DOCSLIB.ORG

ABSTRACT Title of Thesis: REFLECTIONS ON

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

ABSTRACT Title of thesis: REFLECTIONS ON THE FUNERARY MONUMENTS AND BURYING GROUNDS OF EARLY NEW ENGLAND Jason David LaFountain, Master of Arts, 2004 Thesis directed by: Professor Sally M. Promey Department of Art History and Archaeolo gy This thesis comprises a considerable revision of the scholarship on the burying grounds and funerary monuments of early New England. It analyzes numerous objects and texts as yet unstudied in the literature on these topics, arguing for a cultural historical recontextualization of objects and spaces. My research pays attention to both the material realities and material imagination of the seventeenth and eighteenth century. The themes of the paper include the following: the status of funerary monuments and burying ground meditations in the materially ambivalent Puritan milieu; the impulse to order as it relates to burying grounds as parcels of colonial landscape; the idea of the “good name”; the purifying “texts of self” that constitute the content of funerary monuments; and the pilgrimage, a prime metaphor for the Protestant life. The project stands between history and fiction, depending upon archival evidence and extensive primary documentation, on the one hand, and suspicious local histories and the playful propositions inherent of the interpretive enterprise, on the other. REFLECTIONS ON THE FUNERARY MONUMENTS AND BURYING GROUNDS OF EARLY NEW ENGLAND by Jason David LaFountain Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Master of Arts 2004 Advisory Committee: Professor Sally M. Promey, Chair Professor Renée Ater Professor Joanne Pillsbury ©Copyright by Jason David LaFountain 2004 ii ACKNOWLEDGEMENTS During the researching and writing of this thesis, I was fortunate to receive help from many people. It is only fitting to begin this, an essay dealing in part with the laudatory and v irtuous, by acknowledging the following individuals. My advisor Sally Promey encouraged me to undertake this project from its beginning and supported me in a variety of ways. She directed a seminar in American art in the fall of 2002 entitled “Readings in Colonial Visual and Material Culture,” introducing me to some of the most important literature on early New England culture. I have also twice provided her with research assistance. She has been a model of intellectual curiosity, freely sharing her passion for and knowledge of the history of American art and religion. I thank Renée Ater and Joanne Pillsbury, professors in whose courses I have learned a great deal, who were willing to devote their time and energy to be readers of my thesis. In the Department of Art History and Archaeology at the University of Maryland, I also thank my unfailing conversation companions, Quint Gregory, Guy Jordan, Flora Vilches, Jonathan Walz, and Bryan Zygmont. During the summer of 2003, I presented some of my initial impress ions of this material at the Erasmus Institute summer seminar devoted to the theme “art history and religion.” I owe special thanks to Melanie Cornelisse, who through presentation of her own work and several conversations helped me to re -envision my topic. I benefited at the Erasmus seminar from discussions with Carlton Hughes and Albert Zambone, as well. At iii the University of Delaware, I thank Bernard Herman for his suggestions concerning the bibliography on colonial fencing practices. At the Old York Histo rical Society, I received considerable support from Cynthia Young -Gomes and Thomas Johnson. The staff of the American Antiquarian Society was helpful during my several visits there —Georgia Barnhill was particularly supportive. Nancy Finlay assisted me nume rous times with inquiries related to the print collection of the Connecticut Historical Society. Erin McGough generously mailed me materials from the files in the Concord Museum. Gwenda Malnati has been munificent in sharing her knowledge concerning, mater ials associated with, and family photographs of wolf stones. My own family and friends, who have lived with this project for three years, have been patient and curious, offering their time, suggestions, and insights into my research and writing. They have also regularly accompanied me to many of the burying grounds about which I write here, helping me to locate the grounds themselves and stones I have hoped to photograph. I thank Michael LaFountain, Albert Pica, Cassie Witherbee, Jimmy Witherbee, and John Witherbee. I owe my concluding and most heartfelt thanks to Jane LaFountain and Carly Demopoulos, in whose company I have spent many days, come rain, snow, or darkness, in search of countless monuments and burying grounds. They might rightly have been else where all of those times. I thank them