August 2004 Ensign
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Though It Has Been Known by Different Names, the Young Women Orga
Though it has been known by different names, the Young Women Orga- nization has always sought to help young women improve themselves, de- velop their talents, serve others, and strengthen their testimonies of Jesus Christ. (© Intellectual Reserve, Inc. All rights reserved.) A Firm Foundation Janet Peterson 12 Young Women of Zion: An Organizational History The Young Women program of The Church of Jesus Christ of Latter-day Saints has grown from the desires of young women to im- prove themselves, develop their talents, serve others, and strengthen their testimonies of Jesus Christ. The various names of the organization are listed below: • The Young Gentlemen and Ladies’ Relief Society of Nauvoo, 1843 • The Young Ladies’ Department of the Cooperative Retrench- ment Association (Young Ladies’ Retrenchment Association), 1869 • Young Ladies’ National Mutual Improvement Association, 1877 Janet Peterson is a member of the Church Correlation Committee, Materials Evaluation Division. A Firm Foundation • Young Ladies’ Mutual Improvement Association (YLMIA), 1904 • Young Women’s Mutual Improvement Association (YWMIA), 1934 • Aaronic Priesthood MIA, Young Women, 1972 • Young Women, 1974 Though the name has changed several times over the years, the pur- poses have not. Marba C. Josephson, editor of the Improvement Era and general board member, described the goals as “aiding the LDS girl to gain a testimony of the gospel through wholesome lesson work and spiritualized recreation.”1 Church leaders have long recognized the vital role that this auxiliary fills in helping adolescent girls to develop testimonies of the Savior and to become faithful, covenant-keeping women. The programs and procedures have changed to meet the needs of an ever-growing Church population and to help young women face the chal- lenges of their particular eras. -
Women's Right to Vote
Women’s Right to Vote May 2020 For DUP Lesson Leaders This photo array is reserved solely for use by a DUP Lesson Leader to supplement the appropriate lesson. No other uses are authorized and no images or content may be shared or distributed for any other purpose. Please feel free to use the images in any way you wish to enhance your lesson, including printed copies of the images to show your group as well as use in any digital presentations, as long as you adhere to the above restrictions. Please advise members of your group that they can order digital copies of any of the images provided here by contacting the DUP Photo Department. The funds generated by the DUP Photo Department help sustain our organization. Tel: 801-532-6479, Ext 206 Email: [email protected] Website: www.isdup.org Thank you for all you do. “Women’s Right to Vote – 19th Amendment” issued in 1998 for the special stamp series called “Celebrate the Century – 1920s” (Author’s personal collection) Elizabeth Cady Stanton photo pin-badge. National suffragist leader. Donated by Zina Young Williams Card. Pioneer Memorial Museum, First Floor, Political Exhibit, Case #23. (DUP Photo Collection) Lucretia Mott photo pin-badge. National suffragist leader. Donated by Zina Young Williams Card. Pioneer Memorial Museum, First Floor, Political Exhibit, Case #23 (DUP Photo Collection) Susan Brownell Anthony photo pin badge. National suffragist leader. Donated by Zina Young Williams Card. Pioneer Memorial Museum, First Floor, Political Exhibit, Case #23. (DUP Photo Collection) Women’s suffrage print of U.S. President Woodrow Wilson handing the ballot to women. -
J. Kirk Richards
