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The Feast of the Annunciation
1 Pope Shenouda III series 5 THE FEAST OF THE ANNUNCIATION BY HIS HOLINESS AMBA SHENOUDA III, POPE AND PATRIARCH OF ALEXANDRIA AND OF THE APOSTOLIC SEE OF ALL THE PREDICATION OF SAINT MARK Translated from the Arabic first edition of April 1997 Available from: http://www.copticchurch.net 2 All rights are reserved to the author His Holiness Pope Shenouda III Pope and Patriarch of the See of Alexandria and of all the Predication of the Evangelist St. Mark Name of the book: The Feast of the Annunciation Author: His Holiness Pope Shenouda III Editor: Orthodox Coptic Clerical College, Cairo First Edition: April 1997 Press: Amba Rueiss, (Offset) - The Cathedral - Abbassia Deposition number at "The Library": 97 / 475 977 - 5345 - 38 In the Name of the Father, the Son, and the Holy Spirit, the One God, Amen. You will read in this pamphlet about the Annunciation of the Nativity of Christ, glory be to Him, and the annunciations which preceded and succeeded it. It is the annunciation of salvation for the world. It is the first feast of the Lord. It is an annunciation of love, because the reason of the Incarnation and Redemption is the love of God for the world. The Lord Christ has offered to us rejoicing annunciations and has presented God to us as a loving Father. What shall we then announce to people? Let there be in your mouths, all of you, a rejoicing annunciation for everybody. Pope Shenouda III 3 The feast of the Annunciation comes every year on the 29th of Baramhat. -
April 22, 2018 Fourth Sunday of Easter
April 22, 2018 Fourth Sunday of Easter Page 2 “The Good News” - St. Anastasia Catholic Church, Troy 248-689-8380 Sunday, April 22, 2018 Masses: 8:15 AM, 10:15 AM, 12:15 PM, 5:00 PM Children’s Liturgy: during 10:15 Mass Friday, April 27, 2018 9:15/11:15 AM Coffee & Donuts Benediction: 9:15 AM 10:00 AM Catechesis of the Good Shepherd Mass: 9:30 AM (Fr Blondell) 1:45 PM Baptism 9:00 AM Rosary 6:30 PM BASIC Night (High School Youth Ministry) 10:00 AM Homeschool Open Gym 7:00 PM Rosary for Peace 10:00 AM Prayer Series – Spanish 10:30 AM Guadalupano Group Monday, April 23, 2018 1:00 PM Senior Fit Mass: 9:30 AM funeral (Fr Steve) 6:30 PM Religious Ed End of Year Family Night 9:00 AM Rosary 10:30 AM Exposition of the Eucharist Saturday, April 28, 2018 1:00 PM Senior Fit Masses: 4:00 PM, (Fr Blondell) 6:30 PM Stephen Ministry Peer Supervision 6:00 PM (Spanish) (Fr Medina) Exposition of the Eucharist throughout day and night Reconciliation: 3:00 PM, 5:15 PM (Spanish) 9:00 AM Kids Guitar Course Tuesday, April 24, 2018 9:00 AM KofC St. Moses Food Drive Mass: 7:00 AM (Fr Greg) 10:00 AM Spanish Religious Ed – Adults & Children Reconciliation: 6:00 PM 10:00 AM Prayer Series – S panish Sunday, April 29, 2018 1:00 PM Red Cross Blood Drive Masses: 8:15 AM, 10:15 AM & 12:15 PM (Fr Greg), 7:00 PM Knights of Columbus Social 5:00 PM (Fr Anthony Camilleri) 7:30 PM Celebration Singers Rehearsal Children’s Liturgy: during 10:15 Mass Exposition of the Eucharist throughout day and night 9:15/11:15 AM Coffee & Donuts 10:00 AM Catechesis of the Good Shepherd Wednesday, April 25, 2018 1:30 PM Knights of Columbus Rosary Mass: 9:30 AM (Fr Greg) 6:30 PM BASIC Night (High School Youth Ministry) 8:00 AM Men’s Bible Study 7:00 PM Rosary for Peace 9:00 AM Rosary 10:30 AM Matinees with Fr. -
01Ÿ345617859 Ÿ Ÿ 971Ÿ 1Ÿ 897 5
ÿ ÿÿ ÿÿ !"#$ %&'&' ()01 234567ÿ39ÿ@ABAC5D7ÿA4ÿEAFÿAFGÿHAD75CÿIFÿ25CPFIQ3ÿRCASITFU4ÿVWQQACXÿ39ÿD75 Y`S5aa5FSI54ÿ39ÿVDÿ234567ÿbcdefg V367IAÿh3iA pqrrqsÿuvw'ÿxyÿxwuwqyxrÿsq'ÿxuv '&'&xvqyrwy&y&xuv&'&' xuÿqÿuv&u'ÿxyÿxywuw&'ÿqqy' defÿpÿghfiej q kwlvuÿm&lrxuwqy'ÿ0n1n mjo %&ÿxu&wxrÿwyÿuvw'ÿqywxuwqyÿxkÿp&ÿ'pq&uÿuqÿq kwlvuÿy&ÿuv&ÿuÿykÿuv&ÿq kwylÿqÿqywxuwqyÿqÿuvw'ÿxu&wxr pkÿkqÿxkÿp&ÿuv&ÿ'pq&uÿqÿq kwlvuÿ qu&uwqyÿy&ÿuv&ÿu rqÿyquÿ&qs&ÿuvw'ÿyquw& %w'ÿw''&uxuwqyuv&'w'ÿw'ÿpqlvuÿuqÿkqÿpkÿm&'&xvyrwy&trÿjuÿvx' p&&yÿx& u&ÿqÿwyr'wqyÿwyÿ%&'&'ÿpkÿxyÿxuvqwu&ÿxwyw'uxuqÿq m&'&xvyrwy&trÿpqÿq&ÿwyqxuwqyvÿ r&x'&ÿqyuxu &'&xvqyrwy&ty&x CHAPTER ONE: HUSBAND OF THE MOTHER OF GOD Gracián dedicates Book I of his Summary to an exploration of Joseph’s