DAVID PATRICK OWEN, JR. William Blake's "The Everlasting Gospel": a Hypertext Edition (Under the Direction of DR
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Christian Themes in Art: the Resurrection in Art Transcript
Christian Themes in Art: The Resurrection in Art Transcript Date: Wednesday, 16 February 2011 - 1:00PM Location: Museum of London The Resurrection in Art The Rt Revd Lord Harries of Pentregarth Gresham Professor of Divinity Dura Europos, a town on the frontier of the Roman and Persian Empire where a synagogue and house church, the earliest known and dating from early 3rd century, have been discovered under the ruins. Murals on walls of both synagogue and church. The three women approach the tomb. The catacombs. No scene of the empty tomb or resurrection but faith expressed through raising of Lazarus. “I am the Resurrection and the Life” (John chapter 11) and the story of Jonah. Jesus raising Lazarus The story of Jonah The cross and the resurrection seen together as a unified victory. See previous lecture on the Passion in Art. 4th century sarcophagus. Four panels in British Museum dating from 420. The earliest depiction of Christ on the Cross, a unified passion scene of Christ carrying the cross, Pilate washing his hands and Peter denying Christ, plus these two witnessing to the Resurrection. Note the scenes on the door of the tomb. Profound reticence about showing resurrection of Christ itself. (Not described in Gospels) So women at empty tomb a favourite theme. The tomb in the shape of the rotunda built over the place where Christ was buried in Jerusalem seen by pilgrims. The fact that the place could be seen and depicted an important witness. From 8th century it tended to become a cave. Two women usually shown, and this became standard. -
A Lexicon of Alchemy
A Lexicon of Alchemy by Martin Rulandus the Elder Translated by Arthur E. Waite John M. Watkins London 1893 / 1964 (250 Copies) A Lexicon of Alchemy or Alchemical Dictionary Containing a full and plain explanation of all obscure words, Hermetic subjects, and arcane phrases of Paracelsus. by Martin Rulandus Philosopher, Doctor, and Private Physician to the August Person of the Emperor. [With the Privilege of His majesty the Emperor for the space of ten years] By the care and expense of Zachariah Palthenus, Bookseller, in the Free Republic of Frankfurt. 1612 PREFACE To the Most Reverend and Most Serene Prince and Lord, The Lord Henry JULIUS, Bishop of Halberstadt, Duke of Brunswick, and Burgrave of Luna; His Lordship’s mos devout and humble servant wishes Health and Peace. In the deep considerations of the Hermetic and Paracelsian writings, that has well-nigh come to pass which of old overtook the Sons of Shem at the building of the Tower of Babel. For these, carried away by vainglory, with audacious foolhardiness to rear up a vast pile into heaven, so to secure unto themselves an immortal name, but, disordered by a confusion and multiplicity of barbarous tongues, were ingloriously forced. In like manner, the searchers of Hermetic works, deterred by the obscurity of the terms which are met with in so many places, and by the difficulty of interpreting the hieroglyphs, hold the most noble art in contempt; while others, desiring to penetrate by main force into the mysteries of the terms and subjects, endeavour to tear away the concealed truth from the folds of its coverings, but bestow all their trouble in vain, and have only the reward of the children of Shem for their incredible pain and labour. -
Mary Magdalene in Renaissance Noli Me Tangere Images Michelle Lambert-Monteleon University of South Florida