mormonartist Issue 1 September 2008 inthisissue Margaret Blair Young & Darius Gray J. Kirk Richards Aaron Martin New Play Project editor.in.chief mormonartist Benjamin Crowder covering the Latter-day Saint arts world proofreaders Katherine Morris Bethany Deardeuff Mormon Artist is a bimonthly magazine Haley Hegstrom published online at mormonartist.net and in print through MagCloud.com. Copyright © 2008 Benjamin Crowder. want to help? All rights reserved. Send us an email saying what you’d be Front cover paper texture by bittbox interested in helping with and what at flickr.com/photos/31124107@N00. experience you have. Keep in mind that Mormon Artist is primarily a Photographs pages 4–9 courtesy labor of love at this point, so we don’t Margaret Blair Young and Darius Gray. (yet) have any money to pay those who help. We hope that’ll change Paintings on pages 12, 14, 17–19, and back cover reprinted soon, though. with permission from J. Kirk Richards. Back cover is “Pearl of Great Price.” Photographs on pages 2, 28, and 39 courtesy New Play Project. Photograph on pages 1 and 26 courtesy Vilo Elisabeth Photography, 2005. Photograph on page 34 courtesy Melissa Leilani Larson. Photograph on page 35 courtesy Gary Elmore. Photograph on page 37 courtesy Katherine Gee. contact us Web: mormonartist.net Email: [email protected] tableof contents Editor’s Note v essay Towards a Mormon Renaissance 1 by James Goldberg interviews Margaret Blair Young & Darius Gray 3 interviewed by Benjamin Crowder J. Kirk Richards 11 interviewed by Benjamin Crowder Aaron Martin 21 interviewed by Benjamin Crowder New Play Project 27 interviewed by Benjamin Crowder editor’snote elcome to the pilot issue of what will hope- fully become a longstanding love affair with the Mormon arts world. -
A Study of the Effect of Color in the Utah Temple Murals
Brigham Young University BYU ScholarsArchive Theses and Dissertations 1968 A Study of the Effect of Color in the Utah Temple Murals Terry John O'Brien Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Art and Design Commons, and the Mormon Studies Commons BYU ScholarsArchive Citation O'Brien, Terry John, "A Study of the Effect of Color in the Utah Temple Murals" (1968). Theses and Dissertations. 4990. https://scholarsarchive.byu.edu/etd/4990 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. A STUDY OF THE EFFECT OF COLOR INTHEIN THE UTAH TEMPLE MMALSMURALS 41k V A thesisthes is presented to the department of art brigham young university in partial fulfillment of the requirements for thedegreethe degree master of arts by terryjohnterry john obrien may 19196868 m TABLE OF CONTENTS page LIST OF TABLES e 0 9 0 0 0 0 0 19 0 0 0 vi chapter I1 introduction 0 0 10 0 0 0 0 0 statement of the problem questions and data inherent to the problem justificationustifaustif icationmication and signifsigniasignificance3 cance of the study sourcsourasourceses of information delimitations of thestathestuthe studydy organization oftheodtheof the material basic assumptions definition of terms II11 THE FOUR UTAH TEMPLES AND THEIR ARTISTS 0 0 11 temple beginnings -
Wise Or Foolish: Women in Mormon Biblical Narrative Art
BYU Studies Quarterly Volume 57 Issue 2 Article 4 2018 Wise or Foolish: Women in Mormon Biblical Narrative Art Jennifer Champoux Follow this and additional works at: https://scholarsarchive.byu.edu/byusq Part of the Mormon Studies Commons, and the Religious Education Commons Recommended Citation Champoux, Jennifer (2018) "Wise or Foolish: Women in Mormon Biblical Narrative Art," BYU Studies Quarterly: Vol. 57 : Iss. 2 , Article 4. Available at: https://scholarsarchive.byu.edu/byusq/vol57/iss2/4 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in BYU Studies Quarterly by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Champoux: Wise or Foolish Wise or Foolish Women in Mormon Biblical Narrative Art Jennifer Champoux isual imagery is an inescapable element of religion. Even those Vgroups that generally avoid figural imagery, such as those in Juda- ism and Islam, have visual objects with religious significance.1 In fact, as David Morgan, professor of religious studies and art history at Duke University, has argued, it is often the religions that avoid figurative imag- ery that end up with the richest material culture.2 To some extent, this is true for Mormonism. Although Mormons believe art can beautify a space, visual art is not tied to actual ritual practice. Chapels, for exam- ple, where the sacrament ordinance is performed, are built with plain walls and simple lines and typically have no paintings or sculptures. Yet, outside chapels, Mormons enjoy a vast culture of art, which includes traditional visual arts, texts, music, finely constructed temples, clothing, historical sites, and even personal devotional objects. -