for their kindness and generosity. Without their good humor, for which I am especially grateful, such days would likely have been dull as tombs. iv TABLE OF CONTENTS List of Figures v Chapter I: Introduction 1 On Reflection 13 Ambivalence and Material Practice 20 Chapter II: The Burying Ground as Colonial Landscape 33 To Fence, To Improve 35 Wolf Stones 50 Chapter III: The Exemplary Self 66 “Living Stones”/Edification 68 The Good Name 80 Early Biography 93 Chapter IV: The Pilgrim 120 Chapter V: Conclusion 137 Re -viewing Amos Doolittle’s A View of the Town of Concord 140 Figures 149 Appendix 150 Bibliography 157 Notes 176 v LIST OF FIGURES (Unless otherwise noted, all photos of funerary monuments, burying grounds, and milestones are by the author.) 1a. John Watson stone, 1699, Bradford, Massachusetts. 1b. John Watson stone (detail). 2a. Hopkins Gorton stone, 1725, Hartford, Connecticut. 2b. Hopkins Gorton stone (detail). 3a. Margarett Cumings stone, 1790, Billerica, Massachusetts. 3b. Margar ett Cumings stone (detail). 4a. Elizabeth Lambert stone, 1775, Wakefield, Massachusetts. Photo by Sally M. Promey. 4b. Elizabeth Lambert stone (detail). Photo by Sally M. Promey. 5. Samuel Moody stone, 1747, York, Maine. 6. Thomas Cecill, Portr ait of John Weever . Frontispiece to John Weever’s Ancient Fvnerall Monvments (London, 1631). 7a. James Wadsworth, Map of New Haven, 1748. Beinecke Library, Yale University. 7b. James Wadsworth, Map of New Haven (detail). 8. Tree growing through graves tone, Chester, Vermont. 9. Walter Palmer wolf stone, c. 1661, Stonington, Connecticut. Photo by Gwenda Gustafson Malnati, c. 1995. 10. Lt. Thomas Minor and Grace Palmer Minor wolf stone, 1690, Stonington, Connecticut. Photo by Dr. Roy or Eunice Thomas, c. 1920-1930. vi 11. Unidentified wolf stone, Stonington, Connecticut. Photo by Dr. Robert D. Miner, 1992. 12. Mary Nasson stones, 1774 and later, York, Maine. 13a. D.B. Harris, Drawing of village center, York, Maine, nineteenth century. Old York Historic al Society, York, Maine. 13b. D.B. Harris, Drawing of village center, York, Maine (detail). 13c. D.B. Harris, Drawing of village center, York, Maine (detail). 14. Old Burying Ground wall, York, Maine. 15. Bodystone [11] and coffin -stone [12] from Fred erick Burgess’s English Churchyard Memorials (London: Lutterworth Press, 1963). 16. J.B. stone, n.d., Plymouth, Massachusetts. 17. Thomas Kendel stone, n.d., Wakefield, Massachusetts. Photo by Sally M. Promey. 18. Vein -laced slate gravestones, Cambrid ge, Massachusetts. 19. Israel Smith stone, 1783, Glastonbury, Connecticut. 20. Josiah Baker stone, 1726, Lebanon, Connecticut. 21. Capt. John Brown stone, 1717, Wakefield, Massachusetts. Photo by Sally M. Promey. 22. Mary Lock and children stone, 1710, Lexington, Massachusetts. 23. William Wolcott stone, 1799, South Windsor, Connecticut. 24. Elizabeth Swift stone, 1677, Dorchester, Massachusetts. 25. Hannah Stower stone, 1698/9, Charlestown, Massachusetts. 26. William and Susannah Humphreys stone, 1813 and 1821, Dorchester, Massachusetts. 27a. William Reed and family tombstone, 1771, Lexington, Massachusetts. 27b. William Reed and family tombstone (detail). vii 28. Joseph Tilton stone, 1779, Hamilton, Massachusetts. 29. Abel and Svbmite tombstone, 1644 and 1648, Dorchester, Massachusetts. 30a. James Humfrey tombstone, 1686/1731, Dorchester, Massachusetts. 30b. James Humfrey tombstone (detail). 31. Samuel Sewall stone, 1769, York, Maine. 32. Thomas Bailey tombstone, 1688, Watertown, Massachusett s. 33. Lydia Bailey tombstone, 1691, Watertown, Massachusetts. 34a. Maj. Gen. Daniel Gookin tombstone, 1686/7, Cambridge, Massachusetts. 34b. Maj. Gen. Daniel Gookin tombstone (detail). 35. Hannah Bartlett stone, 1710, Plymouth, Massachusetts. 36. Abigail Manning stone, 1770, Scotland, Connecticut. 37. Hannah Moody stone, 1727/8, York, Maine. 38. Mary Holt stone, 1760, York, Maine. 39. Rebeckah Minott stone, 1734, Concord, Massachusetts. 40. Mary Minot stone, 1760, Concord, Massachusetts. 41. Abigail Brown stone, 1794, Concord, Massachusetts. 42. Eunice Storrs stone, 1779, Mansfield Center, Connecticut. 43. Mary Storrs stone, 1783, Mansfield Center, Connecticut. 44. Jonathan Lyman stone, 1792, Lebanon, Connecticut. 45. Samuel Allen stone, 1805, Columbia, Connecticut. 46. Rev. Thomas Brockway stone, 1807, Columbia, Connecticut. 47. John Atwood stone, 1754, Plymouth, Massachusetts. 48. Rachel Cotton stone, 1808, Plymouth, Massachusetts. viii 49. William Watson stone, 1815, Plymouth, Massachuset ts. 50. Frontispiece to John Bunyan’s The Pilgrim’s Progress (Boston, 1740). American Antiquarian Society, Worcester, Massachusetts. 51. Elizabeth Watson stone, 1770, Hartford, Connecticut. 52a. Saint Bernard’s Vision, c. 1700/1750.
Recommended publications
  • Memento Mori in Art and Literature

