THIRTEENTH SUNDAY AFTER TRINITY 29 August 2021 | 5:00pm St. Peter’s Anglican Cathedral Reaching One Another, Tallahassee, and the World with the Transforming Love of Jesus Christ EVENSONG Please observe silence before the service for prayer and meditation. All mobile telephones, pagers, and electronic devices should be turned off prior to the service. When you enter a St. Peter’s worship service/event, you will be entering an area where photography, video, and audio recording may occur. “Daily Morning and Evening Prayer are the established rites (offices) by which, both corporately and individually, God’s people annually encounter the whole of Holy Scriptures, daily confess their sins and praise Almighty God, and offer timely thanksgivings, petitions, and intercessions.” (2019 Book of Common Prayer, Page 6). Unlike the Eucharist, these Daily Offices can be said by anyone either publicly or privately. Many churches, like Saint Peter’s, say or sing the Offices publicly on a daily basis. While on the weekdays our Evening Prayer is said, on Sunday evenings it will be sung. The service of Evensong is Evening Prayer sung by the people, or chorally by a choir on behalf of the people. Musical settings are drawn from many eras, some reflecting modern prayer book language and others from the original 1662 Book of Common Prayer. We invite you to join along, as able, or sit in prayerful contemplation as the voices of the singers and scripture wash over you. Prelude Remain seated. Ringing of the Bell Please stand. Opening Scripture Jesus spoke to them, saying, “I am the light of the world. -
Passion Sunday TWENTY-NINTH of MARCH, Ad 2020
SAINT BARNABAS CHURCH A ROMAN CATHOLIC PARISH OF THE ORDINARIATE OF THE CHAIR OF SAINT PETER OMAHA, NEBRASKA Passion Sunday TWENTY-NINTH OF MARCH, ad 2020 Welcome to Saint Barnabas Church Founded in 1869, Saint Barnabas is a Roman Catholic parish of the Ordinariate of the Chair of Saint Peter. The Ordinariate was established in 2012 by Pope Benedict XVI in order to preserve elements of the Anglican tradition within the Catholic Church. The parish entered the Catholic Church in 2013. Mass is celebrated using Divine Worship, the Vatican- promulgated Missal also known as the Ordinariate or Anglican Use liturgy. All Catholics may fulfill their Mass obligation on Sundays and holydays at Saint Barnabas. Catholics in full communion with the Holy See of Rome may receive Holy Communion at our Masses. KALENDAR Sunday, March 29 PASSION SUNDAY pro populo Monday, March 30 Monday in Passion Week Intentions of academy families Tuesday, March 31 Tuesday in Passion Week Ordinariate of Our Lady of the Southern Cross Wednesday, April 1 Wednesday in Passion Week Ordinariate of Our Lady of Walsingham Thursday, April 2 Thursday in Passion Week Deceased members of Saint Barnabas Church Friday, April 3 Saint Mary in Passiontide All those affected by Coronavirus Saturday, April 4 Saturday in Passion Week Sunday, April 5 PALM SUNDAY pro populo INTERCESSIONS THE SICK AND OTHERS IN FAITHFUL DEPARTED NEED OF PRAYER Frank Fritts John Kilby Helmuth Dahlke, Jane Dahlke, Heather De John, James and Kathryn Drake, Ronald THE CHURCH & THE WORLD Erikson, Kelly Leisure, Fran Nich, Julie Nich, Pope Francis and Pope emeritus Benedict XVI Jen Schellen, Barb Scofield, Paul Scofield, Joe Bishop Steven Lopes [Ordinariate] Stankus, Marty Stankus, Mark Stoll, C. -
I. a Humanist John Merbecke
Durham E-Theses Renaissance humanism and John Merbecke's - The booke of Common praier noted (1550) Kim, Hyun-Ah How to cite: Kim, Hyun-Ah (2005) Renaissance humanism and John Merbecke's - The booke of Common praier noted (1550), Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2767/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Renaissance Humanism and John Merbecke's The booke of Common praier noted (1550) Hyun-Ah Kim A copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Durham University Department of Music Durham University .2005 m 2001 ABSTRACT Hyun-Ah Kim Renaissance Humanism and John Merbecke's The booke of Common praier noted (1550) Renaissance humanism was an intellectual technique which contributed most to the origin and development of the Reformation. -
Prophecy in Shakespeare's English History Cycles Lee Joseph Rooney
Prophecy in Shakespeare’s English History Cycles Lee Joseph Rooney Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor in Philosophy September 2014 Abstract Prophecy — that is, the action of foretelling or predicting the future, particularly a future thought to represent the will of God — is an ever-present aspect of Shakespeare’s historical dramaturgy. The purpose of this thesis is to offer a reading of the dramas of Shakespeare’s English history cycles — from 1 Henry VI to Henry V — that focuses exclusively upon the role played by prophecy in representing and reconstructing the past. It seeks to show how, through close attention to the moments when prophecy emerges in these historical dramas, we might arrive at a different understanding of them, both as dramatic narratives and as meditations on the nature of history itself. As this thesis seeks to demonstrate, moreover, Shakespeare’s treatment of prophecy in any one play can be viewed, in effect, as a key that can take us to the heart of that drama’s wider concerns. The comparatively recent conception of a body of historical plays that are individually distinct and no longer chained to the Tillyardian notion of a ‘Tudor myth’ (or any other ‘grand narrative’) has freed prophecy from effectively fulfilling the rather one-dimensional role of chorus. However, it has also raised as-yet- unanswered questions about the function of prophecy in Shakespeare’s English history cycles, which this thesis aims to consider. One of the key arguments presented here is that Shakespeare utilises prophecy not to emphasise the pervasiveness of divine truth and providential design, but to express the political, narratorial, and interpretative disorder of history itself. -
