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Buffy & Angel Watching Order
Start with: End with: BtVS 11 Welcome to the Hellmouth Angel 41 Deep Down BtVS 11 The Harvest Angel 41 Ground State BtVS 11 Witch Angel 41 The House Always Wins BtVS 11 Teacher's Pet Angel 41 Slouching Toward Bethlehem BtVS 12 Never Kill a Boy on the First Date Angel 42 Supersymmetry BtVS 12 The Pack Angel 42 Spin the Bottle BtVS 12 Angel Angel 42 Apocalypse, Nowish BtVS 12 I, Robot... You, Jane Angel 42 Habeas Corpses BtVS 13 The Puppet Show Angel 43 Long Day's Journey BtVS 13 Nightmares Angel 43 Awakening BtVS 13 Out of Mind, Out of Sight Angel 43 Soulless BtVS 13 Prophecy Girl Angel 44 Calvary Angel 44 Salvage BtVS 21 When She Was Bad Angel 44 Release BtVS 21 Some Assembly Required Angel 44 Orpheus BtVS 21 School Hard Angel 45 Players BtVS 21 Inca Mummy Girl Angel 45 Inside Out BtVS 22 Reptile Boy Angel 45 Shiny Happy People BtVS 22 Halloween Angel 45 The Magic Bullet BtVS 22 Lie to Me Angel 46 Sacrifice BtVS 22 The Dark Age Angel 46 Peace Out BtVS 23 What's My Line, Part One Angel 46 Home BtVS 23 What's My Line, Part Two BtVS 23 Ted BtVS 71 Lessons BtVS 23 Bad Eggs BtVS 71 Beneath You BtVS 24 Surprise BtVS 71 Same Time, Same Place BtVS 24 Innocence BtVS 71 Help BtVS 24 Phases BtVS 72 Selfless BtVS 24 Bewitched, Bothered and Bewildered BtVS 72 Him BtVS 25 Passion BtVS 72 Conversations with Dead People BtVS 25 Killed by Death BtVS 72 Sleeper BtVS 25 I Only Have Eyes for You BtVS 73 Never Leave Me BtVS 25 Go Fish BtVS 73 Bring on the Night BtVS 26 Becoming, Part One BtVS 73 Showtime BtVS 26 Becoming, Part Two BtVS 74 Potential BtVS 74 -
A Performer's Guide to Minoru Miki's Sohmon III for Soprano, Marimba and Piano (1988)
University of Cincinnati Date: 4/22/2011 I, Margaret T Ozaki-Graves , hereby submit this original work as part of the requirements for the degree of Doctor of Musical Arts in Voice. It is entitled: A Performer’s Guide to Minoru Miki’s _Sohmon III for Soprano, Marimba and Piano_ (1988) Student's name: Margaret T Ozaki-Graves This work and its defense approved by: Committee chair: Jeongwon Joe, PhD Committee member: William McGraw, MM Committee member: Barbara Paver, MM 1581 Last Printed:4/29/2011 Document Of Defense Form A Performer’s Guide to Minoru Miki’s Sohmon III for Soprano, Marimba and Piano (1988) A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Performance Studies Division of the College-Conservatory of Music by Margaret Ozaki-Graves B.M., Lawrence University, 2003 M.M., University of Cincinnati, 2007 April 22, 2011 Committee Chair: Jeongwon Joe, Ph.D. ABSTRACT Japanese composer Minoru Miki (b. 1930) uses his music as a vehicle to promote cross- cultural awareness and world peace, while displaying a self-proclaimed preoccupation with ethnic mixture, which he calls konketsu. This document intends to be a performance guide to Miki’s Sohmon III: for Soprano, Marimba and Piano (1988). The first chapter provides an introduction to the composer and his work. It also introduces methods of intercultural and artistic borrowing in the Japanese arts, and it defines the four basic principles of Japanese aesthetics. The second chapter focuses on the interpretation and pronunciation of Sohmon III’s song text. -
Images of the Pregnant Body and the Unborn Child in England, 1540–C.1680 Rebecca Whiteley*
Social History of Medicine Vol. 32, No. 2 pp. 241–266 Roy Porter Student Prize Essay Figuring Pictures and Picturing Figures: Images of the Pregnant Body and the Unborn Child in England, 1540–c.1680 Rebecca Whiteley* Summary. Birth figures, or print images of the fetus in the uterus, were immensely popular in mid- wifery and surgical books in Europe in the sixteenth and seventeenth centuries. But despite their central role in the visual culture of pregnancy and childbirth during this period, very little critical attention has been paid to them. This article seeks to address this dearth by