It's All Or Nothing, God Or Mammon Third Sunday of Matthew
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2OO8 and electronically at [email protected] © British and American Studies, vol. XIV, 2008 CONTENTS “POST”-DILEMMAS MICHAEL CHAPMAN POSTCOLONIALISMA LITERARY TURN / 7 PIA BRÎNZEU “POSTCOLONIALISM” OR “POSTCOLONIALISMS”?: THE DILEMMAS OF A TEACHER / 21 ILEANA SORA DIMITRIU POSTMODERNISM AND/ AS POSTCOLONIALISM:ON RE- READING MILAN KUNDERA AND BREYTEN BREYTENBACH / 33 ELISABETTA MARINO FROM BRICK LANE TO ALENTEJO BLUE: CROSS-CULTURAL ENCOUNTERS IN MONICA ALI’S WRITINGS / 51 DANIELA ROGOBETE PROTEAN IDENTITIES AND INVISIBLE BORDERS IN HARI KUNZRU’S THE IMPRESSIONIST / 59 MARIA ªTEFÃNESCU AN ARTIST OF FLOATING WOR(L)DS / 71 ANDREEA ªERBAN CANNIBALISED BODIES. MARGARET ATWOOD’S METAPHORS OF TROUBLED IDENTITIES / 79 ANDREEA TEREZA NIÞIªOR TWO INSTANCES OF THE FRAGMENTARY IN THE POSTMODERN NOVEL: ITALO CALVINO’S IF ON A WINTER’S NIGHT A TRAVELER AND ANNIE PROULX’S THE SHIPPING NEWS / 89 CRISTINA CHEVEREªAN DEARLY BELOVED:TONI MORRISON’S RESURRECTION OF THE AFRICAN-AMERICAN NARRATIVE / 105 JACQUES RAMEL UNDEAF YOUR EARS: WHAT THE TRAGEDY OF RICHARD II GIVES US TO HEAR / 113 KLAUDIA PAPP INSCRIPTION AND ENCRYPTION: DAPHNE DU MAURIER’S REBECCA / 121 CLAUDIA IOANA DOROHOLSCHI WILLIAM MORRIS’S CHILD CHRISTOPHER AND GOLDILIND THE FAIR: MEDIEVALISM AND THE ANTI-NATURALISM OF THE 1890S / 129 ANNIE RAMEL THE WHEEL OF DESIRE IN THE MILL ON THE FLOSS / 139 DANA PERCEC BARRY UNSWORTH AND THE HISTORICAL NOVEL TODAY / 151 TERESA BELA NARRATIVE TECHNIQUE IN THE EARLY NOVELS OF PIERS PAUL READ / 161 ISTVÁN D. RÁCZ WHAT IS “ALMOST TRUE”: LARKIN AND KEATS / 171 CLAIRE CRABTREE-SINNETT INTENSITIES OF CONSCIOUSNESS DELUSION, DREAM, AND DELIRIUM IN VIRGINIA WOOLF’S MRS. DALLOWAY AND KATHERINE ANN PORTER’S “PALE HORSE, PALE RIDER” / 181 B.A.S. -
Top 40 Singles Top 40 Albums
08 March 1987 CHART #559 Top 40 Singles Top 40 Albums Funky Town Thorn In My Side Revenge Different Light 1 Pseudo Echo 21 Eurythmics 1 Eurythmics 21 The Bangles Last week 3 / 2 weeks EMI Last week 15 / 8 weeks RCA Last week 1 / 28 weeks Platinum / RCA Last week 19 / 19 weeks FESTIVAL Word Up Hungry Town Graceland True Colours 2 Cameo 22 Big Pig 2 Paul Simon 22 Cyndi Lauper Last week 1 / 3 weeks POLYGRAM Last week 38 / 2 weeks FESTIVAL Last week 5 / 20 weeks Platinum / WEA Last week 20 / 20 weeks Platinum / CBS Good Times Don't Give Up Genesis They Don't Make Them Like They Us... 3 Jimmy Barnes & INXS 23 Peter Gabriel & Kate Bush 3 Genesis 23 Kenny Rogers Last week 2 / 9 weeks FESTIVAL Last week 34 / 3 weeks VIRGIN Last week 2 / 104 weeks Platinum / POLYGRAM Last week - / 1 weeks RCA Shake You Down To Be A Lover The Whole Story So 4 Gregory Abbott 24 Billy Idol 4 Kate Bush 24 Peter Gabriel Last week 4 / 7 weeks CBS Last week 21 / 12 weeks FESTIVAL Last week 4 / 8 weeks EMI Last week 50 / 29 weeks Platinum / VIRGIN C'est La Vie Slice Of Heaven Dancing On The Ceiling The Autobiography Of Supertramp 5 Robbie Nevil 25 Dave Dobbyn 5 Lionel Richie 25 Supertramp Last week 8 / 2 weeks EMI Last week 23 / 23 weeks Gold / SONY Last week 3 / 19 weeks Platinum / RCA Last week 16 / 9 weeks Gold / FESTIVAL Greetings To The New Brunette Victory Invisible Touch Brothers In Arms 6 Billy Bragg 26 Kool & The Gang 6 Genesis 26 Dire Straits Last week 12 / 3 weeks FESTIVAL Last week 30 / 2 weeks POLYGRAM Last week 6 / 32 weeks Platinum / VIRGIN Last week 22 -
Songs of the Nativity
SONGS OF THE NATIVITY John Calvin Selected Sermons on Luke 1 & 2 Translated into English by ROBERT WHITE THE BANNER OF TRUTH TRUST 4 THE JUDGE OF ALL THE WORLD 'He has plucked princes from their seats, and has raised up the lowly. 53 He has filled with good things those who were hungry, and has left the rich empty. 