Ethics Year 7 Knowledge Organisers Term 1: Our Place in the World
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The Garment of Adam in Jewish, Muslim, and Christian Tradition
24 The Garmentof Adam in Jewish, Muslim, and ChristianTradition Stephen D. Ricks Although rarely occurring in any detail, the motif of Adam's garment appears with surprising frequency in ancient Jewish and Christian literature. (I am using the term "Adam's garment" as a cover term to include any garment bestowed by a divine being to one of the patri archs that is preserved and passed on, in many instances, from one generation to another. I will thus also consider garments divinely granted to other patriarchal figures, including Noah, Abraham, and Joseph.) Although attested less often than in the Jewish and Christian sources, the motif also occurs in the literature of early Islam, espe cially in the Isra'iliyyiit literature in the Muslim authors al ThaclabI and al-Kisa'I as well as in the Rasii'il Ikhwiin al ~afa (Epistles of the Brethren of Purity). Particularly when discussing the garment of Adam in the Jewish tradition, I will shatter chronological boundaries, ranging from the biblical, pseudepigraphic, and midrashic references to the garment of Adam to its medieval attestations. 1 In what fol lows, I wish to consider (1) the garment of Adam as a pri mordial creation; (2) the garment as a locus of power, a symbol of authority, and a high priestly garb; and (3) the garment of Adam and heavenly robes. 2 705 706 STEPHEN D. RICKS 1. The Garment of Adam as a Primordial Creation The traditions of Adam's garment in the Hebrew Bible begin quite sparely, with a single verse in Genesis 3:21, where we are informed that "God made garments of skins for Adam and for his wife and clothed them." Probably the oldest rabbinic traditions include the view that God gave garments to Adam and Eve before the Fall but that these were not garments of skin (Hebrew 'or) but instead gar ments of light (Hebrew 'or). -
Amazing Facts Study Guide-02 Did God Create the Devil
Amazing Facts Study Guide 2 - Did God Create the Devil? Most people in the world are being deceived by an evil genius bent on destroying their lives - a brilliant mastermind called the devil, or Satan. But this dark prince is much more than what you might think... many say he's just a devious mythical figure, but the Bible says he's very real, and he's deceiving families, churches, and even nations to increase sorrow and pain. Here are the Bible's amazing facts about this prince of darkness and how you can overcome him! 1. With whom did sin originate? "The devil sinneth from the beginning." 1 John 3:8. "That old serpent, called the Devil, and Satan." Revelation 12:9. Answer: Satan, also called the devil, is the originator of sin. Without the Scriptures, the origin of evil would remain unexplained. 2. What was Satan's name before he sinned? Where was he living at that time? "How art thou fallen from heaven, O Lucifer, son of the morning!" Isaiah 14:12. Jesus said, "I beheld Satan as lightning fall from heaven." Luke 10:18. "Thou wast upon the holy mountain of God." Ezekiel 28:14. Answer: His name was Lucifer, and he was living in heaven. Lucifer is symbolized by the king of Babylon in Isaiah 14 and as the king of Tyrus in Ezekiel 28. 3. What was the origin of Lucifer? What responsible position did he hold? How does the Bible describe him? "Thou wast created." Ezekiel 28:13, 15. "Thou art the anointed cherub that covereth." Ezekiel 28:14. -
Super Satan: Milton’S Devil in Contemporary Comics