examining birth figures in their cultural context and exploring the various ways in which they may have been used and interpreted by early modern viewers. I argue that, through this process of exploring and contextual- ising early modern birth figures, we can gain a richer and more nuanced understanding of the early modern body, how it was visualised, understood and treated. Keywords: midwifery; childbirth; pregnancy; visual culture; print culture An earnest, cherubic toddler floats in what looks like an inverted glass flask. Accompanied by numerous fellows, each figure demonstrates a different acrobatic pos- ture (Figure 1). These images seem strange to a modern eye: while we might suppose they represent a fetus in utero (which indeed they do), we are troubled by their non- naturalistic style, and perhaps by a feeling that they are rich in a symbolism with which we are not familiar. Their first viewers, in England in the 1540s, might also have found them strange, but in a different way, as these images offered to them an entirely new picture of a bodily interior that was largely understood to be both visually inaccessible and inherently mysterious. -
“Living the Dream”
George A. Mason Wilshire Baptist Church th A Season for Dreamers 4 Sunday of Advent 22 December 2019 Last“Living in series, the Dream” Dallas, Texas Luke 1:26-38, 46-55 It was the only thing that always This song is to the country of worked to quiet her. It is the Austria about what Kate Smith’s only thing that works to quiet version of “God Bless America” is him. to us—not a national anthem but a patriotic ballad. Edelweiss is a One of the pleasures of white flower that grows bravely grandparenting is seeing how in the highest altitudes. the children you parented Unfortunately, it’s also too often parent. Kim and I were in New a symbol of racist white power. York a few weeks ago, staying with our daughter, Jillian. It was Lullabies are powerful ways of her son River’s bedtime, and he calming children and putting wasn’t having it. Then I heard it. them to sleep. What I want to A song. A lullaby. Something I suggest to you today is that they hadn’t heard since she was a are also powerful ways of riling little girl that became an people and waking them up to earworm in my head night after act. Lullabies can set you to night—“Edelweiss.” dreaming and also to living the dream. lullaby Jillian grew up with stories. It’s no surprise she majored in The very word is curious. acting inThe college Sound and of isMusic our Some say—and for all the family drama queen, don’t you research I have done this week, I know?! was a still can’t confirmLilith, it—that be gone. -
Jacob Druckman
JACOB DRUCKMAN: LAMIA THAT QUICKENING PULSE | DELIZIE CONTENTE CHE L’ALME BEATE | NOR SPELL NOR CHARM | SUITE FROM MÉDÉE [1] THAT QUICKENING PUlsE (1988) 7:41 JACOB DRUCKMAN 1928–1996 Francesco Cavalli/Jacob Druckman: [2] DELIZIE CONTENTE CHE L’ALME BEATE (arr. 1985) 2:48 THAT QUICKENING PULSE [3] NOR SPELL NOR CHARM (1990) 11:37 DELIZIE CONTENTE CHE L’ALME BEATE Marc-Antoine Charpentier/Jacob Druckman: NOR SPELL NOR CHARM SUITE FROM MÉDÉE (arr. 1985) [4] I. Ouverture 2:14 SUITE FROM MÉDÉE [5] II. Prélude 2:45 [6] III. Rondeau pour les Corinthiens 1:50 LAMIA [7] IV. Loure 4:46 [8] V. Passepied & Choeur 3:24 LAMIA (1986) LUCY SHELTON soprano [9] I. Folk conjuration to make one courageous 2:09 [10] II. Metamorphoses, Book VII; BOSTON MODERN ORCHESTRA PROJECT Folk conjuration to dream of one’s future husband 7:01 [11] III. Folk conjuration against death or other absence GIL ROSE, CONDUCTOR of the soul 4:59 [12] IV. Stanza degli Incanti de Medea; Tristan und Isolde; Periapt against theeves 5:08 TOTAL 56:24 COMMENT By Jacob Druckman Lamia was the name of a sorceress of Greek mythology and has come to mean “sorcer- ess” in the generic sense. The concept of the work grew out of a particular performance of my Animus II by my dear friend and colleague, the great American mezzo-soprano Jan DeGaetani at the Aspen Colorado Music Festival in 1972. Ms. DeGaetani, who has magnificently performed and recorded several of my works, gave a particularly magical performance that night in which everything that sounded and befell seemed to be the direct result of her will and her powers. -
