The Devil-Compact in Legend and Literature. MAXIMILIAN RUDWIG 321
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Don Juan : Ladykiller of Seville
Two Christmas Play Officium Stellae & The Second Shepherds' Play Don Juan : Ladykiller of November 25th - December Seville 5th, 2004 A New Translation by Michael Kidd THU-FRI-SAT. Nov. 25-27 at 7:30 p.m. SAT-SUN. Nov. 27-28 at 2 p.m. Directed by Julie Florio THU-FRI-SAT. Dec. 2-4 at 7:30 p.m. SAT-SUN. Dec 4-5 at 2 p.m. GALA PERFORMANCE: Friday November 26th Emmanuel Chapel, Room 319 & Emmanuel Hall, Room 119, Emmanuel College, 75 Queen's Park East Friar Bacon and Friar Bungay March 11th - March 27th, 2005 FRI-SAT. Mar. 11-12 at 8 p.m SAT-SUN. Mar. 12-13 at 2 p.m. THU-FRI-SAT. Mar. 17-19 at 8 p.m SAT-SUN. Mar. 19-20 at 2 p.m. THU-FRI-SAT. Mar. 24-26 at 8 p.m SAT-SUN. Mar. 26-27 at 2 p.m GALA PERFORMANCE: Friday March 11 Emmanuel Hall, Room 119, Emmanuel College, 75 Queen's Park East, mention that his sense of entitlement is unequal to none. It would mean I'd have to mentally go someplace I didn't want to... We forget. We forget than there are Don Juans everywhere. We forget how exactly we can be swayed into things we Don Juan Jordan Stewart haven't necessarily thought clearly about. Don Juan's goal is sexual dominance, Isabella Claire Rice but it could just as easily be money, kingdoms, cars or votes. The impulses and King of Naples / Don Gonzalo de Erik Buchanan (appearing by fears within this play are stored within us all. -
Un Aspecto De La Técnica Dramática De Calderón: La Geografía Y Toponimia En El Tuzaní De Las Alpujarras
Un aspecto de la técnica dramática de Calderón: la geografía y toponimia en El Tuzaní de las Alpujarras Por Brent W. De Vos Existen varios estudios sobre cómo Calderón de la Barca adaptaba libremente los hechos históricos —según figuraban en las crónicas de su época— para que cumplieran con sus propios fines dramáticos y poéticos (véase Blue; Fox; Parker; Ruano de la Haza “Introducción”; Wilson e Yndurain). Pero apenas se ha explorado la cuestión de si Calderón hacía lo mismo con la geografía y la toponimia. Que yo sepa el único crítico moderno que ha tratado el tema en la Comedia es José Ruano de la Haza, quien comenta el efecto dramático de la ubicación de Jerusalem en la costa mediterránea en El mayor monstruo del mundo de Calderón (231 nota 14). En el presente estudio investigaremos el uso de la geografía a El Tuzaní de las Alpujarras; comedia de base histórica sobre la última rebelión morisca en la región de Granada entre 1567 y 1571. Aunque la rebelión histórica se extendió por gran parte de la provincia de Granada, en El Tuzaní de las Alpujarras Calderón restringe la acción principal de la rebelión a la sierra de las Alpujarras. En la comedia se describe la región de las Alpujarras como fragosa y difícil de transitar a causa de sus muchos riscos y peñones (El Tuzaní vv. 940-8); como un laberinto rocoso “donde el sol / aun se pierde por momentos / con andarlos cada día” (vv. 1735-7). Se señala que, a pesar de su aspereza, había en las valles de la sierra muchas villas y aldeas moriscas. -
Theophilus Long
!1 “They’re Real People!” By Pastor Jim Ayars 6 January 2018 Luke 1:1-4 1:1 Inasmuch as many have undertaken to compile a narrative of the things that have been accomplished among us, 2 just as those who from the beginning were eyewitnesses and ministers of the word have delivered them to us, 3 it seemed good to me also, having followed all things closely for some time past, to write an orderly account for you, most excellent Theophilus, 4 that you may have certainty concerning the things you have been taught. [ESV] “They’re Real People!” If it were not for Luke’s dedication of his two-volume historical record to him, we would never know of a man named Theophilus. Luke mentions him twice, first in the preface to his first book, now called the Gospel According to Luke, and second, in the opening lines of his second book, now called The Acts of the Apostles. In his dedication of the second volume, Luke wrote: “In the first book, O Theophilus, I have dealt with all that Jesus began to do and teach, until the day when he was taken up, after he had given commands through the Holy Spirit to the apostles whom he had chosen. He presented himself alive to them after his suffering by many proofs, appearing to them during forty days and speaking about the kingdom of God.” [Acts 1:1-3 ESV] Who was he? Most scholars have no clue. As early as the beginning of the third century, Origen, an early Christian commentator and theologian from Alexandria, Egypt, who lived from 184/185 – 253/254, suggested that the name Theophilus is really a metaphor for all believers. -
Authorship of Acts
