A Study Guide by Libby Tudball and Robert Lewis
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The Holy See
The Holy See LETTER OF JOHN PAUL II TO THE MONTFORT RELIGIOUS FAMILY To the Men and Women Religious of the Montfort Families A classical text of Marian spirituality 1. A work destined to become a classic of Marian spirituality was published 160 years ago. St Louis Marie Grignion de Montfort wrote the Treatise on True Devotion to the Blessed Virgin at the beginning of the 1700s, but the manuscript remained practically unknown for more than a century. When, almost by chance, it was at last discovered in 1842 and published in 1843, the work was an instant success, proving extraordinarily effective in spreading the "true devotion" to the Most Holy Virgin. I myself, in the years of my youth, found reading this book a great help. "There I found the answers to my questions", for at one point I had feared that if my devotion to Mary "became too great, it might end up compromising the supremacy of the worship owed to Christ" (Dono e Mistero, Libreria Editrice Vaticana, 1996; English edition: Gift and Mystery, Paulines Publications Africa, p. 42). Under the wise guidance of St Louis Marie, I realized that if one lives the mystery of Mary in Christ this risk does not exist. In fact, this Saint's Mariological thought "is rooted in the mystery of the Trinity and in the truth of the Incarnation of the Word of God" (ibid.). Since she came into being, and especially in her most difficult moments, the Church has contemplated with special intensity an event of the Passion of Jesus Christ that St John mentions: "Standing by the Cross of Jesus were his mother, and his mother's sister, Mary, the wife of Clopas, and Mary Magdalene. -
Scrovegni Chapel 1 Scrovegni Chapel
Scrovegni Chapel 1 Scrovegni Chapel The Scrovegni Chapel, or Cappella degli Scrovegni, also known as the Arena Chapel, is a church in Padua, Veneto, Italy. It contains a fresco cycle by Giotto, completed about 1305, that is one of the most important masterpieces of Western art. The church was dedicated to Santa Maria della Carità at the Feast of the Annunciation, 1305. Giotto's fresco cycle focuses on the life of the Virgin Mary and celebrates her role in human salvation. The chapel is also known as the Arena Chapel because it was built on land purchased by Enrico Scrovegni that abutted the site of a Roman arena. This space is where an open-air procession and sacred representation of the Annunciation to the Virgin had been played out for a generation before the chapel was built. A motet by Marchetto da Padova appears to have been composed for the dedication on March 25, 1305.[1] The chapel was commissioned by Enrico Scrovegni, whose family fortune was made through the practice of usury, which at this time meant charging interest when loaning money, a sin so grave that it resulted in exclusion from the Christian sacraments.[2] Built on family estate, it is often suggested that Enrico built the chapel in penitence for his father's sins and for Capella degli Scrovegni absolution for his own. Enrico's father Reginaldo degli Scrovegni is the usurer encountered by Dante in the Seventh Circle of Hell. A recent study suggests that Enrico himself was involved in usurious practices and that the chapel was intended as restitution for his own sins.[3] Enrico's tomb is in the apse, and he is also portrayed in the Last Judgment presenting a model of the chapel to the Virgin. -
A Film by Veit Helmer
A FILM BY VEIT HELMER Pluto Film presents A fi lm by Veit Helmer Poetic comedy, Germany/Azerbaijan, 90 minutes PRESSBOOK INTERNATIONAL PRESS WORLD SALES mm filmpresse PLUTO FILM Schliemannstraße 5 | 10437 Berlin Schliemannstraße 5 | 10437 Berlin, Germany Tel.: 030. 41 71 57 23 Tel +49 030 2191 8220 Fax: 030. 41 71 57 25 www.plutofilm.de E-Mail: [email protected] Bilderdownload: www.mm-filmpresse.de WORLD PREMIERE Press Book THE BRA P. 04 SYNOPSIS A goods train rolls through the broad, grassy plain that of whom this lovely thing might belong to gives him sleepless stretches away below the Caucasian mountains. In the nights. Overwhelming loneliness fi nally propels Nurlan to driver‘s cabin: Nurlan, the train driver. Day in, day out he set off in search of the bra‘s rightful owner. THE BRA is a steers his train along the route that runs through a cramped masterfully told tale of the search for love and belonging. suburb of Baku, where the train tracks are built so close to After ABSURDISTAN (2008) and BAIKONUR (2011), director the houses that Nurlan‘s train chugs through what passes for Veit Helmer transports us to the mountain landscape of the residents‘ entrances and gardens. It clatters past men Azerbaijan. Helmer‘s remarkable and inventive visual drinking tea, and women hanging out the washing. With the vocabulary further establishes his well-deserved reputation approach of the train, Aziz the young orphan boy runs down as a modern teller of fairy tales. THE BRA is crafted as a poetic the tracks blasting a warning on his whistle, and the residents comedy without the need for dialogue, and it is precisely this seize their belongings and jump inside their houses. -
Are the Devotions of the Passion of Jesus in Macao Still a “Dangerous Memory”?