54 He has received Israel his servant in remembrance of his mercy, 55 According as he spoke to our fathers, promising mercy to Abraham and his seedf or ever' (Luke r: 5 2- 5 5). t1 A ) e have seen already that, because God resists the proud, 'V V we cannot do better than walk before him in sincerity. For if we try to promote ourselves by high-fl.own ambition and careful scheming, God is bound to intervene and bring everything undone, so that it all ends in ruin and confusion. Let us not be too clever, but be sober-minded. If we did not live modestly, but rather aimed above our calling, we would become like wayward beasts-the faster we went, the more likely we would be to break our necks! That is why Mary continues her song with the words, 'God plucks princes and the mighty from their seats, and raises up the lowly.' Unbelievers, when they see the way the world is always chang• ing, think that God plays with humankind as with a ball. That is the kind of thing men say when they blaspheme God, or else they think that change is merely random.1 So what we have to notice is that, when God raises up the lowly and casts the mighty down, 49 SONGS OF THE NATIVITY The judge cf.A ll the World it is because men cannot endure their condition. -
ELAT Past Paper 2012
English Literature Admissions Test 4501/11 Wednesday 7 November 2012 Morning 1 hour 30 minutes Instructions to Candidates Please read this page carefully, but do not open the question paper until told to do so. A separate 8 page answer booklet is provided. Please check you have one. Write your name, date of birth and centre number in the spaces provided on the answer booklet. Please write very clearly, preferably in black ink. You should allow at least 30 minutes for reading this question paper, making notes and preparing your answer. At the end of the examination, you must hand in both your answer booklet and this question paper. Any rough notes or plans that you make should only be written in your answer booklet. No texts, dictionaries or sources of reference may be brought into the examination. Developed and administered on behalf of the University of Oxford by Cambridge Assessment. © Copyright UCLES 2012 This paper consists of 8 printed pages and 4 blank pages. Cambridge Assessment is the brand name of the University of Cambridge Local Examinations Syndicate, a department of the University of Cambridge. Cambridge Assessment is a not-for-profit organisation. 2 BLANK PAGE © Copyright UCLES 2012 3 Time allowed: 1 hour 30 minutes. You should spend at least 30 minutes reading and annotating the passages and in preparing your answer. The following poems and extracts from longer texts offer different representations of relationships within families. They are arranged chronologically by date of composition or publication. Read all the material carefully, and then complete the task below. -
Madness Mad Not Mad Mp3, Flac, Wma
Madness Mad Not Mad mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Pop Album: Mad Not Mad Country: UK Released: 1985 Style: Pop Rock MP3 version RAR size: 1819 mb FLAC version RAR size: 1826 mb WMA version RAR size: 1698 mb Rating: 4.1 Votes: 861 Other Formats: VOC MOD AU AAC APE TTA MMF Tracklist Hide Credits I'll Compete A1 3:21 Written-By – Woodgate*, Thompson* Yesterday's Men A2 4:37 Written-By – Foreman*, McPherson* Uncle Sam A3 4:16 Written-By – Foreman*, Thompson*, Thompson* White Heat A4 3:47 Written-By – Smyth*, McPherson* Mad Not Mad A5 4:10 Written-By – Smyth*, McPherson* Sweetest Girl B1 5:47 Written-By – Green* Burning The Boats B2 4:31 Written-By – Foreman*, McPherson* Tears You Can't Hide B3 3:08 Written-By – Smyth* Time B4 4:18 Written-By – Smyth* Coldest Day B5 4:24 Written-By – Foreman*, Langer*, McPherson* Companies, etc. Phonographic Copyright (p) – Virgin Records Ltd. Copyright (c) – Virgin Records Ltd. Published By – Nutty Sounds Published By – Warner Bros. Music Ltd. Published By – Chrysalis Music Ltd. Mastered At – Tape One Pressed By – EMI Records Credits Backing Vocals [Female] – Afrodiziak Backing Vocals [Male] – Jimmy Chambers, Jimmy Helms, Jimmy Thomas Computer [Supervisor] – Mr Tom Morley* Design [Sleeve Design] – Simon Halfon Harmonica – Judd Lander Horns – Gary Barnacle, Mr L.J. Thompson* Illustration – Ian Wright Keyboards – Steve Nieve Mastered By – BilBo (tracks: A1 to A5), DB* (tracks: B1 to B5) Percussion – Luis Jardim Performer – C.J.P. Smyth*, C.J. Foreman*, D.M. Wodgate*, G.S. McPherson*, L.J. -
Bedlam in Mind: Seeing and Reading Historical Images of Madness