    Memento Mori in Art and Literature

    chapter 1 Memento Mori in Art and Literature Until recently, memento mori has received surprisingly limited critical attention relative to its cultural importance in art history, literature, and beyond. Even though memento mori artifacts and references to memento mori are ubiquitous, few comprehensive sources exist in the English-language scholarly literature. More precisely, memento mori has received, relatively speaking, surprisingly limited critical attention in a sustained manner. Related to memento mori, but distinct in emphasis, is Cheney’s work (1992). Hallam and Hockey (2001) give memento mori some minor explicit attention. No readily available European-language source that I am aware of offers a com- plete treatment, though there are some notable sources related to, but distinct from, the present study of memento mori in their emphases and methods (e.g, Schützeichel 1962; Ingen 1966; Haneveld 1995; Pennington 2001; and Warda 2011). The recent stunning photo book by art historian and photographer Paul Koudounaris, Memento Mori: The Dead Among Us (2015), makes important first steps toward a more focused and sustained attention on memento mori, but it remains a beginning point. As far as I know, critical sources outside the West on this theme are mini- mal at this point in time. One of the few references is Nakagawa’s work (1983). Isolated references to memento mori abound in Western and global art history monographs, but then often they are not given a listing as a subject term in the monographs’ indices. Memento mori does receive more attention in ar- ticles, essays, reviews, and museum catalogs especially on particular uses of memento mori in images and artifacts from the medieval period to the present (e.g., Ascher 2004; Bergström 1970; Carretta 1980; King 1981; Napoleone 1998; Vinken 1999).
  • Remember Your Death : Memento Mori Lenten Devotional / by Theresa Aletheia Noble, FSP