Are the Devotions of the Passion of Jesus in Macao still a “Dangerous Memory”? João Marques Eleutério, University of Saint Joseph/ Macao Asian Conference on Ethics, Religion & Philosophy 2015 Official Conference Proceedings Abstract Among the multiple images used to promote Macao as a touristic destination, we can find some related with the Christian traditions, in particular with the Catholic devotions to the Passion of Christ and the cult of the Virgin Mary. Discussing the concept of “dangerous memory” as proposed by Johann Baptist Metz and analyzing the rituals associated with the devotions around the Passion of Jesus, this paper aims to look at, and present, the different perceptions of a message of subversion of unbalanced relations of power and domination, such as the image of the suffering Jesus in the contemporary society of Macau. The method followed in this paper is ethnographic and structured around some major contributions in the field of Ritual Studies. The implications of this research are related with the different perceptions and usages of a religious image and the drift of its power. Keywords: “Dangerous memory”, devotion, ritual studies, power, image. iafor The International Academic Forum www.iafor.org Introduction The Christian tradition is based on proposals of peace and subversion of all kinds of violence. One of the biggest images to subvert violence are the different representations of the Passion of Jesus and his sufferings. Some of those representations were ritualised and are expressed as popular devotions. In some cases the devotions even became part of the official liturgies. In Macau there are some devotions related with the Passion of Jesus. -
The Passion Lord Jesus Christ
By the same Author FIVE WOUNDS OF OUR LoRD JESUS CHRIST CORPORAL PASSION OF OUR LORD JESUS CHRIST THE PASSION OF OUR LORD JESUS CHRIST BJI DOCTOR PIERRE BARBET Surgeon of the Hopita! Sail/t-Joseph, Paris With al: Appmdix by P. J. SMYTH, B.Se., M.B., B.CM. Translated from the French by THE EARL OF \V£CKLOW UB1 ~RY ATO lNARY ... DUBLIN CLONMORE AND REYNOLDS LTD LONDON BURNS OATES AND WASHBOURNE LTD FirJ' Publisbed 1954 NIHIL OBSTAT: M. L. DEMPSEY, S.T.D. Contents CENSOR THEOL . DEP. IMPRIMI POTEST: IOANNES CAROLUS ARCHIEP. DUDLlN6N, IDDERNIJE PRLMAS Preface 7 18 AUG., 1953 The Holy Shroud 13 2 Crucifixion and Archa:ology 41 3 The Causes of the Rapid Death 68 4 The Preliminary Sufferings 81 5 The Wounds of the Hands 92 Copyrigbt 1954 by C/onlllore and Reynolds Ltd. 6 The Wounds in the Feet 106 7 The Wound in the Heart 113 8 The Descent from the Cross, the Journey to the Tomb and the Entombment 128 9 The Burial 133 10 Villandre's Crucifix 150 " 7 i\ II Last Thoughts 151 12 The Corporal Passion of Jesus Christ 158 Appendix I 174 MADE AND PRINTED IN THE REPUBLIC OF IRELAND BY 175 CAHILL AND CO., LTD., FOR Appendix II CLONMORE AND REYNOLDS LTD. Illustrations Introductory The Laying in the Shroud Preface Figure 1 Frontal Image on the Shroud (Upper Part) Photographic Print Figure 11 I HAVE for a long time been asked, but of late with more eagerness, Rear Image on the Shroud to collect together in one book the results of my anatomical experi Photographic Prim ments, of my archa:ological and scriptural researches, finally of my Figures 111 and IV reflections on the Passion of Our Lord Jesus Christ. -
Biblical Scholarship and the Passion Surrounding the Passion of the Christ