The Account Book of a Marian Bookseller, 1553-4
THE ACCOUNT BOOK OF A MARIAN BOOKSELLER, 1553-4 JOHN N. KING MS. EGERTON 2974, fois. 67-8, preserves in fragmentary form accounts from the day-book of a London stationer who was active during the brief interval between the death on 6 July 1553 of Edward VI, whose regents allowed unprecedented liberty to Protestant authors, printers, publishers, and booksellers, and the reimposition of statutory restraints on publication by the government of Queen Mary. The entries for dates, titles, quantities, paper, and prices make it clear that the leaves come from a bookseller's ledger book. Their record of the articles sold each day at the stationer's shop provides a unique view of the London book trade at an unusually turbulent point in the history of English publishing. Before they came into the holdings of the British Museum, the two paper leaves (fig. i) were removed from a copy of William Alley's The poore mans librarie (1565) that belonged to Thomas Sharpe of Coventry. They are described as having been pasted at the end ofthe volume *as a fly leaf, and after their removal, William Hamper enclosed them as a gift in a letter of 17 March 1810 to the Revd Thomas Frognall Dibdin (MS. Egerton 2974, fois. 62, 64). The leaves are unevenly trimmed, but each measures approximately 376 x 145 mm overall. Because of their format they are now bound separately, but they formed part of a group of letters to Dibdin purchased loose and later bound in the Museum, so they belong together with MS. -
September 2016
The Angelus Monthly Publication of the Church of Our Saviour September 2016 an exciting time in the life of our parish, and each of you— animated by the Holy Spirit—is taking responsibility for an authentic and gracious Christian witness in the Virginia-Highland neigh- borhood. Beginning September 18, 2016, we will resume Christian education for children and adults. We are happy to say that our children will be moving upstairs in Garrison Hall, as the class has outgrown their room downstairs. We will continue offering Our Saviour’s “edition” of Godly Play, which has been very effective in cap- Dear friends of the Church of Our Saviour, turing the sacramental imagination of our chil- dren. Adult education will still meet in the On September 11, 2016, we will host Library and this fall we will be familiarizing our- our third annual parish ministry fair. We’ll selves with the stories of several Saints. Bishop gather in Pettway Hall between the morning Barron has produced a new DVD series that will services. Each guild will be represented and be released at the beginning of September just in you will have the opportunity to learn about time for our class (here is a link to preview: the various ministries active in our shared http://pivotalplayers.wordonfire.org/). We will life. Fifteen years after horrific events tran- plan to watch roughly twenty minutes each ses- spired in our nation, and ninety-two years sion, followed by discussion. When we complete after our founding as a parish, we will gather this study we will look at a new book by Bishop to proclaim the power of the God who led Rowan Williams called Being Christian: Bap- slaves through the Red Sea and raised Jesus tism, Bible, Eucharist, and Prayer. -
The Plight of Anglican Church Music in the Western Cape: Three Case Studies
THE PLIGHT OF ANGLICAN CHURCH MUSIC IN THE WESTERN CAPE: THREE CASE STUDIES Levi Eudo Alexander Thesis presented in partial fulfilment of the requirements for the degree of Master of Music (Choral Conducting) in the Faculty of Arts and Social Sciences at Stellenbosch University. Supervisor: Martin Berger March 2021 Stellenbosch University https://scholar.sun.ac.za DECLARATION By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Levi Alexander March 2021 Copyright © 2021 Stellenbosch University All rights reserved 1 Stellenbosch University https://scholar.sun.ac.za ABSTRACT Music ministries still providing Anglican church congregations with traditional Anglican church music find themselves clutching onto a musical tradition in a church plagued by the increasing secularisation of society. This thesis, in three case studies, investigates the musical output and general daily function of three Anglican churches in the Western Cape by interviewing the rector and music director of each parish. Each parish was selected as it presented a varied historical, musical, liturgical and churchmanship culture. The aim of the thesis is to ascertain, primarily, whether traditional music is under threat of falling into disuse in the church and secondly, if traditional music is indeed under threat, the possible measures which could be implemented to preserve the heritage for future generations of Anglican worshippers. -