Super Satan: Milton’s Devil in Contemporary Comics By Shereen Siwpersad A Thesis Submitted to Leiden University, Leiden, the Netherlands in Partial Fulfillment of the Requirements for the Degree of MA English Literary Studies July, 2014, Leiden, the Netherlands First Reader: Dr. J.F.D. van Dijkhuizen Second Reader: Dr. E.J. van Leeuwen Date: 1 July 2014 Table of Contents Introduction …………………………………………………………………………... 1 - 5 1. Milton’s Satan as the modern superhero in comics ……………………………….. 6 1.1 The conventions of mission, powers and identity ………………………... 6 1.2 The history of the modern superhero ……………………………………... 7 1.3 Religion and the Miltonic Satan in comics ……………………………….. 8 1.4 Mission, powers and identity in Steve Orlando’s Paradise Lost …………. 8 - 12 1.5 Authority, defiance and the Miltonic Satan in comics …………………… 12 - 15 1.6 The human Satan in comics ……………………………………………… 15 - 17 2. Ambiguous representations of Milton’s Satan in Steve Orlando’s Paradise Lost ... 18 2.1 Visual representations of the heroic Satan ……………………………….. 18 - 20 2.2 Symbolic colors and black gutters ……………………………………….. 20 - 23 2.3 Orlando’s representation of the meteor simile …………………………… 23 2.4 Ambiguous linguistic representations of Satan …………………………... 24 - 25 2.5 Ambiguity and discrepancy between linguistic and visual codes ………... 25 - 26 3. Lucifer Morningstar: Obedience, authority and nihilism …………………………. 27 3.1 Lucifer’s rejection of authority ………………………..…………………. 27 - 32 3.2 The absence of a theodicy ………………………………………………... 32 - 35 3.3 Carey’s flawed and amoral God ………………………………………….. 35 - 36 3.4 The implications of existential and metaphysical nihilism ……………….. 36 - 41 Conclusion ……………………………………………………………………………. 42 - 46 Appendix ……………………………………………………………………………… 47 Figure 1.1 ……………………………………………………………………… 47 Figure 1.2 ……………………………………………………………………… 48 Figure 1.3 ……………………………………………………………………… 48 Figure 1.4 ………………………………………………………………………. -
Explaining the Evils of the Nephilim
Explaining The Nephilim Giants ‘When mankind began to multiply on the earth and daughters were born to them, the ‘sons of God’ (fallen angels) saw the daughters of men (human women) were beautiful and they took (raped) all the women they desired and chose. (As a result) there were Nephilim on the earth in those days and also afterwards when the ‘sons of God’ (fallen angels) lived with the daughters of mankind and they bore children to them. Those were the mighty men who were of old, men of renown’ (Genesis 6:1,2 & 4). ‘The people who dwell in the land are strong and the cities are fortified and very great. We saw the children (descendents) of Anak there … Amalek dwells in the land of the South … They brought up an evil report of the land they had spied out to the Children of Israel saying, “The land where we spied out is a land that eats up its inhabitants. All the people who we saw in it are men of great stature (giants). There we saw the Nephilim, the sons (descendents) of Anak who come of the Nephilim and we were in our own sight as grasshoppers and so we were in their sight’” (Numbers 13:28, 29, 32 & 33). These evil beings called the Nephilim were the wicked giant offspring born to the women who had been raped by the fallen angels referred to as ‘the sons of God’. The Nephilim ‘men of renown’ were not decent men who were well known, they were vicious, violent, wicked half human, half fallen angels who later brought into existence the Amalek and Anakim (plural of Anak). -
The Book of Genesis: Literature, Ethics, Theology
The Book of Genesis: Literature, Ethics, Theology Liberal Studies Spring 2014 Professor Tod Linafelt Office: 126 New North Phone: 202-687-6238 Email: [email protected] Course Description To quote the flyleaf from Robert Alter’s translation of Genesis, which we will use in class: “Genesis begins with the making of heaven and earth and all life, and ends with the image of a mummy – Joseph’s – in a coffin. In between come many of the primal stories in Western culture: Adam and Eve’s expulsion from the Garden of Eden, Cain’s murder of Abel, Noah and the Flood, the destruction of Sodom and Gomorrah, Abraham’s binding of Isaac, the covenant of God and Abraham, the saga of Joseph and his brothers. These are stories we attend to throughout our lives, for their beauty, their emotional resonance, their philosophical weight, and their sacredness. They connect us with one another and with generations to come.” In this course we will explore together the stories from the book of Genesis, with special attention to their literary quality, their ethical content, and their theological implications. Required Texts Richard Elliott Friedman, The Bible with Sources Revealed, Harper One, paperback. ISBN: 006073065X. Robert Alter, Genesis: Translation with Commentary, WW Norton, paperback. ISBN: 039331670X. David Ferry, Gilgamesh: A New Rendering in English Verse, FSG, paperback. ISBN: 0374523835. Course Requirements (1) Attendance and participation: Come to class regularly and be prepared to discuss the readings for the week. As part of your preparation for each class, you are expected to spend about six hours with the readings – underlining, taking notes, pondering larger implications, and completing any written assignments that might be due. -
