DOCSLIB.ORG

Icons May Be Seen As a Primary Form of Religious Image

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Icons May Be Seen As a Primary Form of Religious Image THE VISUAL PORTRAYAL OF MARY MAGDALENE: A CASE STUDY IN FEMINIST ETHICAL ISSUES by DIANA MARY CORMICK submitted in fulfilment of the requirements for the degree of MASTER OF THEOLOGY in the subject THEOLOGICAL ETHICS at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROF L D HULLEY JOINT SUPERVISOR: PROF C LANDMAN NOVEMBER 1992 Mary Magdalene detail from 'Noli me tangere' Giotto di Bondone (1267-1337] Church of S. Francesco, Assisi. (Eimerl 1973:frontispiece) ii TABLE OF CONTENTS ii ACKNOWLEDGMENTS vi LIST OF ILLUSTRATIONS vii xv PREFACE INTRODUCTION xvii CHAPTER ONE: AN EXAMINATION OF THE VISUAL TRADITION IN CHRISTIANITY IN THE ROMAN CATHOLIC CHURCH Introduction 1 1 Written texts and aural imagery 1 1.1. Parables in the teaching example of Jesus 3 1.2. Christian symbolism 5 1.2.1. Emblems 6 . 1.3. Liturgical symbolism 7 1.3.1. Liturgical worship 9 1.3.2. Symbolic movement 11 1.4. Additional religious signs 13 1.5. Religious images 14 1.5.1. Historical use of images in Christianity 15 1.6. Value of images in theology 16 Conclusion 21 CHAPTER TWO: AN EXPLORATION OF THE TWO MOST POPULAR VISUAL IMAGES OF WOMEN FROM A CHRISTIAN PERSPECTIVE: THE VIRGIN MARY AND MARY MAGDALENE Introduction 22 2. Woman as imaged in Christian Art 23 2.1. The most popular images of women: Virgin Mary and Mary Magdalene 27 2.1.1. Introducing the Virgin Mary 29 2.1.1.1. The second Eve 30 2.1.2. Images of the Virgin Mary in Christian Art 37 2.1.2.1. The ethic of woman which developed from iii the influence of the imagery of the Virgin Mary and Eve 41 2.2. Introducing Mary Magdalene 42 2.2.1. The composite figure of Mary Magdalene 43 2.2.2. A fascination with Mary Magdalene 45 2.2.3. Mary Magdalene becomes 'archetypal' 47 Conclusion 47 CHAPTER THREE: AN EXAMINATION OF THE CULT OF MARY MAGDALENE BASED ON HISTORICAL AND HAGIOGRAPHICAL LEGENDARY TRADITIONS Introduction 49 3. Mary Magdalene 49 3.1. Historical tradition 50 3.1.1. Canonical texts 50 3.1.1.1. Orthodox scriptural figure 51 [a] Biblical exegesis of Mary Magdalene in the New Testament 51 3.1.2. Non-canonical, Apochryphal, Gnostic texts 59 3.1.3. The significance of the findings 60 3.1.3.1. The orthodox teaching: Mary Magdalene as an ordinary woman, plays a minor role in salvation history 62 3.1.3.2. The Gnostic teaching: Mary Magdalene has prominent role in salvation history 64 3.2. Hagiographical legendary tradition 70 3.2.1. The Mary Magdalene legends 72 3.3. The demotion of Mary Magdalene 76 3.3.1. Misogyny in the Christian Church 78 3.3.2. The penitent Mary Magdalene 79 Conclusion 80 CHAPTER FOUR: THE VISUAL PORTRAYAL OF MARY MAGDALENE AS REPRESENTED WITHIN THREE CLASSIFICATIONS: PENITENT, PROSTITUTE AND 'BEATA' Introduction 81 4. The tri-partite imagic representation of Mary Magdalene: scriptural, hagiographic and beatific 82 iv [a] Scriptural imagery 82 [b] Hagiographic imagery 84 [c] Beatific imagery 85 4.1. The three modes of characterisation: penitent, prostitute or saint 86 [a] Mary Magdalene as penitent 86 [b] Mary Magdalene as