title as “husband of Mary”. Joseph’s role as spouse has been given much attention in biblical commentary, in apocryphal literature, and in the writings of Church Fathers and theologians. The Summary’s emblematic approach to the marriage of Joseph and Mary bears connection with each of these genres as well as with fourteenth and fifteenth-century Italian artistic representations of the scene. Although the Summary’s depiction of the marriage, in particular Blancus’ engraving (Plate 1), conforms to the accounts given in Scriptural and apocryphal narratives, it presents striking divergences when compared to the existing artistic tradition. While artistic depictions of the Marriage of the Virgin traditionally present the event as a publicly celebrated union observed by onlookers, most notably the disappointed unsuccessful suitors competing for Mary’s hand, Blancus “privatises” the union, thus emphasising it and ultimately marriage as a whole as sacred, dignified and divinely ordained. The engraving, along with the accompanying epigram and text de facto, successfully present to the audience a visualisation of the nature of Mary and Joseph’s marriage and of Joseph’s role as spouse. -
ΚΝΙΞQUΑΊLΚΊΓΚΙΞ§ ΚΝ ΊΓΗΙΞ WORIΚ of IΞJL GRIΞCO and ΊΓΗΙΞΚR ΚΝΊΓΙΞRΙΡRΙΞΊΓΑΊΓΚΟΝ 175
ΚΝΙΞQUΑΊLΚΊΓΚΙΞ§ ΚΝ ΊΓΗΙΞ WORIΚ Of IΞJL GRIΞCO AND ΊΓΗΙΞΚR ΚΝΊΓΙΞRΙΡRΙΞΊΓΑΊΓΚΟΝ 175 by Nicos Hadjinicolaou In memoryof Stella Panagopoulos, whose presence at the lecture gave me great pleasure The organization of a series of lectures in honour of a distinguished l art critic could bring the invited art historians in the delicate or uncomfortable position of defining the limits proper to art criticism and art history, thus reviving a rather sterile paragon of the 20th century. If, in the debate about the primacy of sculpture or of painting, Vasari (out of conviction it seems and not for reasons of tactics) declared that the controversy was futile because both arts were equally based οη "d isegno", Ι am afraid that tod ay a similar proposition to remove the object of dissent between art criticism and art history by claiming tha.t both were equally based οη "artistic theory" would, unfortunately, be rejected as being tόta11y out of place. Reconciliation being, at least for the moment, impossible, an art historian might be allowed to stress what in his eyes is one of the advantages of art criticism over art history: that it takes a stand, that it takes risks, that it measures the relevance of a work for the present and for the immediate future. It goes without saying that an art critic also jud ges a contemporary work under the burden of his or her knowledge of the art of the past and of the literature written ab out it. Υ et, this does not change the fundamental fact that the appreciation of the work and the value judgements about its assumed "quality" or "validity as a statement" are elements insid e a perspective looking towards the future and not towards the past. -
The Development of Marian Doctrine As
INTERNATIONAL MARIAN RESEARCH INSTITUTE UNIVERSITY OF DAYTON, OHIO in affiliation with the PONTIFICAL THEOLOGICAL FACULTY MARIANUM ROME, ITALY By: Elizabeth Marie Farley The Development of Marian Doctrine as Reflected in the Commentaries on the Wedding at Cana (John 2:1-5) by the Latin Fathers and Pastoral Theologians of the Church From the Fourth to the Seventeenth Century A Dissertation submitted in partial fulfillment of the requirements for the degree of Doctorate in Sacred Theology with specialization in Marian Studies Director: Rev. Bertrand Buby, S.M. Marian Library/International Marian Research Institute University of Dayton 300 College Park Dayton, OH 45469-1390 2013 i Copyright © 2013 by Elizabeth M. Farley All rights reserved Printed in the United States of America Nihil obstat: François Rossier, S.M., STD Vidimus et approbamus: Bertrand A. Buby S.M., STD – Director François Rossier, S.M., STD – Examinator Johann G. Roten S.M., PhD, STD – Examinator Thomas A. Thompson S.M., PhD – Examinator Elio M. Peretto, O.S.M. – Revisor Aristide M. Serra, O.S.M. – Revisor Daytonesis (USA), ex aedibus International