The Divine Pymander of Hermes Mercurius Trismegistus the Divine Pymander of Hermes Mercurius Trismegistus an Egyptian Philosopher
The Divine Pymander of Hermes Mercurius Trismegistus The Divine Pymander of Hermes Mercurius Trismegistus an Egyptian Philosopher In 17 Books translated formerly out of the Arabic into Greek, and thence into Latin, and Dutch, and now out of the Original into English by that Learned Divine Doctor Everard. Printed by Robert White in London in 1650 Judicious Reader, This Book may justly challenge the first place for antiquity, from all of the Books in the World, being written some hundred of years before Moses time, as I shall endeavour to make good. The Original (as far as it is know to us) is Arabic, and several Translations thereof have been published, as Greek, Latin, French, Dutch, etc., but never English before. It is a pity that the Learned Translator [Doctor Everard] is not alive, and received himself, the honour, and thanks due to him from Englishmen; for his good will to, and pains for them, in translating a Book of such infinite worth, out of the Original, into their Mother- tongue. Concerning the Author of the Book itself, Four things are considered, viz His Name, Learning, Country and Time. 1) The name by which he was commonly titled is, Hermes Trismegistus, i.e., Mercurious Ter Maximus, or, The thrice greatest Intelligencer. And well might he be called Hermes, for he was the first Intelligencer in the World (as we read of) that communicated Knowledge to the sons of Men, by Writing, or Engraving. He was called Ter Maximus, for some Reasons, which I shall afterwards mention. 2) His Learning will appear, as by his Works; so by the right understanding the Reason of his Name. -
DECLARATION of Jane Sunderland in Support of Request For
Columbia Pictures Industries Inc v. Bunnell Doc. 373 Att. 1 Exhibit 1 Twentieth Century Fox Film Corporation Motion Pictures 28 DAYS LATER 28 WEEKS LATER ALIEN 3 Alien vs. Predator ANASTASIA Anna And The King (1999) AQUAMARINE Banger Sisters, The Battle For The Planet Of The Apes Beach, The Beauty and the Geek BECAUSE OF WINN-DIXIE BEDAZZLED BEE SEASON BEHIND ENEMY LINES Bend It Like Beckham Beneath The Planet Of The Apes BIG MOMMA'S HOUSE BIG MOMMA'S HOUSE 2 BLACK KNIGHT Black Knight, The Brokedown Palace BROKEN ARROW Broken Arrow (1996) BROKEN LIZARD'S CLUB DREAD BROWN SUGAR BULWORTH CAST AWAY CATCH THAT KID CHAIN REACTION CHASING PAPI CHEAPER BY THE DOZEN CHEAPER BY THE DOZEN 2 Clearing, The CLEOPATRA COMEBACKS, THE Commando Conquest Of The Planet Of The Apes COURAGE UNDER FIRE DAREDEVIL DATE MOVIE 4 Dockets.Justia.com DAY AFTER TOMORROW, THE DECK THE HALLS Deep End, The DEVIL WEARS PRADA, THE DIE HARD DIE HARD 2 DIE HARD WITH A VENGEANCE DODGEBALL: A TRUE UNDERDOG STORY DOWN PERISCOPE DOWN WITH LOVE DRIVE ME CRAZY DRUMLINE DUDE, WHERE'S MY CAR? Edge, The EDWARD SCISSORHANDS ELEKTRA Entrapment EPIC MOVIE ERAGON Escape From The Planet Of The Apes Everyone's Hero Family Stone, The FANTASTIC FOUR FAST FOOD NATION FAT ALBERT FEVER PITCH Fight Club, The FIREHOUSE DOG First $20 Million, The FIRST DAUGHTER FLICKA Flight 93 Flight of the Phoenix, The Fly, The FROM HELL Full Monty, The Garage Days GARDEN STATE GARFIELD GARFIELD A TAIL OF TWO KITTIES GRANDMA'S BOY Great Expectations (1998) HERE ON EARTH HIDE AND SEEK HIGH CRIMES 5 HILLS HAVE -
Easter Seal #11