    Remember Your Death : Memento Mori Lenten Devotional / by Theresa Aletheia Noble, FSP

    Front 5.25" 0.609" 5.25" “Teach us to count our days aright, that we may gain wisdom of heart.” —Ps 90:12 Journey through Lent to Easter Sunday with this memento mori-inspired devotional. Discover the ancient tradition of remembering death daily, encouraged by Scripture and countless saints. Experience Christ’s victory over sin and death as you meditate on the priceless treasure of each moment and the gift of heaven. 8" Each day includes ~ Scripture passage ~ Lenten meditation ~ Memento mori examen ~ Intercessory prayer ~ Prompts for journaling and prayer Sr. Theresa Aletheia Noble, FSP, has a skull on her desk as a reminder of her inevitable death. Meditating on her death daily has changed her life. You can find her tweets about memento Lenten Devotional s n o m mori @pursuedbytruth. Si Jill Photo by $16.95 U.S. ISBN 0-8198-6517-6 NOBLE THERESA ALETHEIA NOBLE, FSP Green grid lines will not print. Grid lines can be toggled off in Acrobat using View>Show Hide>Navigation Panes>Layers Lenten Devotional By Theresa Aletheia Noble, FSP Library of Congress Cataloging-in-Publication Data Names: Noble, Theresa, author. Title: Remember your death : Memento mori Lenten devotional / by Theresa Aletheia Noble, FSP. Description: Boston, MA : Pauline Books & Media, 2019. Identifiers: LCCN 2018036691| ISBN 9780819865175 (pbk.) | ISBN 0819865176 (pbk.) Subjects: LCSH: Death--Religious aspects--Catholic Church--Prayers and de- votions. | Lent--Prayers and devotions. | Memento mori--Miscellanea. Classification: LCC BT825 .N63 2019 | DDC 236/.1--dc23 LC record available at https://lccn.loc.gov/2018036691 Many manufacturers and sellers distinguish their products through the use of trademarks.
  • Connecticut Bicentennial Gazette Subscription Form

    Connecticut Bicentennial Gazette Subscription Form

    Li Am35 THE cbg Bicentennial v.4 onnedticut no.4 GAZETTE The Charter Oak VOLUME IV NUMBER 4 MARCH/APRIL 1975 The Governors Speak on the Lexington Alarm .. and the Bicentennial Governor Jonathan Trumbull, Sr. Governor Ella Grasso 1769-1784 1975­ [April 26, 1775] Fellow citizens: Gentlemen of the Council, & The Bicentennial of the American Revolution officially Gentlemen of the House of Representatives. begins in Connecticut this April. On April 20, 1775 the It was thought proper, that this Honble Assembly should news of the "Shot heard round the world" at Lexington, not Meet according to Adjournment on the 13th. of this Massachusetts was brought to Connecticut by Post Rider Month, where upon my Orders went out to Adjourn the Israel Bissell. Our citizens believed deeply in the cause Assembly without day. Since which an application was and 3,600 Connecticut militiamen from 50 towns rushed made to me by Delegates from the Congress of the Prov­ to the aid of our neighboring colony to take up arms ince of the Massachusetts-Bay to call an Assembly, & against the British. Commemorations of this event will take receive their message. On Consultation with Colo Daniel- place throughout the state in recognition of Connecticut's son, who is one of them, it was concluded to wait 'till conributions on behalf of Massachusetts following the Lex­ the Election; unless something new or extraordinary took ington alarm. place:—Such extraordinary & alarming Event hath hap- This month and in the months ahead, the Bicentennial D pened—Which is the occasion of my calling you to meet will be celebrated as an opportunity for fuller understand­ at this Time.
  • The Cemetery: a Highly Heterotopian Place