Journal of Religion & Film Volume 8 Issue 1 Special Issue: Passion of the Christ Article 10 (February 2004) February 2004 Biblical Scholarship and the Passion Surrounding The Passion of the Christ Frances Flannery-Dailey Hendrix College, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Flannery-Dailey, Frances (2004) "Biblical Scholarship and the Passion Surrounding The Passion of the Christ," Journal of Religion & Film: Vol. 8 : Iss. 1 , Article 10. Available at: https://digitalcommons.unomaha.edu/jrf/vol8/iss1/10 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Biblical Scholarship and the Passion Surrounding The Passion of the Christ Abstract The release of the film has engendered a spectrum of fervent responses, becoming in itself atheological event shaped by merchandising, media, and audience reception. For a long while, images from a movie will inform the lens through which many of our students and the general public read the Gospels, as well as influence the ways in which some Jews and Christians view one another. Reactions to the film will differ markedly, magnifying and possibly reifying the various theological stances of audience members. Since much of the furor revolves around issues of interpretation of Scripture, biblical scholars can provide informed and thoughtful contributions to the debate. In other words, the release of The Passion, as well as other films with eligiousr themes, provides a valuable opportunity for raising the level of public discourse on religion, enabling us to foster careful inquiry in our classrooms, writings, churches and synagogues. -
DVD Profiler
101 Dalmatians II: Patch's London Adventure Animation Family Comedy2003 74 minG Coll.# 1 C Barry Bostwick, Jason Alexander, The endearing tale of Disney's animated classic '101 Dalmatians' continues in the delightful, all-new movie, '101 Dalmatians II: Patch's London A Martin Short, Bobby Lockwood, Adventure'. It's a fun-filled adventure fresh with irresistible original music and loveable new characters, voiced by Jason Alexander, Martin Short and S Susan Blakeslee, Samuel West, Barry Bostwick. Maurice LaMarche, Jeff Bennett, T D.Jim Kammerud P. Carolyn Bates C. W. Garrett K. SchiffM. Geoff Foster 102 Dalmatians Family 2000 100 min G Coll.# 2 C Eric Idle, Glenn Close, Gerard Get ready for outrageous fun in Disney's '102 Dalmatians'. It's a brand-new, hilarious adventure, starring the audacious Oddball, the spotless A Depardieu, Ioan Gruffudd, Alice Dalmatian puppy on a search for her rightful spots, and Waddlesworth, the wisecracking, delusional macaw who thinks he's a Rottweiler. Barking S Evans, Tim McInnerny, Ben mad, this unlikely duo leads a posse of puppies on a mission to outfox the wildly wicked, ever-scheming Cruella De Vil. Filled with chases, close Crompton, Carol MacReady, Ian calls, hilarious antics and thrilling escapes all the way from London through the streets of Paris - and a Parisian bakery - this adventure-packed tale T D.Kevin Lima P. Edward S. Feldman C. Adrian BiddleW. Dodie SmithM. David Newman 16 Blocks: Widescreen Edition Action Suspense/Thriller Drama 2005 102 min PG-13 Coll.# 390 C Bruce Willis, Mos Def, David From 'Lethal Weapon' director Richard Donner comes "a hard-to-beat thriller" (Gene Shalit, 'Today'/NBC-TV). -
Sunday Connection Palm Sunday of the Passion of the Lord
CHURCH OF THE ANNUNCIATION, PARAMUS Sunday Connection Palm Sunday of the Passion of the Lord Gospel at the Procession with Palms: Matthew 21:1-11 Jesus enters Jerusalem as the crowd waves palm branches and shouts, "Hosanna!" Gospel Reading: Matthew 26:14-27:66 Jesus is crucified, and his body is placed in the tomb. Background on the Gospel Reading Today we begin Holy Week, the days during which we journey with Jesus on his way of the cross and anticipate his Resurrection on Easter. Today’s liturgy begins with the procession with palms to remind us of Jesus’ triumphant entrance into Jerusalem. The events of Jesus’ Passion are proclaimed in their entirety in today’s Liturgy of the Word. Those events