Easter Seal #11 ‘The Quickening Power of God’ Bro. Lee Vayle - June 5, 1991 Shall we pray. Heavenly Father, we’re grateful to be able to come again to Your house, which You’ve so wonderfully provided for us, beyond all expectations and desires. It’s marvelous how You continue to do Your good work amongst us Lord, giving us the Word which is meat in due season, help for this very day in which we live. Now we pray, Lord, You’ll feed our souls tonight by the bread of life, may we understand that which has been given to us by vindication, and we’ll praise Your Name forever. In Jesus’ Name, we pray. Amen. You may be seated. 1. Now we’re into number 11 of Easter Seal which we did not take last Sunday, took a little message that I wanted to bring you, and now we go back of course to this message that Bro. Branham preached in Phoenix, back in ’65. Now having already dealt with the Easter Seal by way of several hours of comments, it should be no problem to recall that according to Bro. Branham what took place at the resurrection of Jesus, and at Pentecost, has been proven to be historically accurate, because the same Spirit that raised Jesus from the dead is here today, manifesting Itself in the Son of man ministry, which according to Luke 17 precedes the Rapture. Now of course that’s a definitive statement concerning Bro. Branham’s ministry. As the prophet of this hour, Elijah, to the Gentiles, he fulfilled, that is God fulfilled in his ministry, because it would be God, as God is in the prophets and doing all the works. -
2032 Metropolitan Tabernacle Pulpit 1 the CHARGE of the ANGEL NO
Sermon #2032 Metropolitan Tabernacle Pulpit 1 THE CHARGE OF THE ANGEL NO. 2032 A SERMON DELIVERED ON LORD’S DAY MORNING, JULY 8, 1888, BY C. H. SPURGEON, AT THE METROPOLITAN TABERNACLE, NEWINGTON. “But the angel of the Lord by night opened the prison doors, and brought them forth, and said, Go, stand and speak in the temple to the people all the words of this life.” Acts 5:19, 20. THE second persecution of the church, in which all the apostles were put into the common prison, was mainly brought about by the sect of the Sadducees. These, as you know, were the Broad School, the liberals, the advanced thinkers, the modern-thought people of the day. If you want a bitter sneer, a biting sarcasm, or a cruel action, I commend you to these large-minded gentlemen. They are liberal to every- body, except to those who hold the truth, and for those they have a reserve of concentrated bitterness which far excels wormwood and gall. They are so liberal to their brother errorists, that they have no tol- erance to spare for evangelicals. We are expressly told that “the high priest, and all they that were with him (which is the sect of the Sadducees), were filled with indignation.” That which had been done de- served their admiration, but received their indignation. Such gentlemen as these can be warm at a very short notice, when the doctrine of the cross is spreading, and God the Holy Spirit is bearing witness with signs following. Let them display their indignation; it is according to their nature. -
Scheherazade
SCHEHERAZADE The MPC Literary Magazine Issue 4 Scheherazade Scheherazade is the queen of fiction. She married a King who murdered the beautiful women of his domain by first marrying them, and ending their lives on the morning after the wedding. Scheherazade arranged to be married to the King in an attempt to save and preserve the beauty of the kingdom. On the wedding night, after consummation, she woke the King and began to tell him a story about a blue rat and a black cat. She timed her story with the sunrise so that it would not be finished by the time she was to be hung. Captivated by her story, the King granted her a stay of execution until the next day. The story was finished that night, but Scheherazade began a second story that could not be finished by morning, and again the King let her live so that he could hear the end of the story. This went on for 1001 nights. Scheherazade preserved beauty with her stories. Her stories saved her life. The MPC Literary Magazine is named after her, as the writers and poets within are discovering that they have stories within that they want to tell, and by sharing them here they bring a little more beauty into the world. Marc Ferris, Managing Editor Scheherazade Issue 4 Managing Editor Marc Ferris Editorial Staff Michelle Morneau Nicholas McCullough Ruvic Justin Huang Russell Swartz Ben Fasulo Brandon Engholm Supporting the Magazine Please consider a contribution to this magazine. Your support will be much appreciated, and will be acknowledged in both the print and online editions. -