Bedlam in Mind: Seeing and Reading Historical Images of Madness Bedlam in Mind: Seeing and Reading Historical Images of Madness Simon Cross Department of Media and Cultural Studies Nottingham Trent University Clifton Lane Nottingham NG11 8NS NOTTINGHAM UK Email: [email protected] Fax: 0115 9418418 Dr Simon Cross is Senior Lecturer in Media and Cultural Studies at Nottingham Trent University. He is the author oi Mediating Madness: Mental Distress and Cultural Representation. Houndsmill: Palgrave Macmillan, 2010. 1 Bedlam in Mind: Seeing and Reading Historical Images of Madness Bedlam in Mind: Seeing and Reading Historical Images of Madness Abstract. In this article I explore mythical Bedlam of popular imaginings. London's Bethlem Hospital was for centuries a unique institution caring for the insane and its alter ego 'Bedlam' influenced popular stereotypes of insanity. For instance, while the type of vagrant beggar known as a 'Tom of Bedlam' was said to have disappeared from English society with the Restoration, the figure of Mad Tom retained a visual and vocal presence within popular musical culture from the seventeenth century up to the present era. Using the ballad 'Mad Tom o' Bedlam' as a case study, I illustrate how an early modern stereotype of madness has maintained continuity within a popular song tradition whilst undergoing cultural change. Keywords: Bethlem Hospital; Bedlam; historical image of madness; continuity and change in Bedlam stereotype; 'Mad Tom of Bedlam' (Bedlamite ballad) Introduction1 In the English-speaking world, the symbol of a segregative response to insanity has long been fixed on London's Bethlem Hospital, popularly known as Bedlam (Scull, 2006). -
Open Mueller Thesis Final.Pdf
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE SCHOOL OF MUSIC PRETTY OPHELIA: THE DESTRUCTIVE NATURE OF OBJECTIFICATION THROUGH MUSIC AND PROSE LEAH W. MUELLER Spring 2012 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Music Education with honors in Music Reviewed and approved* by the following: Ted Christopher Assistant Professor of Music Thesis Supervisor Joanne Rutkowski Professor of Music Education Honors Adviser * Signatures are on file in the Schreyer Honors College i ABSTRACT Shakespeare’s Ophelia has long fascinated composers, painters, poets, and scholars alike. She is at first beautiful and pure, but descends into utter madness filled with dark coded phrases that leave plenty of room for mystery and interpretation. In this thesis I investigated the lack of personal identity and tragic circumstances that lead to Ophelia’s demise. All who surround her, Hamlet, Polonius, Laertes, and even Shakespeare himself, constantly objectify her. The successive composers who have interpreted Ophelia diminish this objectification by giving her, her own voice. As part of this thesis project, a recital featuring the Brahms’ and Strauss Ophelia lieder as well as a performance of the original Shakespeare text was given on November 15th, 2011. The recital program, program notes, script, and video are included in this thesis. ii TABLE OF CONTENTS ABSTRACT i TABLE OF CONTENTS ii ACKNOWLEDGEMENTS iii CHAPTER 1: OPHELIA IN PROSE Introduction 1 Ophelia and the Play 2 A Symbol of Purity 5 Ophelia Through the Feminist Gaze 8 CHAPTER 2: OPHELIA IN MUSIC Ophelia and the French 13 Ophelia and the Germans 16 CHAPTER 3: OPHELIA ONSTAGE Performance Planning 22 Rehearsing for the Performance 25 CHAPTER 4: SUMMARY, DISCUSSION, & CONCLUSION Summary 27 Discussion 28 Conclusion 29 BIBLIOGRAPHY 30 APPENDICES APPENDIX A: Performance Script 32 APPENDIX B: Recital Program 40 APPENDIX C: Recital Program Notes 42 APPENDIX D: Video of Performance Project 45 Academic Vita iii ACKNOWLEGMENTS I would like to thank Dr. -
Lesson 7 Slides