will be proclaimed again when we celebrate the liturgies of the Triduum - Holy Thursday’s Mass of the Lord’s Supper, the Good Friday of the Lord’s Passion, and the Easter Vigil. In communities that celebrate the Sacraments of Initiation with catechumens, these liturgies take on special importance because they invite the catechumens and the community to enter together into the central mysteries of our faith. These days are indeed profound and holy. In Cycle A, we read the Passion of Jesus as found in the Gospel of Matthew on Palm, or Passion, Sunday. (On Good Friday, we will read the Passion of Jesus from the Gospel of John). The story of Jesus’ Passion and death in Matthew’s Gospel focuses particularly on the obedience of Jesus to the will of his Father. As Jesus sends his disciples to prepare for Passover, he indicates that the events to come are the will of the Father (Matthew 26:18). -
Jews and Hollywood
From Shtetl to Stardom: Jews and Hollywood The Jewish Role in American Life An Annual Review of the Casden Institute for the Study of the Jewish Role in American Life From Shtetl to Stardom: Jews and Hollywood The Jewish Role in American Life An Annual Review of the Casden Institute for the Study of the Jewish Role in American Life Volume 14 Steven J. Ross, Editor Michael Renov and Vincent Brook, Guest Editors Lisa Ansell, Associate Editor Published by the Purdue University Press for the USC Casden Institute for the Study of the Jewish Role in American Life © 2017 University of Southern California Casden Institute for the Study of the Jewish Role in American Life. All rights reserved. Production Editor, Marilyn Lundberg Cover photo supplied by Thomas Wolf, www.foto.tw.de, as found on Wikimedia Commons. Front cover vector art supplied by aarows/iStock/Thinkstock. Cloth ISBN: 978-1-55753-763-8 ePDF ISBN: 978-1-61249-478-4 ePUB ISBN: 978-1-61249-479-1 KU ISBN: 978-1-55753-788-1 Published by Purdue University Press West Lafayette, Indiana www.thepress.purdue.edu [email protected] Printed in the United States of America. For subscription information, call 1-800-247-6553 Contents FOREWORD vii EDITORIAL INTRODUCTION ix Michael Renov and Vincent Brook, Guest Editors PART 1: HISTORIES CHAPTER 1 3 Vincent Brook Still an Empire of Their Own: How Jews Remain Atop a Reinvented Hollywood CHAPTER 2 23 Lawrence Baron and Joel Rosenberg, with a Coda by Vincent Brook The Ben Urwand Controversy: Exploring the Hollywood-Hitler Relationship PART 2: CASE STUDIES CHAPTER 3 49 Shaina Hammerman Dirty Jews: Amy Schumer and Other Vulgar Jewesses CHAPTER 4 73 Joshua Louis Moss “The Woman Thing and the Jew Thing”: Transsexuality, Transcomedy, and the Legacy of Subversive Jewishness in Transparent CHAPTER 5 99 Howard A. -
The Passion of Jesus Christ According to John
The Catholic Faith Handbook for Youth, Third Edition The Passion of Jesus Christ according to John (John 18:1—19:30) Narrator 1: After Jesus had spoken these words, he went out with his disciples across the Kidron valley to a place where there was a garden, which he and his disciples entered. Now Judas, who betrayed him, also knew the place, because Jesus often met there with his disciples. So Judas brought a detachment of soldiers together with police from the chief priests and the Pharisees, and they came there with lanterns and torches and weapons. Then Jesus, knowing all that was to happen to him, came forward and asked them, Jesus: “Whom are you looking for?” Narrator 2: They answered, Crowd: “Jesus of Nazareth.” Narrator 1: Jesus replied, Jesus: “I am he.” Narrator 2: Judas, who betrayed him, was standing with them. When Jesus said to them, “I am he,” they stepped back and fell to the ground. Again he asked them, Jesus: “Whom are you looking for?” Narrator 1: And they said, Crowd: “Jesus of Nazareth.” Narrator 2: Jesus answered, Jesus: “I told you that I am he. So if you are looking for me, let these men go.” Narrator 1: This was to fulfill the word that he had spoken, “I did not lose a single one of those whom you gave me.” Then Simon Peter, who had a sword, drew it, struck the high priest’s slave, and cut off his right ear. The slave’s name was Malchus. Jesus said to Peter, Jesus: “Put your sword into its sheath. -