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 5-20-2004 Heavenly Venus: Mary Magdalene In Renaissance Noli Me Tangere Images Michelle Lambert-Monteleon University of South Florida Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the American Studies Commons Scholar Commons Citation Lambert-Monteleon, Michelle, "Heavenly Venus: Mary Magdalene In Renaissance Noli Me Tangere Images" (2004). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/1124 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Heavenly Venus: Mary Magdalene In Renaissance Noli Me Tangere Images by Michelle Lambert-Monteleon A thesis submitted in partial fulfillment of the requirements for the degree of Master of Liberal Arts Department of Humanities and American Studies College of Arts and Sciences University of South Florida Major Professor: Naomi Yavneh, Ph.D. Mario Ortiz, Ph.D. Ruth Banes, Ph.D. Date of Approval: May 20, 2004 Keywords: magdalen, women, art, gender, sexuality © Copyright 2004 , Michelle Lambert-Monteleon Acknowledgments I would like to thank the entire Humanities department at USF for inspiring me as an undergraduate and graduate student to pursue my dream of becoming a professor of the humanities. Special thanks to Drs. Helena Szépe and Mario Ortiz for helping me to achieve my goal without any prior knowledge of my abilities. Your dedication is laudable. Dr. Ruth Banes, thank you for your guidance and for keeping me on the right track throughout my journey. -
The Hermeneutics of Desire in Medieval English Devotional Literature
The Hermeneutics of Desire in Medieval English Devotional Literature by Amanda Joan Wetmore A thesis submitted in conformity with the requirements for the degree of Doctorate of Philosophy Centre for Medieval Studies University of Toronto © Copyright by Amanda Wetmore 2018 The Hermeneutics of Desire in Medieval English Devotional Literature Amanda Joan Wetmore Doctorate of Philosophy Centre for Medieval Studies University of Toronto 2018 Abstract This dissertation explores the way medieval English devotional writers utilized the hermeneutics of contemporary biblical exegesis, in order to frame their depictions of an erotic and embodied encounter with the divine. The way they manipulate the construction of literal to allegorical realities enables—rather than constrains—the relationship of flesh to spirit, so that the desiring body does not disappear into discourse, but rather, language operates in service of the flesh, articulating a profoundly incarnational devotion, not divested of the body that produced it. My first chapter explores these themes in Aelred of Rievaulx's (died 1167 CE) De institutione inclusarum and De Iesu puero duodennni, where I examine the way Aelred constructs an economy of affect through his manipulation of readers' desire through the focalization of their gaze on the body of Christ. In my second chapter, I analyze John Whiterig's (died 1371 CE) Meditacio ad Crucifixum, and notably his erotic semiotics, and erotic interpretation of the Crucifixion, following a four-fold biblical exegesis. Third, I look at the way the The Cloud of Unknowing (late 1300s CE), as part of the “negative” or apophatic tradition, deconstructs some of the typical ideas of cataphatic devotion, positing its own way of accessing the indescribable divine, through darkness, silence, binding, and even anal eroticism. -
Energumen 3 Robert Kelly Bard College
Bard College Bard Digital Commons Robert Kelly Manuscripts Robert Kelly Archive 5-2008 enERGUMEN 3 Robert Kelly Bard College Follow this and additional works at: http://digitalcommons.bard.edu/rk_manuscripts Recommended Citation Kelly, Robert, "enERGUMEN 3" (2008). Robert Kelly Manuscripts. Paper 428. http://digitalcommons.bard.edu/rk_manuscripts/428 This Manuscript is brought to you for free and open access by the Robert Kelly Archive at Bard Digital Commons. It has been accepted for inclusion in Robert Kelly Manuscripts by an authorized administrator of Bard Digital Commons. For more information, please contact [email protected]. RK - Energumen as of 10 February 2008 – Page 1 ENERGUMEN 2 The great time for me is early morning, right after I've awakened. I go downstairs, onto the deck or in the cool dining room (with many windows), and open my bound notebook, usually an ordinary marbled school notebook, and write with a pen, fountain pen or gel or felt tip -- something flexible. Green tea or strong black tea or yerba mate, and I'll stay at that for an hour or two. Later in the morning, after meditation and breakfast, if I have time I'll get to type on the computer, editing and revising poems from the past few days, or from this morning (if I've caught up). So those are the two phases of a poem, the (usually) handwritten first draft and the later (hours or a few days) revision into typed form. As a typed page the poem will sit in my notebook for a long time, reviewed from time to time, revised, remade. -