    The Cemetery: a Highly Heterotopian Place

    Heterotopian Studies The Cemetery: a highly heterotopian place To reference this essay: Johnson, P. (2012) ‘The cemetery: a highly heterotopiaplace’ Heterotopian Studies [http://www.heterotopiastudies.com] In the UK as elsewhere in Europe, cemeteries are increasingly managed and developed as green open spaces, natural habitats, cultural or historical sites and educational amenities. English Heritage suggest that ‘in the main they are public…. open spaces with great amenity potential and are a diverse historical resource with tremendous educational potential’ (SCRC, 2001b: 80). Arnos Vale cemetery in Bristol aims to be a ‘place of remembrance, an historic park, and a learning and education resource for the City’ (SCRC, 2001b: 65). Carlisle local authority has produced teachers’ notes to assist in the ‘Citizenship’ component of the National Curriculum. Children are encouraged to ‘study areas of graves for the Victorian rich and paupers, and compare these with "green" woodland graves and conventional lawn type graves’ (SCRC, 2001b: 30). Have these developments radically altered the function of cemeteries? Walters (SCRC, 2001b: 45) is adamant: ‘though cemeteries provide positive values such as urban green space, and may be of historical or architectural significance, these benefits are subservient’ to the prime purpose of a cemetery which is to ‘bury the dead of the locality’. Moreover, its prime significance is ‘as a memento mori, a reminder that we will die that challenges citizens to consider their true values and motivates them to live fully in the meantime’. Contemporary cemeteries have adopted various ‘useful’ applications, but they also remain highly complex and ambiguous spatio-temporal enclosures. Worpole (2003: 56), in his study of cemetery landscapes, wonders whether we have the ‘vocabulary for describing what these unsettling landscapes mean culturally’.
  • Memento Mori+ David Dunnico

    Memento Mori+ David Dunnico

    II MEMENTO MORI+ DAVID DUNNICO MEMENTO MORI (a Latin phrase meaning ‘remember you must die’) is a series of photographs by David Dunnico. Using contemporary photographic processes, Memento Mori looks at the Victorian romantic vision of loss, grief and mourning, with its rich and clearly defined symbolism. # Memento Mori is not about the living which was celebrating it’s 200th # Thomas Lynch the American poet being ‘haunted’ by the spirits of dead anniversary. He has also produced and undertaker wrote in his book people. Rather, the work looks at how images for this series in Barcelona, Kiev, ‘Bodies in Motion and at Rest’ (pub- people remember those they have lost Prague and Washington. lished by Johnathan Cape, 2000): and how in a sense, the dead continue to # In 2007, Weaste Cemetery the first “The facts of life and death remain the have an existence through the remem- and largest of Salford City Council’s same. We live and die, we love and brance of the living. four municipal cemeteries, celebrated its grieve, we breed and disappear. # For a number of years Dunnico has 150th anniversary. To mark this And between these existential gravities, pictured statues, and funerary monu- anniversary, Salford Museum and Art we search for meaning, save our memo- ments. He visited Paris to photograph Gallery asked David to photograph ries, leave a record for those who the famous Père-Lachaise cemetery Salford’s cemeteries for this exhibition. remember us”. SALFORD MUSEUM&ART GALLERY * Montage of spires from Salford’s four municipal cemeteries III * Montage of figures and tombs from Père Lachaise IV FOR THOSE WE LEAVE BEHIND # Traditionally people were buried in # Ronnie Scott writes in his 2005 book # New rituals and protocols have devel- churchyards, but by the 19th Century about the Glasgow Necropolis ‘Death oped.
  • Luxurious, Terrifying Visions of Death in Renaissance Memento Mori