prostitute 87 [c] Mary Magdalene as saint 89 4.2. Iconography of Mary Magdalene 89 4.2.1. Symbolism used in images of Mary Magdalene 94 [1] Colour symbolism 94 [2] Jar of ointment 97 [3] Long flowing hair 99 [4] Nakedness 101 [5] Rich clothing 105 [6] Over-turned casket of jewels 106 [7] Skull and crucifix 107 [8] Tear-filled eyes 108 [9] Reading the scriptures 109 4.3. Comparative analysis of a selected group of artworks 111 4.3.1. Images depicting Mary Magdalene as 'penitent' 111 4.3.2. Images depicting Mary Magdalene as 'prostitute' 116 4.3.3. Images depicting Mary Magdalene as 'beata' 120 4.4. Practical reaction to the visual imagery 123 Conclusion 124 CHAPTER FIVE: A CRITICAL FEMINIST EVALUATION OF THE VISUAL . PORTRAYAL OF MARY MAGDALENE AS PREDETERMINED AND MEDIATED BY THE PATRIARCHAL CHURCH Introduction 125 5. The judgement of Mary Magdalene's character: towards a feminist ethical understanding 126 5.1. Presentation of a feminist critical hermeneutics 126 5.1.1. A hermeneutic of suspicion 129 5.1.1.1. A feminist "lost coin" 130 v 5.1.2. A hermeneutic of proclamation 137 5.1.2.1. Condemnation not proclamation 138 5.1.2.2. "Women are not to teach" 141 5.1.3. A hermeneutic of remembrance 144 5.1.3.1. The problem with Mary Magdalene's discredited past: a prejudiced editing of text 145 5.1.3.2. Women's experience of oppression and sin 149 5.1.3.3. Mary Magdalene as the "resurrected woman" 151 5.1.4. A hermeneutic of "creative actualization" 155 5.1.4.1. Towards reclaiming Mary Magdalene through the creation of positive imagery 156 5.1.4.2. The contribution of women to the Jesus movement 158 5.1.4.3. Cherishing the women's stories through positive imagery: The "Heroic Women Series" 165 5.2. Appraisal of the value of a feminist theological perspective as a liberating hermeneutic tool 169 5.2.1. The centre of theological reflection is 'human worth' 170 5.3. Conclusion: The visual theology that has been presented about Mary Magdalene through Christian art has not communicated a fair image 172 CHAPTER SIX: CONCLUSION 173 APPENDICES A: INDEX OF ARTWORKS DEPICTING MARY MAGDALENE 174 . B: EXTENDED LIST OF HISTORICAL TEXTUAL SOURCES 285 BIBLIOGRAPHY -- ...... 288 rl,,,,,-.-ff!"lll_'Q!l .... <af< M , "!Lt q:·7"';( ::- .~ ..... ~ 4 BllJLIOTE .... '/ .· I • ~":>!I.RY A~C~~s At;inwin ... 1111111111111111111111111 ~1111111111 01501911 vi ACKNOWLEDGEMENTS My thanks go to Prof. L.D.Hulley for his acceptance and guidance through this dissertation. Prof. Christina Landman for her enthusiasm and timely assistance. Prof. Marie Henry Keane for her constant encouragement and inspiration through a long journey of discovery. Jane for the hours of checking through my grammar, and to Sue, David, and Betsy for their patience and willingness to listen, discuss and read. IN ADDITION: The f1nanc1al assistance rendered by the Human Sc1ences Research council towards the cost of this research 1s hereby acknowledged. Op1n1ons expressed or conclusions arrived at are those of the author and are not to be regarded as those of the Human Science Research Council. vii LIST OF ILLUSTRATIONS (The unreferenced pictures have come from picture postcards and Catholic repository 'holy cards', which have been collected over the years). Frontispiece:Mary Magdalene detail from 'Noli me tangere' Giotto di Bondone [1267-1337] Church of S. Francesco, Assisi. (Eimerl 1973:frontispiece). 