CH 650 Worship, Prayer, and Community in Anglican Tradition William P
Asbury Theological Seminary ePLACE: preserving, learning, and creative exchange Syllabi eCommons 1-1-2004 CH 650 Worship, Prayer, and Community in Anglican Tradition William P. Haugaard Follow this and additional works at: http://place.asburyseminary.edu/syllabi Recommended Citation Haugaard, William P., "CH 650 Worship, Prayer, and Community in Anglican Tradition" (2004). Syllabi. Book 1584. http://place.asburyseminary.edu/syllabi/1584 This Document is brought to you for free and open access by the eCommons at ePLACE: preserving, learning, and creative exchange. It has been accepted for inclusion in Syllabi by an authorized administrator of ePLACE: preserving, learning, and creative exchange. For more information, please contact [email protected]. : Worship, Prayer, and Community in Anglican Tradition Asbury Theological Seminary [Orlando] CH 650 (3 credits) Instructor: William P. Haugaard Spring semester, 2003-2004 E-mail: [email protected] The purpose of the course is to survey worship, prayer, and community in the context of the Book of Common Prayer from the sixteenth reformation through the ecumenical liturgical movement of the twentieth century. The British churches will provide the major focus up to the latter years of the eighteenth century when, in North America, foreign “Anglican” churches begin to modify the exclusively English setting and character of the Prayer Book. Throughout the course students will be encouraged to relate the developments of this distinctive tradition with those in other parts of the larger Christian community. The course will review and analyze the historical development of liturgy, including rite, ceremony, music, and architectural surroundings. Throughout, attention will be given to the relation of community worship to personal devotion and to the character of the larger community in which liturgy is celebrated. -
Day of Pentecost Elizabeth Smith
WORSHIP NOTES ministers The Rev. Dr. Kimberly L. Clayton, Transitional Senior Minister “Pentecost,” from the Greek word for “fiftieth,” was a Jewish harvest celebration The Revs. Douglas T. King, Rebekah McLeod Hutto, Adam D. Gorman, that fell 50 days after Passover. Our Christian celebration of this holiday falls 50 days Associate Ministers after Easter. In the second chapter of the Book of Acts we learn that Jesus’ followers gathered in Jerusalem for this holiday some 50 days after Passover. A map of the nations ministry of music Keith S. Tóth, Minister of Music and Organist gathered in Jerusalem is below. Pentecost is the only day of the Christian year when red Amanda Page Smith, Director of Children’s Music Ministries (after the “tongues of fire” in the third verse of today’s reading) is the liturgical color. It is the day when we remember the birth of the Church and the spread of the Gospel. ushers Officer-in-Charge: Joseph G. Sauvage; Team Captain: James D. Lindemuth Jr.; Robert E. Callahan, Andrew Curry, Samuel R. Enders, R. Scott Froehlich, William J. Gambrill, Lisa A. Gustin, Benjamin C. Huneke, Thomas D. Robinson, Frederic S. Sater, G. R. Sam Seraphim, Francis H. Tucci, Charles S. Van Cott, Ryan E. Widener, Suzanne W. Wilson, Samuel K. Won. order of st. paul Michael J. Appleby, Nathan P. Appleby, Leah C. Lee, Deborah M. Li, Caroline C. Pickering, Alexander N. Rahman. chancel choir — the order of service for — Soprano: R. Lynne Lee, Isabella Livorni, Tonna L. Miller-Vallés, Artemisz Polonyi, Catherine Thorpe. Alto: Allison Gish, Katherine Johnson, Melissa Raymond, Day of Pentecost Elizabeth Smith. -
George Ferrers and the Historian As Moral Compass.” LATCH 2 (2009): 101-114
Charles Beem. “From Lydgate to Shakespeare: George Ferrers and the Historian as Moral Compass.” LATCH 2 (2009): 101-114. From Lydgate to Shakespeare: George Ferrers and the Historian as Moral Compass Charles Beem University of North Carolina, Pembroke Essay In or around the year 1595, playwright William Shakespeare wrote the historical tragedy Richard II, the chronological starting point for a series of historical plays that culminates with another, better known historical tragedy Richard III. The historical sources Shakespeare consulted to fashion the character of Richard II and a procession of English kings from Henry IV to Richard III included the chronicles of Edward Hall and Raphael Holinshed, as well as the immensely popular The Mirror For Magistrates, which covered the exact same chronological range of Shakespeare’s Ricardian and Henrician historical plays. While Hall’s and Holinshed’s works were mostly straightforward prose narratives, The Mirror was a collaborative poetic history, which enjoyed several print editions over the course of Elizabeth I’s reign. Subjects in The Mirror appear as ghosts to tell their woeful tales of how they rose so high only to fall so hard, a device frequently employed in a number of Shakespeare’s plays, including Richard III. Among the various contributors to The Mirror for Magistrates was a gentleman by the name of George Ferrers. While it is highly unlikely that Shakespeare and Ferrers ever met—indeed, Shakespeare was only 15 when Ferrers died in 1579 at the ripe old age of 69. It is much more certain that Shakespeare was acquainted with Ferrers’ literary works.