Marian Research Institute, et Romae, ex aedibus Pontificiae Facultatis Theologicae Marianum, die 22 Augusti 2013. ii Dedication This Dissertation is Dedicated to: Father Bertrand Buby, S.M., The Faculty and Staff at The International Marian Research Institute, Father Jerome Young, O.S.B., Father Rory Pitstick, Joseph Sprug, Jerome Farley, my beloved husband, and All my family and friends iii Table of Contents Prėcis.................................................................................. xvii Guidelines........................................................................... xxiii Abbreviations...................................................................... xxv Chapter One: Purpose, Scope, Structure and Method 1.1 Introduction...................................................... 1 1.2 Purpose............................................................ -
SERMON- Palm Sunday (B) Good Shepherd Charles R
SERMON- Palm Sunday (B) Good Shepherd Charles R. Cowherd March 28, 2021 Mark 11:1-11 Psalm 118:1-2, 19-29; Philippians 2:5-11 or Mark 15:1-39, [40-47] Psalm 31:9-16 OPENING: Earlier this month, our very own Good Shepherd Players performed (online) the stage play, And Then There Were None, based on Agatha Christie’s famous 1939 novel. I enjoyed their rendition so much that I rented the recent BBC movie version from the library and watched it as I prepared for this Sunday and for Holy Week. It’s an interesting pairing. I am not an expert on Agatha Christie, but I know that her faith permeated her work. Throughout, there is the idea of a moral universe, a particularly Christian one, where good and evil exist and compete. Famously, with Christie, that meant that even the buttoned-up English countryside was rife with sin. She also expanded the genre by emphasizing that humanity’s sinfulness is so profound that even the great detectives and crime solvers of her books cannot restore the world to a state of goodness. Salvation, thus, always lies outside of ourselves.1 This all makes good Lenten reading, and especially today, as we get to the height of Palm Sunday and then the depths of Christ’s Passion. Getting back to And Then There Were None, Steve McBride infamously gave away its ending during announcements one Sunday by revealing that, quote: “Everyone dies in the end.” He later protested that that fact was, you know, in the title in the first place. -
The Marian Philatelist, Whole No. 45
University of Dayton eCommons The Marian Philatelist Marian Library Special Collections 11-1-1969 The Marian Philatelist, Whole No. 45 A. S. Horn W. J. Hoffman Follow this and additional works at: https://ecommons.udayton.edu/imri_marian_philatelist Recommended Citation Horn, A. S. and Hoffman, W. J., "The Marian Philatelist, Whole No. 45" (1969). The Marian Philatelist. 45. https://ecommons.udayton.edu/imri_marian_philatelist/45 This Book is brought to you for free and open access by the Marian Library Special Collections at eCommons. It has been accepted for inclusion in The Marian Philatelist by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. ‘dhe Marian Philatelist PUBLISHED BY THE MARIAN PHILATELIC STUDY GROUP Business Address: Rev. A. S. Horn Chairman 224 Wsst Crystal View Aeeuee W. J. Hoffman Editor Canne, . Califrrnia '92667 , U.S.A. Vol. 7 No. 6 Whole No. 45 NOVEMBER 1, 1969 All data available to the time we went to 12C - (Class 2), ADORATION OF THE KINGS by press Vs listed even though stamps were not Gerard David (0.1460-1523). Almost entire available for illustration. painting reproduced. Original is wood, 23 1/2 x 23 inches, in the London National Gall NEW ISSUES ery. ANGUILLA: A 4-stamp Christmas issue released October 15, 1969. Designed by Victor Whitley 15C - (Class 2), ADORATION OF THE KINGS by based on stained glass windows ^Victoria and Vincenzo Foppa (c.1427-c.1515). Almost entire Albert Museum, London: painting seen on stamp. Original is wood, 6c,35c - (Class 2) ADORATION OF THE MAGI, by 94 x 83 inches, in the London National Gallery Guglieme de Marc^lat, with the arms of Pope Leo X, from the Cathedral of St. -
THE WEDDING FEAST at CANA (Jn 2:1-11)