1. The Holy Trinity opposite page: 14 (c.1411) Andrei Rublev [c.1370-1430] Tretyakov Gallery, Moscow. 2. Lilith 32 (c.1892) Kenyon Cox [1856-1919] (Dijkstra 1986:309). 3. "The fall of man" 32 (c.1508) Michelangelo Buonarroti [1475-1564] Sistine Chapel, Vatican. 4. The Salzburg Missal 36 (c.1481) Berthold Furtmeyr. 5. "Mary Magdalene supporting the body of Christ' 44 Anonymous Brussels artist c. 1500. Photograph courtesy of Musee de Cluny, Paris. 6. Mary Magdalene 83 Mathis Grunewald [ c.14 70 /80-1529] lsenheim altar, Kolmar. (Bruckberger 1953:138). 7. 'Noli me tangere' 92 (c.1512) Titian (Tiziano Vecellio) [d.1576] National Gallery, London. (Thomas 1979:127). 8. 'Noli me tangere' 95 viii (c.1290) Giotto di Sandone [1267-1337] Church of S. Francesco, Assisi. 9. Mystic crucifixion 95 (c.1501) Sandro Botticelli [c.1445-1510] (Wadia 1968:48). 10. "The Magdalene at the home of the Pharisee" 96 (c.1891) Jean Beraud [1849-1935] Musee d'Orsay, Paris. 11 . The Magdalene 97 Maestro di Palazzo Venezia [1400?] (Sienese Painting from 1300-1600 Monte dei Paschi 1953 pl xi iii). 12. Mary Magdalene (c.1451) 98 Stefan Lochner [c.1442-51]. 13. Mary Magdalene 98 Jan van Score! [ c.1495-1562] Rijksmuseum, Amsterdam. (Warner 1985:pl 71). 14. Mary Magdalene 98 Moretto da Brescia [ c.1498-1554] Art Institute of Chicago. (Malvern 1975:138). 15. The Magdalene 99 Bernadina Luini [c.1512-1532] National Gallery of Art, Washington, D.C. (Malvern 1975:176). 16. Pieta 100 Moretto da Brescia [ c.1498-1554] National Gallery of Art, Washington D.C. (Malvern 1975:171). 17. Crucifixion 100 ix David Jones [1895-1974] Qhe Tablet 1985:13 April, frontispiece). 18. "Mary Magdalene receiving communion" 102 (c.1400) detail from the Altarpiece of the Apocalypse, Hamburg in Victoria & Albert Museum, London. (Warner 1985:pl 88). 19. "St Magdalene in ecstasy supported by two angels" 102 (c.1630) Simon Vouet [1590-1649] (Duperray 1988: frontispiece). 20. The Magdalene Altarpiece 103 Lucas Moser [ c.1431] in Pfarrkirche, Tiefenbronn. 21. The elevation of Mary Magdalene 103 (c.1490-92) The Munnerstadt altarpiece Nationalmuseum, Munich. (Das Munster 1987:326,heft 4). 22. The elevation of Mary Magdalene 103 (c.1290) Giotto di Bondone [1267-1337] Church of S. Francesco, Assisi. (Casa Editrice Francescana Assisi 1979. Giotto e i Giotteschi in Assisi.pl.XV). 23. Mary Magdalene 104 Quentin Massys (1464-1530) John G. Johnson Collection, Philadelphia. (Malvern 1975:78). 24. The elevation of the Magdalene 104 Albrecht Durer [1471-1528] (Duperray 1988:63). 25. St Mary Magdalene 104 The Sforza Book of Hours [late 1500] (Malvern 1975:97). x 26. "The beautiful sinner" 104 Gregor Erhart [d.1540] (Sele Arte 46, 1960:pl.3). 27. "The elevation of the Magdalene" 105 Raphael Schiamosi [c.1620-1670] (Duperray 1988:60). 28. St Mary Magdalene 105 (c.1450) Rogier van der Weyden [1399-1464] Louvre, Paris. (Courthion 1958:58). 29. Mary Magdalene 105 (c.1525) Lucas Cranach [1472-1553] (Das Munster 1987:235, heft 3). 30.