Women and the Passion
56 WOMEN AND THE PASSION By PAMELA HAYES -WING IN Durham Gaol! My reflection began with the thought of the women in the high-security wing of Durham prison: women for whom human passion had H somehow lost its real life-giving intention; women whose lives were so securely controlled that they were constrained to suffer all that happened to them in a new experience of passion. Surely here was the Christ of the Passion, for here was the human sin-situation marked out, defined and confined, calling forth the forgiveness and healing of Jesus, in a passion of love that finally strung him up on the gallows-tree of the cross. In these tomb-like walls Christ was still labouring to bring forth, from the womb of the Passion, the risen and ever-rising Christ of each man and each woman. It was then that I realized that any reflection made on the women in the Passion, in the context of the Third and Fourth Weeks of the Exercises, required some preliminary consideration of the terms used in the title. Passion and passivity There is a tendency in popular thinking to equate passion with the biological drive of sex instead of distinguishing it from undifferentiated sexual energy as the essential power in love that attracts and drives towards union: the inner dynamism of the cosmos. In itself, passion is an irrational power with both destruc- tive.and creative potential, requiring intention to direct its creative human possibilities. It can destroy us from within. But harnessed and so integrated into the human personality, its dynamic power can transform and give meaning to human life and death. -
Mk 14-16 Heil, the Progressive Narrative Pattern of Mark 14,53-16,8
John Paul Heil Kenrick-Glennon Seminary St. Louis, Missouri USA The Progressive Narrative Pattern of Mark 14.53-16.8 Biblica 73 (3, 1992) 331-358 [SUMMARY: Mark's passion-resurrection narrative (Mk 14.53-16.8) is laid out in an alternating order of nine scenes, each contrasting with those that precede and follow. Seven groups of three scenes thus occur “in sandwich”. Faith in Jesus, despite the failures of those who follow it, overrides the re- jection of his true identity by the Jewish and Gentile authorities. The narrative sequence challenges the reader to remain faithful to the “way” of Jesus and, at the same time, makes one able to do so by revealing the depth of the mystery of the Messiah through his very rejection by the authorities.] 331 In what follows we shall illustrate the dynamic narrative progression formed by the nine scenes concluding Mark’s Gospel in Mark 14.53-16.8(1). We shall demonstrate how these scenes are ar- ranged in a progression of literary” sandwiches” in which each successive scene is contrastingly framed by two other mutually related scenes (2). The entire complex, as we shall see, operates as an “architecture in motion, assembled as it goes” (3). And we shall examine how this pattern of alternation or “interchange” (4), determines how the implied reader/audience is to respond to and interpret the total progression of events involved in the Marcan presentation of Jesus’ death, burial, and resurrection (5). (1) For an explanation of the narrative-critical approach that we will follow, see M.A.