The Jeu D'adam: MS Tours 927 and the Provenance of the Play
Western Michigan University ScholarWorks at WMU Early Drama, Art, and Music Medieval Institute Publications 11-30-2017 The Jeu d'Adam: MS Tours 927 and the Provenance of the Play Christophe Chaguinian Follow this and additional works at: https://scholarworks.wmich.edu/mip_edam Part of the Dramatic Literature, Criticism and Theory Commons, and the Medieval Studies Commons Recommended Citation Chaguinian, Christophe, "The Jeu d'Adam: MS Tours 927 and the Provenance of the Play" (2017). Early Drama, Art, and Music. 2. https://scholarworks.wmich.edu/mip_edam/2 This Edited Collection is brought to you for free and open access by the Medieval Institute Publications at ScholarWorks at WMU. It has been accepted for inclusion in Early Drama, Art, and Music by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. The Jeu d’Adam EARLY DRAMA, ART, AND MUSIC Series Editors David Bevington University of Chicago Robert Clark Kansas State University Jesse Hurlbut Independent Scholar Alexandra Johnston University of Toronto Veronique B. Plesch Colby College ME Medieval Institute Publications is a program of The Medieval Institute, College of Arts and Sciences The Jeu d’Adam MS Tours 927 and the Provenance of the Play Edited by Christophe Chaguinian Early Drama, Art, and Music MedievaL INSTITUTE PUBLICATIONS Western Michigan University Kalamazoo Copyright © 2017 by the Board of Trustees of Western Michigan University Library of Congress Cataloging-in-Publication Data Names: Chaguinian, Christophe, editor. Title: The Jeu d’Adam : MS Tours 927 and the provenance of the play / edited by Christophe Chaguinian. Description: Kalamazoo : Medieval Institute Publications, Western Michigan University, [2017] | Series: Early drama, art, and music monograph series | Includes bibliographical references. -
Adam and Eve 2011
Adam & Eve Recent Paintings by SAMUEL BAK PUCKER GALLERY I BOSTON Samuel Bak’s Adam & Eve: On Holocaust and Beauty ver a prolific career that began in 1942 at the age of nine in the Vilna Ghetto and continues to flourish today in a studio near Boston with a lush forest view, Samuel Bak has provided an aesthetic language for contemplating the Holocaust, a history Ooften described as “inconceivable.” After a brief period of abstract expres- sionist work in the late 1950s, in which the Holocaust lurked in rather than loomed over his compositions, Bak decisively turned to a more classical vocabulary, having settled in Rome amidst the glories of the Italian Renaissance. Bak initially struggled with directly representing the Holocaust, especially in the more realist modes he adopted in Rome, but eventually surrendered to his childhood memories in a series of painful stages, which led to the exhibition of his work in the German National Museum in Nuremberg in 1978 (figure 1). In his recent large-numbered series Adam and Eve, Bak casts the first couple as lone survivors of a biblical narrative of a God who birthed humanity and promised never to destroy it. Unable to make good on the greatest of all literary promises, God becomes another one of the relics that displaced persons carry around with them in the disorienting aftermath of world war. Adam and Eve devotedly shlep this God-artifact along with them on their exilic odyssey to nowhere. Viewers often describe Bak as a tragedian, but if classical tragedy describes the fall of royal families, Bak narrates the disintegration and disillusion of the chosen people. -
Teachers Resource Guide