Load more

Recommended publications
  • Magdalene Lauridsen (1873–1957): Danish Pioneer in the Field of Home Economics
    Annette Rasmussen and Karen E. Andreasen Aalborg University Magdalene Lauridsen (1873–1957): Danish pioneer in the field of home economics ABSTRACT: Magdalene Lauridsen (1873–1957) founded the first Danish school of home economics 1895 and later, in 1903, the first teacher training college of home economics and housekeeping. She initiated the Association of Teachers in Housekeeping and Home Economics, and the Danish Home Economics and Housekeeping Movement. She fought for the educational rights of women from especially rural areas and was very active in representing the women’s movement in local politics. In this paper, we ask, what characterised her activities in a wider historical perspective and how did she happen to play this particular role in adult education? We analyse these questions by drawing on Nordic studies of women’s role in contemporary society and thus frame it by the history sociology of gender. The empirical material includes both primary and secondary sources to illuminate the life and activities of Magdalene Lauridsen. We conclude the analysis by emphasizing the influences from abroad and from growing up in an active Folk High School environment that made her a pioneer in adult education. KEYWORDS: Home economics, woman pioneer, folk high school movement, education in rural areas, domestication. Introduction Magdalene Lauridsen (1873–1957) was one of the most intriguing fig- ures of Scandinavian adult education during the first half of the 20th century. At a time when women’s social roles were restricted to caring for the home, to providing for a husband, and to having limited access to education, she was a pioneer in launching itinerant courses and evening classes for farmers’ wives and other country homemakers.
    [Show full text]
  • Aiello Calabro (CS) Italy
    Dr. Francesco Gallo OUTSTANDING FAMILIES of Aiello Calabro (CS) Italy from the XVI to the XX centuries EMIGRATION to USA and Canada from 1880 to 1930 Padua, Italy August 2014 1 Photo on front cover: Graphic drawing of Aiello of the XVII century by Pietro Angius 2014, an readaptation of Giovan Battista Pacichelli's drawing of 1693 (see page 6) Photo on page 1: Oil painting of Aiello Calabro by Rosario Bernardo (1993) Photo on back cover: George Benjamin Luks, In the Steerage, 1900 Oil on canvas 77.8 x 48.9 cm North Carolina Museum of Art, Raleigh. Purchased with funds from the Elizabeth Gibson Taylor and Walter Frank Taylor Fund and the North Carolina State Art Society (Robert F. Phifer Bequest), 98.12 2 With deep felt gratitude and humility I dedicate this publication to Prof. Rocco Liberti a pioneer in studying Aiello's local history and author of the books: "Ajello Calabro: note storiche " published in 1969 and "Storia dello Stato di Aiello in Calabria " published in 1978 The author is Francesco Gallo, a Medical Doctor, a Psychiatrist, a Professor at the University of Maryland (European Division) and a local history researcher. He is a member of various historical societies: Historical Association of Calabria, Academy of Cosenza and Historic Salida Inc. 3 Coat of arms of some Aiellese noble families (from the book by Cesare Orlandi (1734-1779): "Delle città d'Italia e sue isole adjacenti compendiose notizie", Printer "Augusta" in Perugia, 1770) 4 SUMMARY of the book Introduction 7 Presentation 9 Brief History of the town of Aiello Calabro
    [Show full text]
  • Bruce Chilton
    Mary Magdalene Bruce Chilton AN IMAGE BOOK PUBLISHED BY DOUBLEDAY Published in the United States by Doubleday, an imprint of the The Doubleday Broadway Publishing Group, a division of Random House, Inc., New York. www.doubleday.com ISBN-10: 0385513186 ISBN-13: 978-0385513180 PRINTED IN THE UNITED STATES OF AMERICA 1 3 5 7 9 10 8 6 4 2 To the Memory of Rose Miller Prologue MARGUERITE IS anyone there? Is there anyone there?“ Marguerite called out loudly. “Yes, right beside you,” I replied, trying to reassure her. People who are dying sometimes wonder whether they are still alive and with people they know. As their priest, I have heard this question a number of times during visits with terminally ill patients. But Marguerite repeated her question despite my response: She wasn’t calling to me at all, and it took me a moment to realize that. I had found Marguerite in bed, on oxygen, and far from her normal, alert self. She was one of my favorites among the congregation of the small Episcopalian church that I serve in Barrytown, New York. She proved to be the best critic of sermons I have ever met. A formidable professional, she had been a social worker in Manhattan and possessed a passion for children’s rights that did not wane with her retirement. After she passed the age of ninety, congestive heart failure gradually sapped life from her. She couldn’t travel to church any longer, but we made it a point to meet at her home late in the afternoon once or twice a month to talk politics, gardening, and religion, drink gin and tonics, and pray together.