AUTHORSHIP OF ACTS Like all Scripture, the book of Acts was inspired by the Holy Spirit. But its divine inspiration should not lead us to diminish our attention to its human authors. The Holy Spirit kept the original writings of Scripture free from error, but he still employed the personalities, backgrounds and intentions of its human writers. Acts has traditionally been attributed to Luke, the author of the third gospel. But neither the third gospel nor the book of Acts specifically mentions the name of the author. So, we should look at the reasons for affirming the traditional view of Luke's authorship. We will explore the authorship of Acts from three perspectives. First, we will compare Acts with the Gospel of Luke. Second, we will examine early church history and its witness concerning Luke's authorship. And third, we will look briefly at other aspects of the New Testament that indicate that Luke wrote these books. Let's turn first to what we can learn about the authorship of Acts from the Gospel of Luke. Gospel of Luke When we compare the book of Acts with the third gospel, two types of evidence emerge that strongly suggest one person wrote both books. On the one hand, there is explicit information stated directly in both books that points in this direction. On the other hand, there is also implicit evidence from the style and content of these books. Let's begin with the explicit evidence that indicates a common author for both books. Explicit In Acts 1:1, the prologue of the book of Acts, we read these words: In my former book, Theophilus, I wrote about all that Jesus began to do and to teach (Acts 1:1). -
2020 Yale Bible Study-Acts-Intro.Pages
Yale BIBLE STUDY The Acts of the Apostles Introduction The Book of Acts is the second volume of a two-volume work. The first volume is the Gospel According to Luke and the second volume is the Acts of the Apostles. The arrangement of our Bibles confuses the close relationship between these two works by separating them with the Gospel of John. Almost certainly the first readers of Acts would have read our book or heard it as the immediate sequel to Luke’s Gospel. Traditionally both volumes have been attributed to Luke and Luke has been identified as a physician and as Paul’s travel companion (see Philemon 24, Colossians 4:14 and 2 Timothy 4:11). The identification of Luke as the author of the Gospel and of Acts is later than the earliest versions of the writings themselves, but in these studies, we will refer to the author as “Luke” without trying to make a judgment about whether he was the Luke who is mentioned both in Acts and in the New Testament epistles. What we can tell about out author is that he is self-consciously a historian. Each of our four biblical gospels is written for particular purposes, but it is Luke who most clearly states the purpose of his two volume work in the prefaces he writes – Luke 1:1-4 and Acts 1:1-5. In the prologue to Acts, Luke states clearly that this is the second volume of his work. Both prefaces are addressed to Theophilus. Theophilus may have been Luke’s patron – the one who invited him to write the two volumes. -
We Are Theophilus
March 2/3 WE ARE THEOPHILUS John Fuller, Senior Pastor INTRODUCTION This week, Pastor John begins our seven-week series Luke: The Gospel for the Rest of Us. He explains that in writing to Theophilus, Luke set out to write to the “average” person; hence the sermon title “We are Theophilus.” In the first three chapters of his comprehensive Gospel, Luke fills in the blanks regarding some areas of uncertainty about Jesus. To quote Pastor John, “So it was thought… but with God, there’s always more than we thought.” DISCUSSION 1. Read Luke 1:3-4 aloud. As Pastor John stated, “It’s easy to believe a few things about God without really believing God.” Discuss why it’s problematic to have some information about God without more complete knowledge and certainty. 2. Pastor John used passages from chapters 1-3 to help illustrate that life is not random. Discuss how Luke’s accounts of the following help teach us about God’s purposefulness: Zechariah & Elizabeth Mary & Joseph The Roman Census Prophecy about John the Baptist Jesus’s Genealogy 3. God chooses to use unexpected, ordinary people for His glory. Who are some of the characters in the first three chapters of Luke who help to illustrate this truth about God? In what ways does this bring encouragement to you in your walk with the Lord? Share with the group. 4. Heaven is not “earned” by anyone. Rather, it is for everyone who loves Jesus and surrenders their lives to Him. Read Ephesians 2:8-10 aloud. Discuss how this passage should influence us as a church community as well as individually. -
In Goethe's Faust, Unlike the Earlier Versions of the Story, the Faithless