s! m idea assroo se cl Lessons and Ac Try the tivities For the Classroom Table of Contents: The Mark Twain Boyhood Home & Museum Writing Ideas 2 Word Search 3 Teacher Resource Guide Encounter with 4 Prepared by Dr. Cindy Lovell an Interviewer Quincy University, Quincy, Illinois Legend of 4 Sagenfeld This guide offers some help- visit - call! We love to hear Teaching Award. Applica- ful teacher suggestions and from teachers if only to an- tions must be submitted by Adam and Eve 5 activities to bring Mark swer your questions and help March 15th of each calendar Twain’s writing to life in your you to come up with lesson year, and winners will be an- Sherburn and 5 classroom. These resources plan ideas for teaching Mark nounced on the following May Boggs can be modified for elemen- Twain. 1st. The next time you teach Tom Sawyer - 6 tary, middle, and high school Mark Twain in your class- Mark Twain’s writings fit into Whitewashing students. virtually every type of class- room, consider applying for We are always looking for room. If you have a specific this prestigious award. Activities 7- good teaching ideas to share. idea but are unsure as to how Teaching Twain? 11 If you have any you’d like to to proceed, send us an email Enter by March 15th! share, please let us know. or give us a call - we will help Following the 12 Contact Cindy Lovell at the you prepare the most appro- Equator Mark Twain Boyhood Home & priate lesson for your stu- Museum. -
The Origin of Woman
THE ORIGIN OF WOMAN. BY THE EDITOR. PLATO'S Symposium is perhaps the most poetical discussion in Greek philosophy and one of the most interesting. It tells of a banquet to which Agathon has invited his friends, among whom we find the philosopher Socrates, the poet Aristophanes, the dis- ciples of Socrates, Pausanias, Phaedrus and some others. After dinner Phaedrus proposes to make speeches in honor of love, and Pausanias begins by drawing a distinction between heavenly and earthly love, extolling the former and giving scant praise to the latter. Aristophanes is the next speaker, but, being prevented by a severe hiccup from taking up the discussion, gives precedence to Eryximachus, the physician. This speaker approves the distinction made by Pausanias, but generalizes the conception of love by re- garding it as a universal principle bringing about the harmony that regulates nature in the course of the seasons, in its relations of moist and dry, hot and cold, etc., and whose absence is marked by dis- eases of all sorts. Aristophanes, having recovered from his hiccup, proposes to offer a new explanation setting forth a novel theory of the origin of human nature. We quote extracts from the transla- tion of Jowett: "Primeval man was round, his back and sides forming a circle; and he had four hands and four feet, one head with two faces, looking opposite ways, set on a round neck and precisely alike ; also four ears, two privy members and the remainder to correspond. He could walk upright as men now do, backward or forward as he pleased, and he could also roll over and over at a great pace, turning on his four hands and four feet, eight in all, like tumblers going over and over with their legs in the air ; this was when he wanted to run fast. -
Rodin the Thinker Initial Analysis
Rodin, The Thinker, initial analysis Auguste Rodin initial analysis Rodin would often complete preliminary sketches and The Thinker models, then leave the 1881-1903, bronze, carving of the full size marble 180 x 98 x 145 cm or plaster cast for a mould to (71 x 39 x 57”) one of his assistants. Cast made by Fonderie Eventually, the artist would Alexis Rudier in 1904. take control of the work to Transfered to Musée Rodin add finishing touches and in 1922. make sure that the piece fitted his exacting standards. This process is how The Thinker would have been developed. When conceived in 1880 There is a particularity in the The Thinker was entitled The composition to The Gates, Poet. He represented Dante, notably in the placement of author of the Comedy [Divine the larger figures. The Comedy] which had inspired monumental Adam and Eve, The Gates of Hell. The Thinker