THESIS a REASON to BELIEVE: a RHETORICAL ANALYSIS of MORMON MISSIONARY FILMS Submitted by Sky L. Anderson Department of Communic
THESIS A REASON TO BELIEVE: A RHETORICAL ANALYSIS OF MORMON MISSIONARY FILMS Submitted by Sky L. Anderson Department of Communication Studies In partial fulfillment of the requirements For the Degree of Master of Arts Colorado State University Fort Collins, Colorado Spring 2012 Master’s Committee Advisor: Carl Burgchardt Eric Aoki Kathleen Kiefer ABSTRACT A REASON TO BELIEVE: A RHETORICAL ANALYSIS OF MORMON MISSIONARY FILMS In this analysis, I examine Mormon cinema and how it functions on a rhetorical level. I specifically focus on missionary films, or movies that are framed by LDS missionary narratives. Through an analysis of two LDS missionary films, namely Richard Dutcher’s God’s Army (2000) and Mitch Davis’ The Other Side of Heaven (2001), I uncover two rhetorical approaches to fostering spirituality. In my first analysis, I argue that God’s Army presents two pathways to spirituality: one which produces positive consequences for the characters, and the other which produces negative consequences. I call these pathways, respectively, ascending and descending spirituality, and I explore the rhetorical implications of this framing. In my second analysis, I contend that The Other Side of Heaven creates a rhetorical space wherein the audience may transform. Specifically, the film constructs a “Zion,” or a heaven on earth, with three necessary components, which coincide perfectly with established LDS teachings: God, people, and place. These three elements invite the audience to accept that they are imperfect, yet they can improve if they so desire. Ultimately, by comparing my findings from both films, I argue that the films’ rhetorical strategies are well constructed to potentially reinforce beliefs for Mormon audiences, and they also may invite non-Mormons to think more positively about LDS teachings. -
Mormon Abstract
Abstract http://www.mormonartistsgroup.com/Mormon_Artists_Group/Abstract.html Welcome What's New Works Glimpses Events Freebies About MAG Contact Mormon Abstract by Stephanie K. Northrup January 2010 [i] When you think of Mormons “pushing the envelope,” what comes to mind? Deacons at the door collecting fast offerings? Try Bethanne Andersen’s The Last Supper (Place Setting). Many beautiful renditions of the Last Supper already exist, telling the story through dramatic lighting, facial expressions, and body language. Andersen tries a new perspective. She paints the dishes from which Christ eats His last mortal meal. That’s it. No people. Just us – invited to put ourselves in His shoes. The dishes are painted in soft pastel, as if on the verge of fading. This is a fleeting moment, like mortality, as He sits with His friends before making the ultimate sacrifice. By pushing the envelope, by throwing a new image at us that makes us consider the story in a new way, Andersen invites viewer participation. What a great approach to “likening the scriptures.” While Greg Olsen, Del Parson, and Simon Dewey are household names, ask most Mormons to name an abstract artist in the Church and you’ll probably get blank stares. Do Mormons make abstract art? We do. And we have been for a long time. In 1890, the church sent John Hafen and other “art missionaries” to Paris. Their assignment was to improve their skill so that they could create art for the Salt Lake Temple. What did these artists return with? Impressionism! Bright, thick brush strokes replaced traditional refined detail. -
Reader's Theater