IVP CLASSICS Escape from Reason Frances A. Schaeffer Clabon Bogan Jr 609.230.5809 [email protected] IVP CLASSICS Escape from Reason Frances A. Schaeffer Clabon Bogan Jr 609.230.5809 [email protected] ESCAPE FROM REASON Escape from Reason was first published in 1968, and thus in that setting we are able to understand the nature of Schaeffer’s writings. The foundational premise which motivated him was his sense that truth, which was once based on reason, had morphed into a truth which was based on feelings. • He felt that feelings had become the truest source of reality He felt that there was an obsession with the emotive and the experiential, without a relief from societies still facing anxiety, despair, and purposelessness. Escape from Reason was written to discover how we got to this place and what is the remedy for this mindset shift. In the book, Francis A. Schaeffer traces trends in key thinking from the “Age of Reason” to the 20th century have shaped our society. ESCAPE FROM REASON So far in our review of the book, we have seen that he was wide-ranging in his analysis, examining philosophy, science, art and popular culture to identify dualism, fragmentation and the decline of reason. • He anticipated a rekindling of Christianity's promise of a scriptural purpose and hope “We still have not exhausted this subject of the leap. There are other areas where it shows itself. A recent book by Michel Foucault called Madness and Civilization1 is important here. In a review of the book in The New York Review of Books (November 3, 1966), entitled “In Praise of Folly,” the reviewer Stephen Marcus of Columbia University comments, “What Foucault is finally against, however, is the authority of reason. -
The Interplay of Madness and Narrative in Don Quijote
Wesleyan University The Honors College Suddenly, Opportunity for Adventure: The Interplay of Madness and Narrative in Don Quijote by Jacqueline Mica Stavis Class of 2009 An essay submitted to the faculty of Wesleyan University in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Departmental Honors from the College of Letters Middletown, Connecticut April, 2009 1 In his Lectures on Don Quixote, Vladimir Nabokov characterizes Cervantes’ writing as “alternate phases of lucidity and vagueness, deliberately planning and sloppy vagueness, much as his hero was mad in patches.” 1 Both the thematic and formal aspects of the novel vacillate between the clarity and ambiguity referenced by Nabokov, who with this one phrase encapsulates two themes that inundate Volume One of Don Quijote: madness and narrative. Madness in Don Quijote manifests in various forms, the most notable of which appear in the characters of Cardenio, Sancho Panza, and of course, Don Quixote.2 The madness of Don Quixote drives the narration of the novel forward not by itself, but through its interactions with the other instances of madness in the novel. It is these three forms of madness—Cardenio’s, Sancho’s, and Quixote’s—that produce narrative. The madnesses of the aforementioned characters share a common denominator: each stems from the character’s desire to change his social situation. Society, in this case, refers to the community of the villages they each initially inhabit. These yearnings range from wanting complete removal from society, to aspirations of an improved social status, and finally to the wish to inhabit an alternate society—one that no longer exists. -
Jacques Derrida, of Hospitality
Cultural Memory In the Present Mieke Bat and Rent de Vries, Editors OF HOSPITALITY Anne Dufourmantelle invites Jacques Derrida to respond Translated by Rachel Bowlby STANFORD UNIVERSITY PRESS STANFORD, CALIFORNIA 2000 I rvI ~ Contents Stanford University Press Stanford, California © 2000 by the Board of Trustees of the Leland Stanford Junior University Printed in the United States of America on acid-free, archival quality paper. Translator's Note lX Originally published in French in 1997 under the title De l'hospitalite: Anne Dufourmantelle invite Jacques Derrida Ii by Calmann-Levy repondre INVITATION 2 © 1997 by Calmann-Levy for the French edition Anne Dufourmantelle Assistance for the translation was provided by the French Ministry of Culture. FOREIGNER QUESTION 3 Jacques Derrida Library of Congress Cataloging-in-Publication Data STEP OF HOSPITALITY / NO HOSPITALITY 75 Derrida, Jacques Jacques Derrida [De l'hospitalite. English) Of hospitality I Anne Dufourmantelle invites Jacques Derrida to respond; translated by Rachel Bowlby. Notes 157 p. cm. -(Cultural memory in the present) Includes bibliographical references and index. ISBN 0-8047-3405-4 (alk. paper)- ISBN 0-8047-3406-2 (paper: alk. paper) I. Hospitality. 