freestanding before The Gates, was the crowning element form the base of a pyramid, of The Gates, seated on the at the zenith of which stand tympanum, leaning forward The Three Shades and, directly to observe the circles of below them, The Thinker. This Hell. arrangement focuses the viewer’s attention on the complex of reliefs adorning the Gates. The concept of the Gates The sculpted figure also has can partly be understood by an impact because of its considering The Gates of depiction of muscularity, its Paradise by Ghiberti, verisimilitude and 1425-52, in Florence. its scale, slightly larger than life. It is given an added The figure of the The impact when seen in the Thinker combines a number context of the tympanum of considerations made by looking down and meditating Rodin. -
Explore Equip Engage
20 YEARS EXPLORE EQUIP ENGAGE SAHARA CHALLENGE MANUAL 2021 Muslims are searching. Go prepared. Written and compiled by Fouad Masri © 2021 Crescent Project. All rights reserved. No portion of this manual may be reproduced, stored in a retrieval system or transmitted in any form or by any means without prior permission in writing from the publisher. Published in the United States of America. Quotations from the Qur'an are from The Quran Translation, 7th Edition, by Abdullah Yusef Ali (Elmhurst NY: Tahrike Tarsile Quran, Inc., 2001 ). All Scripture quotations, unless otherwise indicated, are taken from the HOLY BIBLE, NEW INTERNATIONAL VERSION®. NIV®. Copyright © 1973, 1978, 1984 by International Bible Society. Used by permission of Zondervan. All rights reserved. “The thief comes only to steal and kill and destroy; I have come that they may have life, and have it to the full.” – Jesus (John 10:10) Greetings in the name of our Lord and Savior Jesus Christ! I welcome you to Sahara Challenge, an intensive, practical training program designed to prepare Christians for a biblical, effective ministry among Muslims. Crescent Project is an interdenominational Christian ministry focused on helping fulfill the Great Commission to the Muslim world. Our goal is to see every Muslim have an opportunity to respond to the Gospel and be connected to a true follower of Jesus. Millions of Muslims today have never heard the Gospel. Our Challenge is to take the gospel message to the hearts of spiritually thirsty Muslims. They are in need of the living water, our Lord Jesus Christ. Confidence is needed as we minister. -
SEARCHING for EDEN: the Diaries of Adam and Eve
SEARCHING FOR EDEN: the diaries of adam and eve By JAMES STILL Adapted and inspired by Mark Twain’s short stories “Extracts from Adam’s Diary” and “Eve’s Diary.” Dramatic Publishing Woodstock, Illinois • England • Australia • New Zealand © The Dramatic Publishing Company, Woodstock, Illinois *** NOTICE *** The amateur and stock acting rights to this work are controlled exclu- sively by THE DRAMATIC PUBLISHING COMPANY, without whose permission in writing no performance of it may be given. Royalty must be paid every time a play is performed whether or not it is presented for profit and whether or not admission is charged. A play is performed any time it is acted before an audience. Current royalty rates, applications and restrictions may be found at our Web site: www.dramaticpublishing.com, or we may be contacted by mail at: DRAMATIC PUBLISHING COM- PANY, P.O. Box 129, Woodstock IL 60098. COPYRIGHT LAW GIVES THE AUTHOR OR THE AUTHOR’S AGENT THE EXCLUSIVE RIGHT TO MAKE COPIES. This law pro- vides authors with a fair return for their creative efforts. Authors earn their living from the royalties they receive from book sales and from the performance of their work. Conscientious observance of copyright law is not only ethical, it encourages authors to continue their creative work. This work is fully protected by copyright. No alterations, deletions or substitutions may be made in the work without the prior written consent of the publisher. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photo- copy, recording, videotape, film, or any information storage and retrieval system, without permission in writing from the publisher.