THE WEDDING FEAST AT CANA (Jn 2:1-11) By Jim Seghers John‟s ostensibly simple narrative of the wedding feast at Cana explodes in layers of meaning when it is examined in faith. This reflection proposes to offer some insights that may deepen your understanding and stimulate your discoveries in this rich passage. It is no accident that John begins his Gospel with the identical words that open the Bible: “In the beginning” (Gen 1:1). In the first chapter of Genesis the emphasis is on the ascending order of creation culminating in formation of Adam and Eve on the sixth day. In the recapitulation in second chapter of Genesis the emphasis shifts to the covenant God established with his favorite creatures to whom God gave dominion over the earth. This covenantal relationship is depicted in the Bible as a family bond or a marriage. In the first chapter of John‟s Gospel the evangelist lays out a literary new creation week. On the first day the Word who is God is depicted as coming to make a “new creation” (2 Cor 5:17). He is both “life” and the “light of men” paralleling the first day of creation in Genesis when God said: “Let there be light” (Jn 1:4; Gen 1:3). The first three days of John‟s literary creation week are laid out as follows: First Day: Jn 1:1-34 Second Day: Jn 1:29-34 beginning with the words: “The next day.” Third Day: Jn 1:35-42 beginning with the words: “The next day.” Fourth Day: Jn 1:43-51 beginning with the words: “The next day.” Seventh Day: Jn 2:1-11 wedding at Cana Chapter two introduces the marriage at Cana with the words: “On the third day” (Jn 2:1). -
The Nativity of Our Lord Jesus Christ Festival Holy Eucharist Dear Friends, Merry Christmas! We’Re So Glad You’Ve Joined Us Here for a Cathedral Christmas
The Nativity of our Lord Jesus Christ festival holy eucharist Dear friends, Merry Christmas! We’re so glad you’ve joined us here for a Cathedral Christmas. Please know that the doors of this Cathedral are always open to you, and that everyone has a home here in this house of prayer for all people. During this busy time of year, I sometimes wonder what draws people to church, especially for those who rarely or never go to church for the rest of the year. There are so many demands on our time, and the places we go or the people we visit say something about what’s important. So why do churches tug on our heartstrings at this time of year? The Christmas story, at its core, is about that moment in time when God chose to dwell among us. In the church, we call it the Incarnation. Christmas is about that moment when God came closest to us, when the veil between heaven and earth slipped away and we could see and touch the very face of God. I think churches are the same way, or at least we try to be. In this glorious Cathedral, where the majestic space draws our eyes toward Heaven, we get a glimpse of that moment when God comes close. If you pause for a moment, you can feel the same sense of the incarnate God, Emmanuel, God with us. This is a place where God feels close. Maybe that’s why you’re here, in this Cathedral, this Christmas. However you got here or whatever drew you here, thank you for letting us share that experience with you, and for joining us to encounter God anew at Christmas. -
Book of John John 1 1. Finish This Quote from John 1:1: “In
Book of John John 1 1. Finish this quote from John 1:1: “In the beginning was the ________ and the ___________ was with God and the _________ was God.” WORD 2. According to John 1:1-2, who was “in the beginning with God”? THE WORD (JESUS) 3. Who was sent to bear witness of the Light (Jesus)? JOHN 4. According to John 1:12, to whom did Jesus give power to become the sons of God? AS MANY AS RECEIVED HIM (EVEN TO THEM THAT BELIEVE ON HIS NAME) 5. Who gave the Law, according to John 1:17? MOSES 6. According to John 1:17, grace and truth came by whom? JESUS CHRIST 7. According to John 1:19-20, who did the Jews send to John to ask him who he was? PRIESTS AND LEVITES 8. Where were these Priests and Levites from? JERUSALEM 9. Who did John tell the Priests and Levites that he was, according to John 1:23? THE VOICE OF ONE CRYING IN THE WILDERNESS 10. What Prophet did John quote when he said, “Make straight the way of the Lord”? ESAIAS (ISAIAH) 10. Of what religious group were the Priests and Levites that questioned John the Baptist in John 1? (PHARISEES, Saducees, or Scribes) 11. In what river did John baptize? JORDON RIVER 12. In what city was John when he was questioned of the Priests and Levites? BETHABARA 13. What did John say when he saw Jesus coming? (word for word, according to John 1:29) BEHOLD THE LAMB OF GOD WHICH TAKETH AWAY THE SIN OF THE WORLD 14. -