Noli Me Tangere (1532–3), Royal Collection Titian (C
Easter Scenes Hans Holbein the Younger (c.1497–92) Noli me tangere (1532–3), Royal Collection Titian (c. 1488–1576), Noli me tangere (1511–12) National Gallery, London 6 May 2018 Frances Spalding Songs of Songs 3: 1–5 John 20: 1–18 Some of the greatest paintings in the history of art have been inspired by the Bible, and in particular by the narratives of Christ’s life and death as found in the four gospels. The scene we are thinking about this evening ostensibly represents a quiet moment within this story. In the well-known painting by Titian, one of the two pictures in your service booklet, he wonderfully conveys the quietness and promise of an early morning. Mary Magdalen has discovered Christ’s empty tomb, and, as we have heard, she runs to tell the disciples Peter and John and all three run back to the sepulchre to affirm what she has discovered. They are excited but also confused, as they had been earlier in the gospel according to St John, when Christ says to his disciples: ‘A little while and you will see me no more; again a little while, and you will see me.’ This utterance is so gnomic that he has to repeat it, and he adds: ‘Truly, truly, I say to you, you will weep and lament, but the world will rejoice; you will be sorrowful, but your sorrow will turn to joy.’ This turning point has now been reached. The darkness that covered the earth for three hours at the time of the Crucifixion is in the past and the resurrection stories begin. -
Noli Me Tangere (“Do Not Touch Me”) Or Mary Magdalene Recognizes Christ After His Resurrection
NOLI ME TANGERE Theme: Noli me tangere (“do not touch me”) or Mary Magdalene recognizes Christ after his Resurrection. Keywords: Mary Magdalene, Noli me tangere, Christ, Resurrection Appearances, New Testament, Christian Iconography, Middle Ages Summary : After his resurrection, Christ appears to Mary Magdalene, the most fervent and most beloved of his disciples, and when she tries to hug him he replied “Let me go because I have not yet ascended to the Father.” According to Réau, one had to wonder why the risen Christ does not allow Mary Magdalene to touch him when he allowed the Holy Women and St. Thomas to do it. 1 This contradiction can be understood as a mistranslation of the Greek Me aptou mou . This expression was translated into Latin as “Noli me tangere”, that is “do not touch me.” 2 However, the correct translation would be “do not go on touching me” or “I do not hold on to me.” 3 Attributes and types of representation: The scene of the noli me tangere may appear isolated, as part of the iconographic cycle of the Passion of Christ or as part of the iconographic cycle of the Mary Magdalene. 4 The most popular iconography of Mary Magdalene is the one of the Magdalene kneeling before Christ and spreading her arms to hold on to him. Christ separates his body from the woman’s and extends his right hand to prevent Mary Magdalene from touching him. The scene is usually represented in a garden because the episode took place outdoors. In some cases a palm tree is represented, which would place the action in a garden of Palestine. -
Prophetic Dreams and Visions Concerning the Church, Israel, and the Nations
Prophetic Dreams and Visions concerning the Church, Israel, and the Nations Eric Michael Teitelman Pastor•Teacher•Worship Leader Scripture References Scripture sources: NASB and NKJV Italic text represents scripture, interpretation, or commentary on the dream or vision. Job 33:14-18 “For God may speak in one way, or in another, yet man does not perceive it. In a dream, in a vision of the night, when deep sleep falls upon men, while slumbering on their beds, Then He opens the ears of men, and seals their instruction. In order to turn man from his deed, and conceal pride from man, He keeps back his soul from the Pit, and