    [Show full text]
  • The Petite Commande of 1664: Burlesque in the Gardens of Versailles Thomasf
    The Petite Commande of 1664: Burlesque in the Gardens of Versailles ThomasF. Hedin It was Pierre Francastel who christened the most famous the west (Figs. 1, 2, both showing the expanded zone four program of sculpture in the history of Versailles: the Grande years later). We know the northern end of the axis as the Commande of 1674.1 The program consisted of twenty-four Allee d'Eau. The upper half of the zone, which is divided into statues and was planned for the Parterre d'Eau, a square two identical halves, is known to us today as the Parterre du puzzle of basins that lay on the terrace in front of the main Nord (Fig. 2). The axis terminates in a round pool, known in western facade for about ten years. The puzzle itself was the sources as "le rondeau" and sometimes "le grand ron- designed by Andre Le N6tre or Charles Le Brun, or by the deau."2 The wall in back of it takes a series of ninety-degree two artists working together, but the two dozen statues were turns as it travels along, leaving two niches in the middle and designed by Le Brun alone. They break down into six quar- another to either side (Fig. 1). The woods on the pool's tets: the Elements, the Seasons, the Parts of the Day, the Parts of southern side have four right-angled niches of their own, the World, the Temperamentsof Man, and the Poems. The balancing those in the wall. On July 17, 1664, during the Grande Commande of 1674 was not the first program of construction of the wall, Le Notre informed the king by statues in the gardens of Versailles, although it certainly was memo that he was erecting an iron gate, some seventy feet the largest and most elaborate from an iconographic point of long, in the middle of it.3 Along with his text he sent a view.
    [Show full text]
  • Treacherous 'Saracens' and Integrated Muslims
    TREACHEROUS ‘SARACENS’ AND INTEGRATED MUSLIMS: THE ISLAMIC OUTLAW IN ROBIN HOOD’S BAND AND THE RE-IMAGINING OF ENGLISH IDENTITY, 1800 TO THE PRESENT 1 ERIC MARTONE Stony Brook University [email protected] 53 In a recent Associated Press article on the impending decay of Sherwood Forest, a director of the conservancy forestry commission remarked, “If you ask someone to think of something typically English or British, they think of the Sherwood Forest and Robin Hood… They are part of our national identity” (Schuman 2007: 1). As this quote suggests, Robin Hood has become an integral component of what it means to be English. Yet the solidification of Robin Hood as a national symbol only dates from the 19 th century. The Robin Hood legend is an evolving narrative. Each generation has been free to appropriate Robin Hood for its own purposes and to graft elements of its contemporary society onto Robin’s medieval world. In this process, modern society has re-imagined the past to suit various needs. One of the needs for which Robin Hood has been re-imagined during late modern history has been the refashioning of English identity. What it means to be English has not been static, but rather in a constant state of revision during the past two centuries. Therefore, Robin Hood has been adjusted accordingly. Fictional narratives erase the incongruities through which national identity was formed into a linear and seemingly inevitable progression, thereby fashioning modern national consciousness. As social scientist Etiénne Balibar argues, the “formation of the nation thus appears as the fulfillment of a ‘project’ stretching over centuries, in which there are different stages and moments of coming to self-awareness” (1991: 86).