    Luxurious, Terrifying Visions of Death in Renaissance Memento Mori

    ART Luxurious, Terrifying Visions of Death in Renaissance Memento Mori The Bowdoin College Museum of Art is exhibiting memento mori objects from Renaissance Europe, often grotesquely designed to startle viewers into recognizing mortality. Finials of a Chaplet (France or southern Netherlands, 1530 with mid-19th- century insertion) (ca. 1850–1860), elephant ivory (courtesy Victoria and Albert Museum, London) BRUNSWICK, Maine — The first object visitors encounter in The Ivory Mirror: The Art of Mortality in Renaissance Europe at the Bowdoin College Museum of Art is a strand of prayer beads culminating with a three-faced carving. On one side is a man, on another a woman, and grinning sardonically between them is a skull. “Instead of the expected face of a person, you get death,” explained curator Stephen Perkinson, associate professor of art history at Bowdoin College, on a recent visit to the exhibition. “Its message is ‘never forget you are mortal, remember that death in the end levels us all,’ and it’s doing that through the winking irony of a luxury good.” Unknown Artist, Office of the Dead, Book of Hours, use of Rome, fol. 105 (Northern France, beginning of the 16th century), manuscript illumination on parchment (courtesy the Huntington Library, Art Collection, and Botanical Gardens, San Marino, California) Like all the approximately 70 objects in The Ivory Mirror, many on view for the first time in North America, the 1530 prayer beads are exquisitely crafted, down to the worms crawling through the skull’s bared teeth. The smaller beads have figures on either side representing classes from across society, from king to laborer, with a sudden corpse thrown into the mix.
  • A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art

    A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art

    A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art VOLUME I THE CORCORAN GALLERY OF ART WASHINGTON, D.C. A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 1 PAINTERS BORN BEFORE 1850 THE CORCORAN GALLERY OF ART WASHINGTON, D.C Copyright © 1966 By The Corcoran Gallery of Art, Washington, D.C. 20006 The Board of Trustees of The Corcoran Gallery of Art George E. Hamilton, Jr., President Robert V. Fleming Charles C. Glover, Jr. Corcoran Thorn, Jr. Katherine Morris Hall Frederick M. Bradley David E. Finley Gordon Gray David Lloyd Kreeger William Wilson Corcoran 69.1 A cknowledgments While the need for a catalogue of the collection has been apparent for some time, the preparation of this publication did not actually begin until June, 1965. Since that time a great many individuals and institutions have assisted in com- pleting the information contained herein. It is impossible to mention each indi- vidual and institution who has contributed to this project. But we take particular pleasure in recording our indebtedness to the staffs of the following institutions for their invaluable assistance: The Frick Art Reference Library, The District of Columbia Public Library, The Library of the National Gallery of Art, The Prints and Photographs Division, The Library of Congress. For assistance with particular research problems, and in compiling biographi- cal information on many of the artists included in this volume, special thanks are due to Mrs. Philip W. Amram, Miss Nancy Berman, Mrs. Christopher Bever, Mrs. Carter Burns, Professor Francis W.
  • MEMENTO MORI Create Their Own “Memento Mori” Artwork Using Dirt Paint

    MEMENTO MORI Create Their Own “Memento Mori” Artwork Using Dirt Paint

    LIFE NIGHT OVERVIEW ABOUT THIS LIFE NIGHT This Life Night begins with a Gather activity in which teens MEMENTO MORI create their own “memento mori” artwork using dirt paint. A LIFE NIGHT ON DEATH AND JUDGMENT The Proclaim reflects on our strained relationship with time, which ends in death and a particular judgment. The Break GOAL gives teens time to create a bucket list geared toward a life with Christ. The Send is a prayer for a happy death. The goal of Memento Mori is to acknowledge the reality of death and judgment as a consequence of original sin but ENVIRONMENT instill joy and hope in Jesus as our loving and merciful judge. For this Life Night, create an environment centered around KEY CONCEPTS time. Gather hourglasses and clocks to place around the room. Play a countdown or count up on a screen, and have • Jesus conquers the evil of death through His own death clock sound effects in the background. On the walls, post and Resurrection, giving us hope for eternal life. quotes from saints and Catholic prayers about death. Use the following to get started: • In Baptism, we die sacramentally with Jesus and are given the opportunity for new life in Him — physical death • What is death but the burial of sin and the resurrection completes this process. of goodness? (St. Ambrose) • Now and at the hour of death. (The Hail Mary) • Immediately after death, each person faces a particular • Thy Kingdom come, Thy will be done. (The Lord’s Prayer) judgment before Jesus; the result of our judgment — heaven, hell, or purgatory — is determined by faith in Him • The sting of death is extinguished in Christ.
  • Photodeath As Memento Mori- a Contemporary