On the Exhibition Policies for Raphael's Masterpieces
Renaissance 3/2015 - 1 /lessandra Galiz6i Kroegel “3a.e space #or the great Raphael9& :n the ;*hibition Policies #or Raphael1s 3asterpieces Fig. 1= >iew of the current installation of the 2istine 3adonna in the +emäldegalerie /lte 3eister ?resden @0erbert -oswan., ?resden, 2taatliche 8unstsammlungen ?resdenA. “Raphael, or Ingres, or Picasso are meant Raphael in German and Italian museums during to be meditated upon. !" In order to med- the nineteenth centur) and up to the #irst hal# o# itate on a painting, it is essential to present the t%entieth century.[2] ,his stud) %as inspired it in a #avorable location and %ithin a calm b) (laudia -rin. and /ndreas 0enning1s care#ul atmosphere.& reconstruction o# the various hangings o# the 'e (orbusier[1] 2istine 3adonna #rom 1455, %hen the altarpiece arrived in 2a*on) a#ter its removal #rom the In this essa) I %ill discuss the e*hibition policies church o# 2an 2isto in Piacenza, to the present that %ere developed #or a #e% altarpieces b) day in its current location in the Gem7ldegalerie /lessandra +ali66i 8roegel 3a.e space #or the great Raphael9 .unstte*te.de 3/2015 - 2 <ig. 2= /dol# von 3en6el, Plat6 #Br den groβen Raf#ael9, Raphael in ?resden 1D55/5E, +ouache and pastel on paper, 5F * F2 cm, +er- manisches Gationalmuseum Gurnberg, 'oan o# the cit) of Gurnberg, @3oni.a Runge, +ermanisches Gationalmuseum “3ake space #or the great Raphael9&= a #amous Gurnberg). gouache b) /dolph 3en6el bearing this title (1D55/1D5EA @#ig. 2A illustrates an anecdote %hich ma) have circulated at the court o# 2a*on) #rom /lte 3eister in ?resden, %here it is e*hibited as the middle o# the eighteenth century, and %hich the clima* o# the %estern %ing1s stunning en#i- became %ell-.no%n not onl) in +erman) but to lade o# Italian galleries @#ig. -
The Marian Philatelist, Whole No. 41
University of Dayton eCommons The Marian Philatelist Marian Library Special Collections 3-1-1969 The Marian Philatelist, Whole No. 41 A. S. Horn W. J. Hoffman Follow this and additional works at: https://ecommons.udayton.edu/imri_marian_philatelist Recommended Citation Horn, A. S. and Hoffman, W. J., "The Marian Philatelist, Whole No. 41" (1969). The Marian Philatelist. 41. https://ecommons.udayton.edu/imri_marian_philatelist/41 This Book is brought to you for free and open access by the Marian Library Special Collections at eCommons. It has been accepted for inclusion in The Marian Philatelist by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Marian Philatelist PUBLISHED BY THE MARIAN PHILATELIC STUDY GROUP Business Address: Rev. A. S. Horn Chairman 424 West Crystal View Avenue W. J. Hoffman Editor Orange, California 92667, U.S.A. Vol. 7 No. 2 Whole No. 41 MARCH 1, 1969 NEW ISSUES The original, 46-1/2 inches in diameter, is •in the Uffizi, Florence. Portion of this AJMAN: Set of 5 airmail values, with imperf work seen on the 5 Fr. value in Burundi’s sheet, designated as a "Madonna Set," released 1968 Christmas issue; see article on page November 25, 1968. Ajman is on the "tread with caution list." The designs as follows: 30 Dh. (Class 1) - MADONNA OF THE MILK (Madonna del Latte), by Ambrogio Lorenzetti, active 1319- 1348. Original is in the Church of San Frances co, Siena, Italy. 70 Dh. (Class 1) - SISTINE MADONNA by Raphael. Entire painting is seen on the December 1955 is sue of German Democratic Republic (Scott 277); detail of Madonna and Child on the May 1967 iss ue of Ecuador (see article on page 68, September 1, 1967 issue); same detail on the August 1954 issue of Saar (Scott 251) .