    [Show full text]
  • Paradise for Lovers
    GOURMET RESTAURANT - HOTEL GOURMET Paradise for Lovers PRESS KIT 2017-2018 “Nowhere else will you find a more beautiful harmony between CONTENTS the water, the sky, the mountains, and the land” Honoré de Balzac A HAVEN OF PEACE ............................................................................................ 6 A LONG HISTORY ................................................................................................. 8 GUEST ROOMS .................................................................................................... 12 THE GOURMET RESTAURANT .................................................................... 32 WINE-TASTING CELLAR ................................................................................. 38 FIND OUT MORE .............................................................................................. 40 PRACTICAL INFORMATION AND RATES ............................................... 48 GOURMET RESTAURANT - HOTEL Route du port 73370 BOURDEAU Tél : +33 (0)4 79 62 12 83 www.chateau-bourdeau.fr www.facebook.com/chateaudebourdeau www.twitter.com/chateaubourdeau www.instagram.com/chateaudebourdeau Media contact : Delphine Evans +33 (0)6 60 19 10 33 - [email protected] Media zone : www.chateau-bourdeau.fr/espace-presse Photos credits: Baptiste Robin // Texts p. 40-46: www.savoie-mont-blanc.com Design : www.in-pressco.com 3 Oh Time, suspend your flight, and you, favourable hours, Suspend your flow! Let us savour the furtive delights Of these most beautiful days!" Alphonse de Lamartine
    [Show full text]
  • New Editions 2012
    January – February 2013 Volume 2, Number 5 New Editions 2012: Reviews and Listings of Important Prints and Editions from Around the World • New Section: <100 Faye Hirsch on Nicole Eisenman • Wade Guyton OS at the Whitney • Zarina: Paper Like Skin • Superstorm Sandy • News History. Analysis. Criticism. Reviews. News. Art in Print. In print and online. www.artinprint.org Subscribe to Art in Print. January – February 2013 In This Issue Volume 2, Number 5 Editor-in-Chief Susan Tallman 2 Susan Tallman On Visibility Associate Publisher New Editions 2012 Index 3 Julie Bernatz Managing Editor Faye Hirsch 4 Annkathrin Murray Nicole Eisenman’s Year of Printing Prodigiously Associate Editor Amelia Ishmael New Editions 2012 Reviews A–Z 10 Design Director <100 42 Skip Langer Design Associate Exhibition Reviews Raymond Hayen Charles Schultz 44 Wade Guyton OS M. Brian Tichenor & Raun Thorp 46 Zarina: Paper Like Skin New Editions Listings 48 News of the Print World 58 Superstorm Sandy 62 Contributors 68 Membership Subscription Form 70 Cover Image: Rirkrit Tiravanija, I Am Busy (2012), 100% cotton towel. Published by WOW (Works on Whatever), New York, NY. Photo: James Ewing, courtesy Art Production Fund. This page: Barbara Takenaga, detail of Day for Night, State I (2012), aquatint, sugar lift, spit bite and white ground with hand coloring by the artist. Printed and published by Wingate Studio, Hinsdale, NH. Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org [email protected] No part of this periodical may be published without the written consent of the publisher.