    Photodeath As Memento Mori- a Contemporary

    Photodeath as Memento Mori- A Contemporary Investigation by Catherine Dowdier, B.A., B. Vis Arts, Grad. Dip. Faculty of Fine Arts, Northern Territory University Master of Arts by Research 18. 09. 1996 ThesisDeclaration: I herebydeclare that thework herein,now submitted as a thesis for the degree of Master by Research, is theresult of my own investigations, and all references to ideas and work of otherresearchers have been specifically acknowledged. I herby certify that the work embodied in this thesis has not already beenaccepted in substance for any degree, and is not beingcurr ently submittedin candidature for any other degree. 1i4 U/�� .l... .................................................... Catherine Bowdler Table of Contents Introduction . 1 Chapter 1: Memento Mori . 5 Chapter 2: Photodeath . 15 Chapter 3: ChristianBoltanski . 26 Chapter 4: Joel Peter Witkin . 48 Chapter 5: Peter Hujar . 64 Conclusion........... ..............................................7 4 Bibliography . 80 lliustrations . 84 List of Illustrations 1. "LesArchives", Christian Boltanski, 1989 2. "Reserves:La Fete de Purim", 1989 3. "Still LifeMarseilles", Joel Peter Witkin, 1992 4. "Le Baiser", Joel Peter Witkin, 1982 5. ''Susan Sontag", Peter Hujar, 1976 6. "Devine", PeterHujar, 1976 Abstract This thesis is an exploration of the links between the notions exemplified in traditional memento mori imagery and the Barthian concept of 'photodeath'. In order to do this I have chosen three contemporary photographers: Christian Boltanski, Joel Peter Witkin andPeter Hujar, in whosework bothconcepts are manifest in completely different ways. Theconcepts of mementomori and photodeath are initially discussed separately in some detail. Then, by careful examinationof key works in each artist'soeuvre, some critical observations aboutthe nature of both concepts are teased out and explored.
  • KEC ORDER of SERVICE/SERMON OUTLINE 15Th November (KEC SERVICE ONLINE) Please Take Note That This Sunday’S Service Begins at 8.30Am, Not 9Am

    KEC ORDER of SERVICE/SERMON OUTLINE 15Th November (KEC SERVICE ONLINE) Please Take Note That This Sunday’S Service Begins at 8.30Am, Not 9Am

    KEC ORDER OF SERVICE/SERMON OUTLINE 15th November (KEC SERVICE ONLINE) Please take note that this Sunday’s service begins at 8.30am, not 9am. KIDS VIDEO will be made available by 8am. Nothing in this world is safe! Our toys, clothes and other stuff may get lost or stolen or just wear down. So instead of storing up treasure on earth, Jesus wants his followers to store up in treasure in heaven that will last forever! Direct link: https://www.youtube.com/watch?v=pXqReysSupQ You can access the livestream at https://www.facebook.com/bemkec/live_videos/ 8.30am – Livestream starts Livestream link should be available by 8.25am latest. 0. Starter discussion question: “Is death the end (of life)?” 1. CALL TO WORSHIP – Psalm 90 2. WORSHIP in SONG (with Bobby Langat) SONG 1: Thine be the glory SONG 2: Before the throne of God above 3. Theology is for Doxology: Understanding sin 4. Prayers of intercession • World • Nation • Church 5. Bible reading: Hebrews 9:27-28; Revelation 20:11-15 27 Just as people are destined to die once, and after that to face judgment, 28 so Christ was sacrificed once to take away the sins of many; and he will appear a second time, not to bear sin, but to bring salvation to those who are waiting for him. ------------------------------------------------------------------------------------------------------ 11 Then I saw a great white throne and him who was seated on it. The earth and the heavens fled from his presence, and there was no place for them. 12 And I saw the dead, great and small, standing before the throne, and books were opened.
  • Ridgefield Encyclopedia (5-15-2020)