1 Reader’s Theater: Utah Suffrage Story Cast of Characters (in order of appearance) 1. Narrator #1 2. Narrator #2 3. Elizabeth Cady Stanton 4. Frederick Douglass 5. Audience (All) 6. Narrator #3 7. Narrator #4 8. Anti-polygamists 9. Brigham Young 10. Seraph Young 11. Sarah M. Granger Kimball 12. Emmeline B. Wells 13. U. S. Senator George F. Edmunds 14. Mormons (All) 15. Jennie Froiseth 16. Susan B. Anthony 17. B. H. Roberts 18. Ruth May Fox 19. Franklin S. Richards 20. Orson F. Whitney 21. Martha Hughes Cannon 22. Hannah Kaaepa Lowe Narrator #1: In the early years of the United States, women had voting rights in some states, but over time these states did away with women’s suffrage. For a long time, only white men were allowed to vote. But after slavery was abolished in the 1860s, black men were given the right to vote in 1870 through the 15th Amendment to the Constitution. Narrator #2: Elizabeth Cady Stanton and Lucretia Mott organized a women’s rights convention in Seneca Falls, New York, in 1848. There, Stanton read their “Declaration of Sentiments” to an audience of 300, demanding all the same rights that men had, including voting rights. After hearing Stanton speak, one hundred women and men signed the Declaration of Sentiments. This small convention began the women’s suffrage movement in the United States. Elizabeth Cady Stanton: Women have been oppressed and deprived of the rights that men enjoy. We insist that we immediately be given all the rights and privileges that belong to us as citizens of the United States, including the right to vote! 2 Frederick Douglass: As a free black man fighting for the end of slavery and for the rights of all people, I support Mrs. -
Journal of Mormon History Vol. 13, 1986
Journal of Mormon History Volume 13 Issue 1 Article 1 1986 Journal of Mormon History Vol. 13, 1986 Follow this and additional works at: https://digitalcommons.usu.edu/mormonhistory Part of the Religion Commons Recommended Citation (1986) "Journal of Mormon History Vol. 13, 1986," Journal of Mormon History: Vol. 13 : Iss. 1 , Article 1. Available at: https://digitalcommons.usu.edu/mormonhistory/vol13/iss1/1 This Full Issue is brought to you for free and open access by the Journals at DigitalCommons@USU. It has been accepted for inclusion in Journal of Mormon History by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. Journal of Mormon History Vol. 13, 1986 Table of Contents • --Mormon Women, Other Women: Paradoxes and Challenges Anne Firor Scott, 3 • --Strangers in a Strange Land: Heber J. Grant and the Opening of the Japanese Mission Ronald W. Walker, 21 • --Lamanism, Lymanism, and Cornfields Richard E. Bennett, 45 • --Mormon Missionary Wives in Nineteenth Century Polynesia Carol Cornwall Madsen, 61 • --The Federal Bench and Priesthood Authority: The Rise and Fall of John Fitch Kinney's Early Relationship with the Mormons Michael W. Homer, 89 • --The 1903 Dedication of Russia for Missionary Work Kahlile Mehr, 111 • --Between Two Cultures: The Mormon Settlement of Star Valley, Wyoming Dean L.May, 125 Keywords 1986-1987 This full issue is available in Journal of Mormon History: https://digitalcommons.usu.edu/mormonhistory/vol13/iss1/ 1 Journal of Mormon History Editorial Staff LEONARD J. ARRINGTON, Editor LOWELL M. DURHAM, Jr., Assistant Editor ELEANOR KNOWLES, Assistant Editor FRANK McENTIRE, Assistant Editor MARTHA ELIZABETH BRADLEY, Assistant Editor JILL MULVAY DERR, Assistant Editor Board of Editors MARIO DE PILLIS (1988), University of Massachusetts PAUL M. -
The Cloning of Mormon Architecture
THE CLONING OF MORMON ARCHITECTURE MARTHA SONNTAG BRADLEY THOUGH BRIGHAM YOUNGS SERMONS were often full of exaggerations, he was right on the mark when he said, To accomplish this work there will have to be not only one temple but thousands of them, and thousands of ten thousands of men and women will go into those temples and officiate.1 Brigham clearly envisioned the 6,500 church buildings the Latter-day Saints would have erected by 1980. The architectural history of the Church of Jesus Christ of Latter-day Saints reflects an industrious, proud and diversified tradition in style, technology and objective. Mormon architecture, always responsive to the changing environment, has expressed changes in church membership, tastes, philosophy and the organizational structure of the Church itself. Historically, Latter-day Saints have had three distinct forms of ecclesiasti- cal architecture: the temple, the tabernacle and the ward meetinghouse. In the nineteenth century, these