his life from perishing by the sword.” Exe 12:23-25 “But tell them, The days draw near as well as the fulfillment of every vision. For there will no longer be any false vision or flattering divination within the house of Israel. For I the LORD will speak, and whatever word I speak will be performed. It will no longer be delayed, for in your days, O rebellious house, I will speak the word and perform it, declares the Lord GOD.” Num 12:6 “He said, Hear now My words: If there is a prophet among you, I, the LORD, shall make Myself known to him in a vision. I shall speak with him in a dream.” Dan 1:17 “As for these four young men, God gave them knowledge and skill in all literature and wisdom; and Daniel had understanding in all visions and dreams.” Joe 2:28 “It will come about after this That I will pour out My Spirit on all mankind; And your sons and daughters will prophesy, Your old men will dream dreams, Your young men will see visions.” The Church, Israel, and the Nations thehouseofdavid.org Table of Contents 2004 ............................................................................................................................................................. -
Doug Henwood
WALL STREET WALL STREET How It Works and for Whom DOUG HENWOOD Paperback originally published in 1998 by Verso (New York & London). Published on the web by Doug Henwood in 2005 under a Creative Commons license. See copyright page for further details. Aside from the change in copyright, everything else is exactly as in the paperback edition. First published by Verso 1997 This paperback edition 1998 This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc- nd/2.0/ or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. This Acrobat file can be circulated freely for non-commercial use. It may not be altered, and the author must be identified and credited. Designed and typeset by LBO Graphics, New York The credit system, which has its focal point in the allegedly national banks and the big money-lenders and usurers that surround them, is one enormous centralization and gives this class of parasites a fabulous power not only to decimate the industrial capitalists periodically but also to interfere in actual production in the most dangerous manner— and this crew know nothing of production and have nothing at all to do with it. — Marx, Capital, vol. 3, chap. 33 I’m not a parasite. I’m an investor. — Lyonya Gulubkov, described by the New York Times as “a bumbling Russian Everyman” responding to “Soviet-style” taunts in an ad for the fraudulent MMM investment scheme which collapsed in 1994 Contents Acknowledgments ix Introduction 1 1 Instruments 10 2 Players 56 3 Ensemble 118 4 Market models 137 5 Renegades 187 6 Governance 246 7What is (not) to be done? 301 Appendix 323 Bibliography 333 Index 357 Acknowledgments Though one name usually appears on the cover, a book is a far more collaborative project than that. -
“Noli Me Tangere” and “Incredulity of Thomas” in Word and Image from Early Christianity to the Ottonian Period
To Touch or Not to Touch The “Noli me tangere” and “Incredulity of Thomas” in Word and Image from Early Christianity to the Ottonian Period Lisa Marie Rafanelli Introduction The goal of this paper is to begin an inquiry into the relationship in both word and image between the Noli me tangere and what I consider to be one of its natural foils, the Incredulity of Thomas.1 This “pair” has been largely overlooked by scholars, probably because the events are not system- atically linked in either the visual or verbal cultures. Nevertheless, there is much to be gained from examining instances when they are paired, since both events are recorded only in the Gospel of John, and both present eyewitness testimony of Christ’s Resurrection that hinges on touch, or at least, proffered touch. When treated as pendants, the events highlight important questions about the probative value of the human senses in matters of faith, the relationship between gender and the senses, gender reversal, and apostolic primacy. This paper attempts to locate the earliest examples of the pairing in both word and image. As shown in Part I, the issues raised by the comparison of the expe- riences of Saints Mary Magdalene and Thomas are engaged, directly and indirectly, by Early Christian writers, beginning in the 4th century. Nevertheless, there appears to have been a divergence between the ver- bal and visual cultures in Early Christianity: the Incredulity of Thomas can be found in early Christological cycles by the fourth to fifth centu- ries, while the Noli me tangere is not found until the ninth. -