    [Show full text]
  • Cœur De Savoie Savoie, Lake Bourget
    Service providers CRUISES ON LAKE BOURGET FLIGHTS OVER SAVOIE’S VINEYARDS Two companies offer cruises on Lake Bourget and Rectimo Air Transports along the Savières canal. Numerous packages are Rectimo provides light aircraft (three passengers) and available to allow visitors to discover France’s helicopter sightseeing flights from Voglans (between largest natural lake: the untamed shore and its Chambéry and Aix les Bains). birdlife, Hautecombe Abbey, the canal and its bea- Introductory flight: 30 minutes LIGHT AIRCRAFT from vers, the lock, etc. €120 HELICOPTER from €205 La Compagnie des Bateaux du Lac du Bourget Possibilities for flights beyond the vineyards include: et du Haut Rhône Mont Blanc (1 hr 30 min flying time €540 - 3 people) 2016 A wide range of cruises are available to add to your The Lakes of the Alps: (€360 - 3 people) The Chartreuse: (€300 - 3 people) programme: simple lake crossing from the Grand Port in Aix les Bains to Hautecombe Abbey, lunch cruises, The Bauges: (€300 - 3 people) dinner cruises, cruises with on-board entertainment, www.aix-ailes.fr etc. www.compagniedesbateauxdulac.fr SHORT -BREAK IDEAS La Compagnie Bateau Canal Bateau Canal runs a variety of cruises starting from CALL A WINE SPECIALIST Chanaz. Excursions last from a few hours to a whole Alpes Flaveurs - Bernard Vissoud day and take in the Savières canal, the lake and the Rhone with its locks. Commentary is provided by the Excursions, hikes, tastings, etc. boat’s captain. Meals can be provided on board. Bernard Vissoud is a walking guide, Nordic walking www.bateaucanal.com instructor and holder of a higher diploma in wine- growing and oenology.
    [Show full text]
  • The Beyond Heroes Roleplaying Game Book I: the Player's Guide
    1 2 The Beyond Heroes Roleplaying Game Book XXXII The Book of Earth’s Chronology Writing and Design: Marco Ferraro The Book of the History of the World Copyright © 2020 Marco Ferraro All Rights Reserved This is meant as an amateur free fan production. Absolutely no money is generated from it. Wizards of the Coast, Dungeons & Dragons, and their logos are trademarks of Wizards of the Coast LLC in the United States and other countries. © 2018 Wizards. All Rights Reserved. Beyond Heroes is not affiliated with, endorsed, sponsored, or specifically approved by Wizards of the Coast LLC. Contents Foreword 3 Creation Era 20,000,000,000 BC - 100,000 BC 3 Atlantean Era 100,000 BC - 70,000 BC 7 Dark Ages Era 70,000 BC - 20,500 BC 9 Roman Era 12,042 BC - 160 AD 12 Middle Ages Era 161 AD - 1580 AD 22 Discovery Era 1581 AD - 1900 AD 35 Heroic Era 1901 AD - 2100 AD 43 Enlightenment Era 2101 AD - 2499 AD 87 Far Future Era 2500 AD – 999,999 AD 107 Final Era 1,000,000 AD+ 112 3 Foreword The Creation Era The Beyond Heroes Role Playing Game 20,000,000,000 BC - The Big Bang is based on a heavily revised derivative creates the currently existing universe. version of the rules system from From the massive explosion mass and Advanced Dungeons and Dragons 2nd energy condense to form the universe. edition. It also makes extensive use of This is repeated an infinite amount of the optional point buying system as times over the multiverse.
    [Show full text]
  • From Artistic Engraving to Reproductive Engraving Through a Critical/Analytical Study of Abraham Bosse’S Treatise
    International Journal of Humanities and Social Science Vol. 4, No. 7; May 2014 From Artistic Engraving to Reproductive Engraving through a Critical/analytical Study of Abraham Bosse’s Treatise Eva Figueras Ferrer University of Barcelona Faculty of Fine Arts Department of Painting Spain Abstract Such is the ideological disparity between Abraham Bosse’s first intaglio review (1645) and the extended revised edition by N. Ch Cochin (1745), that we can virtually speak of two different works: In order to understand the conceptual gap between the two, it is important to take into account, that when the Academy of Fine Arts of Paris was founded, in the second half of the XVII century, in France there was a fundamental shift of thought regarding art education and training, and art in general. Keywords: Engraving; Chalcographic reviews; Academic aesthetic; Artistic printmaking; Printmaking reproductions 1. Introduction In 1645 a treatise on chalcographic engraving entitled Traité des manières de graver en taille douce sur l'airin par le moyen des Eaux Fortes & des Vernis Durs & Mols (‘Treatise on the manners of intaglio on copper plates by means of Etching & Soft & Hard Grounds’)1 by Abraham Bosse was published in Paris. Bosse was a pioneer in theorizing on the art of engraving. His work was republished several times in less than a century, and it became a reference point and a source of inspiration for many subsequent European theoreticians, as the versions published in languages including German, English, Portuguese and Spanish can verify.2 In addition to the translations, references to Bosse’s treatise can be found in most engraving manuals published throughout history.
