The First Sin: Could Fear Have Played a Part?
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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). -
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 ………………………………………………………………………. -
Interpretation of the Quran- Surat Al-A'raf (7)- Lesson(12): Satan Has No Influence on Mankind- Some Characters of Jinn
Interpretation of the Quran- Surat Al-A'raf (7)- Lesson(12): Satan has no Influence on Mankind- Some Characters of Jinn Praise be to Allah, the Lord of Creations, and Peace and blessings be upon our prophet Muhammad, the faithful and the honest. Oh, Allah, w e know nothing but w hat You teach us. You are the All- Know er, the Wise. Oh Allah, teach us w hat is good for us, and benefit us from w hat You taught us, and increase our know ledge. Show us the righteous things as righteous and help us to do them, and show us the bad things as bad and help us to keep aw ay from them. O Allah our Lord, lead us out from the depths of darkness and illusion, unto the lights of erudition and know ledge, and from the muddy shallow s of lusts unto the heavens of Your Vicinity. Dear brothers, w e w ill start lesson 12 of Surat Al Araaf interpreting the Ayah (verse) 27: ”O Children of Adam! Let not Shaitan (Satan) deceive you, as he got your parents [Adam and Haw w a (Eve)] out of Paradise, stripping them of their raiments, to show them their private parts. Verily, he and Qabiluhu (his soldiers from the jinns or his tribe) see you from where you cannot see them. Verily, We made the Shayatin (devils) Auliya' (protectors and helpers) for those who believe not.” [Surat Al-A’raf 7, verse 27] Kinds of Objects in Terms of Methods of Perception Dear brothers, it is a revelation matter in regard of Jinn, w hile all the materialistic objects that have entity and trace, are perceived by the five senses or their extensions such as Telescopes and Microscopes. -
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). -
<I>Paradise Lost</I>
Harriet L. Wilkes Honors College Honors Theses Florida Atlantic University Libraries Year Paradise impaired: duality in Paradise Lost Katherine Bernhard Florida Atlantic University, This paper is posted at DigitalCommons@Florida Atlantic University. http://digitalcommons.fau.edu/wilkes theses/45 PARADISE IMPAIRED: DUALITY IN PARADISE LOST by Katherine Joy Bernhard A Thesis Submitted to the Faculty of The Wilkes Honors College in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts in Liberal Arts and Sciences with a Concentration in English Literature Wilkes Honors College of Florida Atlantic University Jupiter, Florida May 2006 i PARADISE IMPAIRED: DUALITY IN PARADISE LOST by Katherine Joy Bernhard This thesis was prepared under the direction of the candidate’s thesis advisor, Dr. Michael M. Harrawood, and has been approved by the members of her supervisory committee. It was submitted to the faculty of The Honors College and was accepted in partial fulfillment of the requirements for the degree of Bachelor of Arts in Liberal Arts and Sciences. SUPERVISORY COMMITTEE: ____________________________ Dr. Michael M. Harrawood ____________________________ Dr. Laura Barrett ______________________________ Interim Dean, Wilkes Honors College ____________ Date ii ACKNOWLEDGMENTS My never-ending gratitude to my loving parents, Jennifer and Steve Bernhard, who have always supported me so much, and motivated me to succeed. I deeply appreciate everything you have done for me to get me where I am today. To Michael Harrawood, who helped me become a much better writer and reader since I began, and has been such a source of encouragement, I can’t thank you enough. Thank you so much to Laura Barrett for working with me, who inspires and impresses me, and whose wisdom I’ll never forget. -
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. -
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. -
Major Artists of the German Reformation Hans Holbein Lucas
Major Artists of the German Reformation Hans Holbein Lucas Cranach (Wittenberg) Albrecht Durer Holbein Dance of Death Alphabet 1538 Expulsion of Adam and Eve from Garden of Eden Death and the old man Job as text The Knight Death and the King Death of a high priest -- Quotes from OT Psalms Holbein Erasmus 1516 Holbein Erasmus 1523 Holbein Madonna of Mercy with Basel Mayor Jakob Meyer and his Family (dead wife & two sons) 1526 Still doing Catholic paintings Holbein Allegory of the Old and New Testaments 1535 Reformation theme of Law versus Gospel Holbein Henry VIII 1540 Holbein Anne of Cleves married and separated 1540 “The Flemish mare” (sent to a convent) Holbein Thomas More Chancellor of England 1532 Executed 1535 Albrecht Durer 1498 Self portrait At 26 Durer Self Portrait as Christ 1500 Adam and Eve 1508 Durer Apocalypse Series 1498 from Book of Revelation Durer Apocalypse series 1498 Durer Four Horsemen of the Apocalpyse 1497-98 The beast with the lamb's horns and the beast with seven heads The whore of Babylon The Lamb of God Durer Knight, Death and the Devil 1513 Durer Erasmus 1526 Durer St. Anne, Virgin and child 1513 Durer 1526 Four Holy Men Foreground: John and Paul With Peter and Mark (a Lutheran style religious painting) Lucas Cranach the Elder Self portrait 1550 Cranach lived in Wittenberg and became the chief artist of the Lutheran Reformation Cranach Adam and Eve 1528 Luther 1535 Katerina von Bora Luther’s wife and former nun Cranach Frederick the Wise with Luther, Melanchthon and Cranach (to left of Frederick) Cranach Mass of St Gregory 1550 Why would Cranach -- the major artist of the Lutheran Reformation -- paint a traditional picture of the Mass of St. -