FEAST of Thenativity
THE EVE of the FEAST of the NATIVITY of our LORD 24 DECEMBER 2016 10:30 p.m. CAROLS • 11:00 p.m. HOLY EUchARIST The RIGHT REV’D THOMAS BREIDENTHAL, CELebRANT CAROLS BEFORE THE SERVICE Welcome to Christ Church Cathedral. We are glad you have chosen to celebrate the birth of Jesus with us. Thank you for silencing any devices that might create a distraction during worship. Music for each hymn can be found in the blue Hymnal 1982, located in the pew racks. HYMN Angels, from the realms of glory (no. 93) 1. 3. Angels, from the realms of glory, Sages, leave your contemplations; wing your flight o’er all the earth; brighter visions beam afar: ye, who sang creation’s story, seek the great Desire of nations; now proclaim Messiah’s birth: ye have seen his natal star: come and worship, come and worship, Refrain worship Christ, the newborn King. 2. 4. Shepherds in the field abiding, Saints before the altar bending, watching o’er your flocks by night, watching long in hope and fear, God with you is now residing; suddenly the Lord, descending, yonder shines the infant Light: in his temple shall appear: Refrain Refrain CAROL Sir Christèmas Nowell, nowell. Christ is now born of a pure maid, Who is there that singeth so? In an ox-stall he is laid, I am here, Sir Christèmas. Wherefore sing we at a brayde Welcome, my lord Sir Christèmas! [a l l together]: Welcome to all, both more and less, Nowell, nowell. Come near. Nowell, nowell. Dieu vous garde, beaux sieurs, Buvez bien, buvez bien [drink well] [God keep you, good sirs,] par toute la compagnie Tidings I you bring: [throughout all the company]. -
The-John-Rutter-Christmas-Album
HIS ALBUM GATHERS TOGETHER most of the carols I have Tcomposed over the years, plus a sprinkling of my arrangements of traditional carols, grouped to form a programme which narrates, reflects upon, and celebrates the Christmas story. The I have always enjoyed carols ever since I first sang them as a member of my school choir, and it was not long before I began to write carols of my own— in fact my first two published compositions, written in my teens, were the John Rutter Nativity carol and the Shepherd’s pipe carol. This was more subversive than it sounds: at the time, the only officially approved style of composition for a classically-trained music student was post-Webernian serialism, which never appealed to me much, and writing Christmas carols was an undercover way of Christmas slipping a tune or two into circulation at a time of year when music critics are generally on vacation. No one seemed to mind, so from time to time I have continued to write and arrange carols, encouraged by Sir David Willcocks, my Album senior co-editor on several volumes of the Carols for Choirs series. For any musician involved in choral music, Christmas is an especially joyous time, and I am indeed happy that it has played a part in my musical life for so many years. JOHN RUTTER 2 3 The John Rutter Christmas Album 9 Star carol (2' 50") The Cambridge Singers • The City of London Sinfonia Words and music: John Rutter with Stephen Varcoe (baritone) 10 Candlelight carol (4' 06") Words and music: John Rutter directed by John Rutter 11 Total playing time: 78' 05" Shepherd’s pipe carol (2' 54") Words and music: John Rutter Prologue 12 Christmas lullaby (4' 04") 1 Wexford Carol (3' 58") Irish traditional carol Words and music: John Rutter arranged by John Rutter 13 Dormi, Jesu (4' 35") Baritone solo: Stephen Varcoe Words: medieval, and S.