Scripture for His Purpose”: a Study of Robert Browning's Use of Biblical Allusions in the Ring and the Book
This dissertation has been microfilmed exactly as received 68-3016 LOUCKS, n, James Frederick, 1936- "SCRIPTURE FOR HIS PURPOSE”: A STUDY OF ROBERT BROWNING'S USE OF BIBLICAL ALLUSIONS IN THE RING AND THE BOOK. The Ohio State University, Ph.D., 1967 Language and Literature, modem University Microfilms, Inc.. Ann Arbor, Michigan "SCRIPTURE FOR HIS PURPOSE": A STUDY OF ROBERT BROWNING*S USE OF BIBLICAL ALLUSIONS IN THE RING AND THE BOOK DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University er By James F.c Loucks, II, B.A. , M.A. ****#*• The Ohio State University 1967 Approved by Adviser Department of English Antonio: Mark you this, Bassanio, The dlvel can cite Scripture for his purpose, An evil soul producing holy witness, Is like a villain with a smiling cheek, A goodly apple rotten at the heart, O what a goodly outside falsehood hath. Merchant of Venice (1.3,97-102) ii PREFACE To Browning*s readers it is perhaps a commonplace that the poet makes extraordinarily frequent use of Scriptural allusion, even when considered in the context of his own Bible-quoting age. But few modern readers understand how Browning used these allusions for rhetorical effect; this lack has "been partially remedied by a few sketchy critical studies, presided over by Mrs, Minnie Machen*s The Bible in Browning» which shows commendable knowledge of the Bible, but little of the poet*s use thereof. It was my desire to elucidate some of the obscurer The Ring and the Book pas sages containing Biblical allusions that led me to the pre sent subject; but as I began to collect examples, I became aware that Browning*s manipulation of Scripture raised a larger question, that of the poet*s attitudes toward lan guage itself— its protean, elusive, impermanent and decep tive character. -
The Last Supper
Christ’s Passion in Art Visual Arts Ministry 2020.04.19 Bernard Bell Peninsula Bible Church Cupertino Holy Week • Palm Sunday • Ascension Day (Thursday, 40 days after Easter) • Maundy Thursday • Pentecost Sunday (50 days) • Good Friday • Holy Saturday • Easter Sunday Holy Week • Palm Sunday The Passion • Maundy Thursday • Agony in the Garden • Good Friday • Betrayal & Arrest • Holy Saturday • Trials before Caiaphas, Pilate • Easter Sunday • Sentence • Ascension Day • Way to the Cross (Thursday, 40 days after Easter) • Crucifixion • Pentecost Sunday (50 days) • Burial Sant’Apollinare di Nuovo, Ravenna (504) Byzantine mosaic l. 12th–m. 13th cent. Monreale Cathedral Palermo, Sicily Washing Feet Last Supper Arrest wikimedia commons Byzantine mosaic l. 12th–m. 13th cent. Monreale Cathedral Palermo, Sicily Crucifixion Deposition Entombment wikimedia commons Byzantine mosaic l. 12th–m. 13th cent. Monreale Cathedral Palermo, Sicily Doubting Thomas Noli me tangere wikimedia commons Duccio, Maestà 1308-11, Siena Duccio di Buoninsegna (c. 1255–c. 1318) WGA Front Back Duccio, Maestà 1308-11, Siena Duccio di Buoninsegna (c. 1255–c. 1318) post-resurrection appearances Passion Temptation & Miracles Back WGA Duccio, Maestà 1308-11, Siena Duccio di Buoninsegna (c. 1255–c. 1318) The Passion Cycle WGA Giotto, Arena Chapel 1303-05, Padua Giotto di Bondone (c.1267–1337) Entry into Jerusalem The Last Supper Expulsion of the Money-Changers Judas Being Paid Washing the Feet Giotto Arena Chapel Arrest Mocking Crucifixion Christ before Caiaphas Road to Calvary Lamentation Entry to Jerusalem Duccio, Maestà WGA Entry to Jerusalem Giotto, Scrovegni Chapel Expulsion of the Money-changers Entry to Jerusalem from the Temple wikimedia commons The Last Supper mosaic, e.