1 In G oethe’s Faust, unlike the earlier versions of the story, the faithless sinner that is Faust receives grace and goes to Heaven, rather than being thrown to the fires of Hell. Faust’s redemption is contrary to every other redemption in every other story we have read up till now. Faust wasn’t asking forgiveness from God, unlike his beloved Margaret, and so many others before him. Faust doesn’t seem even to believe in the all mighty, even when directly talking to the Devil himself. Yet, in the end, Mephisto’s plot is foiled, Faust’s soul is not cast into the inferno, but raised to paradise. Goethe has Faust receive a secular salvation, through Faust’s actions rather than through his belief. Goethe shows both the importance of action versus words, and Faust’s familiarity with the Bible, with Faust’s translation of Logos, “It says: ‘In the beginning was the W ord… I write: In the beginning was the Act.” (G oethe's Faust, line 1224, 1237) Here, Faust demonstrates a clear understanding of a theological problem, the importance of a single word within the Bible. Having Logos translated as “the Word” has many more different implications than if it means “the Act”. The Act would imply the creation of everything was a direct application of Gods will. He did not need to say for something happen, God did something to put the universe in motion by action alone. Goethe includes this translation of Logos, as the Act instead of the Word, for several reasons. -
Gunter E. Grimm
GUNTER E. GRIMM Faust-Opern Eine Skizze Vorblatt Publikation Erstpublikation Autor Prof. Dr. Gunter E. Grimm Universität Duisburg-Essen Fachbereich Geisteswissenschaften, Germanistik Lotharstr. 65 47057 Duisburg Emailadresse: [email protected] Homepage: <http://www.uni-duisburg-essen.de/germanistik/mitarbeiterdaten.php?pid=799> Empfohlene Zitierweise Beim Zitieren empfehlen wir hinter den Titel das Datum der Einstellung oder des letzten Updates und nach der URL-Angabe das Datum Ihres letzten Besuchs die- ser Online-Adresse anzugeben: Gunter E. Grimm: Faust Opern. Eine Skizze. In: Goethezeitportal. URL: http://www.goethezeitportal.de/fileadmin/PDF/db/wiss/goethe/faust-musikalisch_grimm.pdf GUNTER E. GRIMM: Faust-Opern. Eine Skizze. S. 2 von 20 Gunter E. Grimm Faust-Opern Eine Skizze Das Faust-Thema stellt ein hervorragendes Beispiel dar, wie ein Stoff, der den dominanten Normen seines Entstehungszeitalters entspricht, bei seiner Wande- rung durch verschiedene Epochen sich den jeweils herrschenden mentalen Para- digmen anpasst. Dabei verändert der ursprüngliche Stoff sowohl seinen Charakter als auch seine Aussage. Schaubild der Faust-Opern Die „Historia von Dr. Faust“ von 1587 entspricht ganz dem christlichen Geist der Epoche. Doktor Faust gilt als Inbegriff eines hybriden Gelehrten, der über das dem Menschen zugestandene Maß an Gelehrsamkeit und Erkenntnis hinausstrebt und zu diesem Zweck einen Pakt mit dem Teufel abschließt. Er wollte, wie es im Volksbuch heißt, „alle Gründ am Himmel vnd Erden erforschen / dann sein Für- GUNTER E. GRIMM: Faust-Opern. Eine Skizze. S. 3 von 20 witz / Freyheit vnd Leichtfertigkeit stache vnnd reitzte jhn also / daß er auff eine zeit etliche zäuberische vocabula / figuras / characteres vnd coniurationes / damit er den Teufel vor sich möchte fordern / ins Werck zusetzen / vnd zu probiern jm fürname.”1 Die „Historia“ mit ihrem schrecklichen Ende stellte eine dezidierte Warnung an diejenigen dar, die sich frevelhaft über die Religion erhoben. -
A Discussion of Goethe's Faust Part 1 Rafael Sordili, Concordia University
Sordili: Nothingness on the Move Sordili 1 Nothingness on the Move: A Discussion of Goethe's Faust Part 1 Rafael Sordili, Concordia University (Editor's note: Rafael Sordili's paper was selected for publication in the 2013 Agora because it was one of the best three presented at the ACTC Student Conference at Shimer College in Chicago in March 2013.) In the world inhabited by Faust, movement is a metaphysical fact: it is an expression of divine will over creation. There are, however, negative consequences to an existence governed by motion. The most prevalent of them is a feeling of nothingness and nihilism. This essay will discuss the relations between movement and such feelings in Goethe's Faust.1 It is my thesis that the assertion of his will to life, the acceptance of his own limitations, and the creation of new personal values are the tools that will ultimately enable Faust to escape nihilism. Metaphysics of Motion Faust lives in a world in which motion is the main force behind existence. During the Prologue in Heaven, three archangels give speeches in praise of the Creator, emphasizing how the world is in a constant state of movement. Raphael states that the movement of the Sun is a form of worship: "The sun proclaims its old devotion / [. .] / and still completes in thunderous motion / the circuits of its destined years" (246-248). For Gabriel, the rotation of the earth brings movement to all the elements upon its surface: "High cliffs stand deep in ocean weather, / wide foaming waves flood out and in, / and cliffs and seas rush on together / caught in the globe's unceasing spin" (251-258). -
110273-74 Bk Boito EC 02/06/2003 09:04 Page 12