2. Strangers. I. Dufourmantelle, Anne. II. Title. III. Series. B2430.D483 D64I3 2000 177'.1 -dC2I ." J Translator's Note A pivotal word in these seminars is etranger. Like the Greek xenos, which figures here as well, the term covers both "stranger" and "foreigner" in English. Because it was more appropriate in most of the con texts, I have used "foreigner" where possible, occa sionally substituting "stranger" where necessary or conventional. It seemed necessary when the adjec tive etrange ("strange") was close by, to mark the parallel; and it seemed best to follow convention in mostly translating xenos in Greek tragedy as "stranger. -
Madness Absolutely Mp3, Flac, Wma
Madness Absolutely mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Reggae Album: Absolutely Country: UK Released: 1980 Style: Ska MP3 version RAR size: 1211 mb FLAC version RAR size: 1832 mb WMA version RAR size: 1513 mb Rating: 4.6 Votes: 208 Other Formats: VQF RA AUD APE MP4 AHX DXD Tracklist Hide Credits Baggy Trousers A1 2:45 Written-By – Foreman*, McPherson* Embarrassment A2 3:13 Written-By – Thompson*, Barson* E.R.N.I.E. A3 2:08 Written-By – Foreman*, McPherson* Close Escape A4 3:29 Written-By – Foreman*, Thompson* Not Home Today A5 2:30 Written-By – McPherson*, Barson* On The Beat Pete A6 3:05 Written-By – Thompson*, Madness Solid Gone A7 2:22 Written-By – Smash* Take It Or Leave It B1 3:26 Written-By – Thompson*, Barson* Shadow Of Fear B2 1:58 Written-By – McPherson*, Barson* Disappear B3 2:58 Written-By – McPherson*, Bedford* Overdone B4 3:45 Written-By – Foreman*, Thompson* In The Rain B5 2:42 Written-By – Mc Pherson*, Madness You Said B6 2:35 Written-By – McPherson*, Barson* Return Of Los Palmas 7 B7 1:57 Written-By – Woodgate*, Bedford*, Barson* Companies, etc. Record Company – Virgin España, S.A. Phonographic Copyright (p) – Stiff Records Ltd. Copyright (c) – Stiff Records Ltd. Manufactured By – PolyGram Servicios, S.A. Distributed By – Discos CBS, S.A., Madrid Credits Baritone Saxophone, Tenor Saxophone – Lee Thompson* Bass – Mark Bedford Drums, Other [Fire Extinguisher] – Woody* Guitar, Sitar, Steel Guitar – Chris Foreman Illustration – Humphrey Ocean Lead Vocals, Percussion – Suggs Liner Notes – Robbi Millar Producer – Clive Langer & Alan Winstanley Vibraphone, Marimba, Harmonica, Piano, Organ – Mike Barson Vocals, Trumpet – Chas Smash Notes Close to Madness - Absolutely but with different distributor ℗ © 1980 Stiff Records Ltd. -
Columbia Chronicle College Publications
Columbia College Chicago Digital Commons @ Columbia College Chicago Columbia Chronicle College Publications 5-23-1983 Columbia Chronicle (05/23/1983) Columbia College Chicago Follow this and additional works at: http://digitalcommons.colum.edu/cadc_chronicle Part of the Journalism Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Columbia College Chicago, "Columbia Chronicle (05/23/1983)" (May 23, 1983). Columbia Chronicle, College Publications, College Archives & Special Collections, Columbia College Chicago. http://digitalcommons.colum.edu/cadc_chronicle/51 This Book is brought to you for free and open access by the College Publications at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Columbia Chronicle by an authorized administrator of Digital Commons @ Columbia College Chicago. What qualities do students. New Wave Hair Todd Rundgren look for in a potential date design Review OPINION POLL PAGE4 PAGE 11 PAGEB colombie~ chronicle Vol. 13 No.5 Columbia College, Chicago May 23,1983 Sex, love, marriage What do men value? PartTwo ' By laura Alonso and Maryanne Giustino A relatlousblp iD wbl.ch the man and woman make equal - contributions-aemally, emotlol)aJJy, and financially- soon the rule ralber lbaD tbe exception. It used to be tbat wben a wife worked out of economic necessity, berbulband took bel' employment a.sa slpofbis failure as a man. MaD's values are changing. A reeeDt artide iD Psychology Today sites a study ( t:y sociologist a-Id Kelllller and James McRae Jr.) that rel(ealed 20 to 30 year 1 old 111e11 have grown up with new expectations about work and family.