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. -
HUMANISM and the CLASSICAL TRADITION: NORTHERN RENAISSANCE: (Albrecht Dürer, Lucas Cranach, and Hans Holbein) NORTHERN RENAISSANCE: Durer, Cranach, and Holbein
HUMANISM and the CLASSICAL TRADITION: NORTHERN RENAISSANCE: (Albrecht Dürer, Lucas Cranach, and Hans Holbein) NORTHERN RENAISSANCE: Durer, Cranach, and Holbein Online Links: Albrecht Durer – Wikipedia Lucas Cranach the Elder – Wikipedia Hans Holbein the Younger – Wikipedia Durer's Adam and Eve – Smarthistory Durer's Self Portrait - Smarthistory Cranach's Law and Gospel - Smarthistory article Cranach's Adam and Eve - Smarthistory NORTHERN RENAISSANCE: Durer, Cranach, and Holbein Online Links: Cranach's Judith with Head of Holofernes – Smarthistory Holbein's Ambassadors – Smarthistory French Ambassadors - Learner.org A Global View Hans Holbein the Younger 1/3 – YouTube Hans Holbein the Younger 2/3 – YouTube Hans Holbein the Younger 3/3 - YouTube Holbein's Henry VIII – Smarthistory Holbein's Merchant Georg Gisze – Smarthistory Albrecht Durer - YouTube Part One of 6 Left: Silverpoint self-portrait of Albrecht Dürer at age 13 The German taste for linear quality in painting is especially striking in the work of Albrecht Dürer (1471-1528). He was first apprenticed to his father, who ran a goldsmith’s shop. Then he worked under a painter in Nuremberg, which was a center of humanism, and in 1494 and 1505 he traveled to Italy. He absorbed the revival of Classical form and copied Italian Renaissance paintings and sculptures, which he translated into a more rugged, linear northern style. He also drew the Italian landscape, studied Italian theories of proportion, and read Alberti. Like Piero della Francesca and Leonardo, Dürer wrote a book of advice to artists- the Four Books of Human Proportion. Left: Watercolor drawing of a young hare by Albrecht Dürer Like Leonardo da Vinci, Dürer was fascinated by the natural world. -
Sikh Religion and Hinduism
Sikh Religion and Hinduism G.S.Sidhu M.A.FIL(London) Published by:- Guru Nanak Charitable Trust 1 Contents Opinions ................................................................................................ 8 Acknowledgments ............................................................................... 15 Foreword ............................................................................................. 17 Introduction ......................................................................................... 20 Chapter 1 ............................................................................................. 25 Vedant ................................................................................................. 25 1.1 What is Vedant? ................................................................... 25 1.2 Historical developments ............................................................. 27 1.3 Sikh point of View ..................................................................... 31 Chapter 2 ............................................................................................. 36 The Vedas and Sikhism ........................................................................ 36 2.1 The Vedas .................................................................................. 36 2.2 The importance of the Vedas ...................................................... 38 2.3 The Rig Veda ............................................................................. 39 2.4 Contents of the Rig Veda ........................................................... -
OT Pseudepigrapha Index Old Testament Pseudepigrapha
http://wesley.nnu.edu/noncanon/pseudepigrapha.htm July 20, 2004 Site Map Home > Aids to Biblical Studies > Noncanonical Literature > OT Pseudepigrapha Index Old Testament Pseudepigrapha Old Testament 1. 1 Enoch (Ethiopic Apocalypse of Enoch) Introduction and summary 2. 2 Enoch (Slavonic Book of the Secrets of Enoch) Introduction and summary Apocrypha 3. 4 Baruch (a.k.a Paraleipomena Jeremiou) Introduction and summary 4. Adam and Eve, The Books of -- translation of the Latin version Introduction and summary 5. Adam and Eve, Life of -- translation of the Slavonic version Introduction and summary Pseudepigrapha 6. Adam and Eve, Life of -- translation of the Greek version (a.k.a. The Apocalypse of Moses) Introduction and summary New Testament 7. Adam and Eve Homepage Apocrypha 8. Ahikar, The Story of 9. Apocalypse of Abraham Introduction and summary Gospels 10. Apocalypse of Adam, The 11. Apocalypse of Moses, A fragment of the Introduction and summary Acts 12. Enoch (another version) 13. Joseph and Aseneth another, more modern English translation Introduction and summary 14. Writings Jubilees, The Book of Introduction and summary 15. Letter of Aristeas, The Introduction and summary 16. Martyrdom of Isaiah, The Introduction and summary Apocalypse 17. Paraleipomena Jeremiou (a.k.a. 4 Baruch) 18. Psalms of Solomon Church Fathers 19. Pseudo-Phoclides Introduction and summary 20. Revelation of Esdras, The Related Literature 21. Second Treatise of the Great Seth, The and Sites 22. Sibylline Oracles Introduction and summary 23. Testament of Abraham, The Introduction and summary Links to Related Sites 24. Testament of Job Introduction and summary 25. Testament of Solomon Introduction and summary 26.