    [Show full text]
  • L'ombre Du Punisher 13 Mai 2016, Par William Blanc
    L'ombre du Punisher 13 mai 2016, par William Blanc Conway Gerry (scénario), Andru Ross (dessins), The Amazing Spider-Man #129, février 1974. Première apparition du Punisher. Le Punisher, anti-héros à la tête de mort et l'un des personnages les plus célèbres de Marvel Comics, apparaît pour la première fois dans The Amazing Spider-Man #129. On le voit tenter de tuer Peter Parker, convaincu qu'il s'agit d'un meurtrier et d'un criminel. Peu à peu, le personnage se développe. On apprend qu'il se nomme Frank Castiglione (ou Frank Castle) et qu'il mène une guerre sans merci aux malfaiteurs depuis que des mafiosi ont tué sa famille. Très vite, il devient l'un des vilains les plus populaires de Marvel Comics. Confronté plusieurs fois à Spider-Man, il se retrouve également face à face avec Captain America et Daredevil. À chaque fois, les méthodes expéditives de l'anti-héros usant volontier d'armes à feu permettent de jeter une lumière positive sur les super-héros (qui eux, n'utilsent généralement que de leurs poings). C'est particulièrement flagrant dans Daredevil #183 (juin 1982) dessiné et scénarisé notamment par Frank Miller dans lequel l'usage par Frank Castle de pistolets ou de fusils est condamné au profit de la méthode du héros Matt Murdock qui veut lui amener les criminels devant la justice. McKenzie Roger (scénario) Miller Frank (scénario et dessins), Janson Klaus (dessins), Daredevil, #183, juin 1982. Cet épisode de Daredevil est aussi l'occasion de critiquer vivement l'usage des armes à feu.
    [Show full text]
  • Priory of Sion.Pdf
    Priory of Sion members Pierre Plantard Leonardo da Vinci Philippe, Marquis de Chérisey Isaac Newton According to the Dossiers secrets, the primary aim of the Priory of Sion is the protection and advancement of the descendants of the Merovingian dynasty, their ultimate objective being placing them on the throne of – or at least in positions of power and influence in - France. The President of the 1956 Priory of Sion was Andre Bonhomme. Andre Bonhomme was one of the four founding members of the Priory of Sion in Annemasse in 1956, along with Pierre Plantard. He is tired of being harassed by inquiries about the nature of the association and doesn't want any publicity - he refuses to be interviewed on tv or radio. He doesn't understand where people get the idea that the Priory was anything other than what it was - just a small club of friends. This was the statement he made to the BBC in 1996: "The Priory of Sion doesn't exist anymore. We were never involved in any activities of a political nature. It was four friends who came together to have fun. We called ourselves the Priory of Sion because there was a mountain by the same name close-by. I haven't seen Pierre Plantard in over 20 years and I don't know what he's up to but he always had a great imagination. I don't know why people try to make such a big thing out of nothing." And to quote French Researcher Jean-Luc Chaumeil from his 1994 book ‘The Table Of Isis, Part 2, The Templars Of The Apocalypse: The Message Of A Sacred Enigma - Tales, Legends And Myths Of Rennes-le-Chateau’: "Finally, the Priory of Sion was created in 1956.
    [Show full text]