three types were clearly distinguishable in size, style and function. In the mid-twentieth century, however, when tab- ernacles were no longer built by the Church, temples and ward meeting- houses drew closer in style and character. Even in pioneer times, Mormon architecture expressed little that was truly indigenous. Most styles and forms, like the castellated Gothic style of the Salt Lake Temple, were adapted from other historical periods and applied to Mormon culture. The period beginning in 1920 became identified with a growing conservatism and historicity in architectural attitudes and practice, MARTHA SONNTAG BRADLEY is currently completing her master's thesis at BYU. She presented this paper at the Mosaic of Mormon Culture Sesquicentennial Symposium 1980 at BYU. -
Mormon Recruitment of Christian Young People
How Mormons Recruit Christian Young People for the LDS Church By the Mother of a Mormon who has a Heart for the Lost “Go, therefore and make disciples of all nations, baptizing them in the name of the Father, and of the Son, and of the Holy Spirit, teaching them to obey everything I have commanded you” (Matt. 28:19). Most Christians will recognize the words above as the Great Commission where Jesus Christ commanded His disciples and followers (that’s us!) to share the good news of salvation with all people. Many Christians take these words very seriously. But, others do not. Some Christian who do not take the Great Commission seriously may not feel equipped to share their faith. Others may be afraid to share their faith. And still others may be babes in Christ. We should pray that the Lord would strengthen their faith and encourage them to grow spiritually. But the members of the Church of Jesus Christ of Latter‐day Saints (LDS/Mormons) do take these words seriously. Mormons are knocking on doors, sharing their false teachings and beliefs, and convincing the uninformed Christian and those with no faith that they have the true church. In particular the Mormons are reaching out to your children and youth who may be Biblically uninformed. How do they reach out to your children, youth, and young adults? First, LDS children are trained starting at age 2 or 3 to give their testimony of their faith. They receive training in their faith at church, Sunday school, Family home night (Mondays), Boy Scouts or young Women Activities and camping, classes at Seminaries (high school) or Institutes (colleges). -
Violence and Disruptive Behavior on the Difficult Trail to Utah, 1847–1868 David L
BYU Studies Quarterly Volume 53 | Issue 4 Article 8 12-1-2014 Violence and Disruptive Behavior on the Difficult Trail to Utah, 1847–1868 David L. Clark Follow this and additional works at: https://scholarsarchive.byu.edu/byusq Recommended Citation Clark, David L. (2014) "Violence and Disruptive Behavior on the Difficult Trail to Utah, 1847–1868," BYU Studies Quarterly: Vol. 53 : Iss. 4 , Article 8. Available at: https://scholarsarchive.byu.edu/byusq/vol53/iss4/8 This Article is brought to you for free and open access by the All Journals at BYU ScholarsArchive. It has been accepted for inclusion in BYU Studies Quarterly by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Clark: Violence and Disruptive Behavior on the Difficult Trail to Utah, Violence and Disruptive Behavior on the Difficult Trail to Utah, 1847–1868 David L. Clark ew if any converts to Mormonism during the mid-nineteenth cen- Ftury were adequately prepared for the challenge of traveling to their Zion. Most European members and many American converts had never traveled more than a few miles from their homes. European converts, after sailing across the Atlantic Ocean and traveling almost a thousand miles to staging areas in Iowa City or on the Missouri River, had to walk or ride in wooden wagons or pull handcarts another thousand miles over crude trails or, in some cases, no trail. Most American converts also had to travel long distances to get to an outfitting post. Difficulties during the final thousand miles of travel were enhanced by the anxiety of locating adequate feed for cattle and finding good water and fuel for cooking.