    Ridgefield Encyclopedia (5-15-2020)

    A compendium of more than 3,500 people, places and things relating to Ridgefield, Connecticut. by Jack Sanders [Note: Abbreviations and sources are explained at the end of the document. This work is being constantly expanded and revised; this version was last updated on 5-15-2020.] A A&P: The Great Atlantic and Pacific Tea Company opened a small grocery store at 378 Main Street in 1948 (long after liquor store — q.v.); became a supermarket at 46 Danbury Road in 1962 (now Walgreens site); closed November 1981. [JFS] A&P Liquor Store: Opened at 133½ Main Street Sept. 12, 1935. [P9/12/1935] Aaron’s Court: short, dead-end road serving 9 of 10 lots at 45 acre subdivision on the east side of Ridgebury Road by Lewis and Barry Finch, father-son, who had in 1980 proposed a corporate park here; named for Aaron Turner (q.v.), circus owner, who was born nearby. [RN] A Better Chance (ABC) is Ridgefield chapter of a national organization that sponsors talented, motivated children from inner-cities to attend RHS; students live at 32 Fairview Avenue; program began 1987. A Birdseye View: Column in Ridgefield Press for many years, written by Duncan Smith (q.v.) Abbe family: Lived on West Lane and West Mountain, 1935-36: James E. Abbe, noted photographer of celebrities, his wife, Polly Shorrock Abbe, and their three children Patience, Richard and John; the children became national celebrities when their 1936 book, “Around the World in Eleven Years.” written mostly by Patience, 11, became a bestseller. [WWW] Abbot, Dr.
  • Memento Mori: Recollection of Death in Early Buddhist Meditation 583 Path Requires Combining a Foundation in Moral Conduct with a Systematic Training of the Mind

    Memento Mori: Recollection of Death in Early Buddhist Meditation 583 Path Requires Combining a Foundation in Moral Conduct with a Systematic Training of the Mind

    28 Memento Mori: Recollection of Death in Early Buddhist Meditation Anālayo Even the hour of death might still send Us freshly out to new dimensions, Life's calling us will never end, Come then, my heart, take leave, be well!1 Introduction In what follows I survey selected passages among the early Buddhist discourses on the topic of death. Then I translate a discourse from the Chinese Ekottarika-āgama that describes recollection of death. In order to evaluate the significance of the form of practice delineated in this discourse, I then relate its instructions to modern- day research on how the fact of death affects human behaviour. Perspectives on Death in Early Buddhist Discourse Death as a fundamental problem of human life is a central topic in early Buddhist thought,2 explicitly taken up in what tradition considers to have been the first teaching given by the recently- awakened Buddha, the Dhammacakkappavattana-sutta.3 The main teaching delivered in this discourse takes the form of four truths, a presentation apparently inspired by ancient Indian medical diagnosis.4 The disease diagnosed with the help of the first of these four truths is dukkha, a term whose compass of meaning ranges from outright pain to the unsatisfactory nature of all conditioned phenomena. Here is the formulation of the first of these four truths 582 From Local to Global: Papers in Asian History and Culture from the Ekottarika-āgama parallel to the Dhammacakkappavattana- sutta: 5 What is reckoned as the truth of dukkha? It is this: Birth is dukkha, old age is dukkha, disease is dukkha, death is dukkha, [as well as] grief, vexation, affliction, worry and pains that cannot be measured; 6 association with what is disliked is dukkha, dissociation from what is loved is dukkha, not getting what one wishes is also dukkha; stated in brief, the five aggregates of clinging are dukkha – this is reckoned as the truth of dukkha.