110273-74 bk Boito EC 02/06/2003 09:04 Page 12 Great Opera Recordings ADD 8.110273-74 Also available: 2 CDs BOITO Mefistofele Nazzareno de Angelis Mafalda Favero Antonio Melandri Giannina Arangi-Lombardi Chorus and Orchestra of La Scala, Milan 8.110117-18 Lorenzo Molajoli Recorded in 1931 8.110273-74 12 110273-74 bk Boito EC 02/06/2003 09:04 Page 2 Ward Marston Great Opera Recordings In 1997 Ward Marston was nominated for the Best Historical Album Grammy Award for his production work on BMG’s Fritz Kreisler collection. According to the Chicago Tribune, Marston’s name is ‘synonymous with tender loving care to collectors of historical CDs’. Opera News calls his work ‘revelatory’, and Fanfare deems him Arrigo ‘miraculous’. In 1996 Ward Marston received the Gramophone award for Historical Vocal Recording of the Year, honouring his production and engineering work on Romophone’s complete recordings of Lucrezia Bori. He also BOITO served as re-recording engineer for the Franklin Mint’s Arturo Toscanini issue and BMG’s Sergey Rachmaninov (1842-1918) recordings, both winners of the Best Historical Album Grammy. Born blind in 1952, Ward Marston has amassed tens of thousands of opera classical records over the past four decades. Following a stint in radio while a student at Williams College, he became well-known as a reissue producer in 1979, when he restored the earliest known stereo recording made by the Bell Telephone Laboratories in 1932. Mefistofele In the past, Ward Marston has produced records for a number of major and specialist record companies. -
On the Occasion of His Fifth Solo Exhibition at Galerie Buchholz, Artist Julian Göthe Presents a New Group of Sculptures and Works on Paper
Finding the radical illusion or “la chasse magique” On the occasion of his fifth solo exhibition at Galerie Buchholz, artist Julian Göthe presents a new group of sculptures and works on paper. The currents that must have inspired these works are as hard to intercept as they are impossible to list. “A lion made of assimilated sheep”, this is perhaps how Paul Valéry would call Göthe's oevre, having delicately fed on and digested so many inspirational references. Only clue that the artist provides is in the exhibition's title, which is also the title of a song by British musician Colin Newman – Their Terrain is track number one on the album Commercial Suicide, 1986. The last verse reads: After this, what next could be a question? Build the megalith again As for history we may be on a winner Or the chorus, it's a shame The parodic charge of Göthe's work finds here another fortunate momentum, a distinctly sardonic laughter permeates the rooms: objects become strange, undefinable “attractors.” It is with them that Göthe touches the limit of his aesthetic adventure – which is also the end of the adventure of representation. Göthe's megaliths actually resemble a Saint Laurent bow-tie; the twin sculptures could almost be a tart refraction of a Giorgio De Chirico sketch for the Faust (I'm thinking in particular of a drawing where Mephistopheles is portrayed as wearing a blond wig, and an explosive set of ostrich feathers seems to have set his hat on fire). The practice of the DeChirichian transvestment can be related to Göthe's also for its dissimulatingly serious aspect. -
Acts 15:36-41 the First Division Among Church Leaders
The First Division among Church Leaders JUNE 21-23, 2017 Pastor David Andersen / PO BoxBible 2020, Chesterfield, Study VA Title 23832 / [email protected] Acts 15:36-41 “Then after some days Paul said to Paul owed Barnabas an incredible debt of gratitude for all Barnabas, ‘Let us now go back and visit our that he had done for him. Barnabas had introduced him brethren in every city where we have preached the to the Jerusalem church who had refused to trust him word of the Lord, and see how they are doing.’ 37) because of the terror he had inflicted upon them through his fierce persecution. When Barnabas had been sent to Now Barnabas was determined to take with them the church at Antioch, after his ministry began to be John called Mark. 38) But Paul insisted that they blessed there, he went to Tarsus to get Saul to help him. should not take with them the one who had Their dynamic pastoral leadership together caused the departed from them in Pamphylia, and had not believers to “first be called Christians at Antioch.” On their gone with them to the work. 39) Then the first mission trip, after Paul had won the king and taken contention became so sharp that they parted one his name, Barnabas gave him the leadership of the mission team. Thus, he became the primary speaker as from another. And so Barnabas took Mark and they visited the synagogues in Pisidian Antioch and sailed for Cyprus; 40) but Paul chose Silas and Iconium where it seems that over half of these cities are departed, being commended by the brethren to won for Christ.