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| Author | : Michael O'Connell |
| Publisher | : Oxford University Press, USA |
| Total Pages | : 209 |
| Release | : 2000 |
| Genre | : Bible plays |
| ISBN | : 019513205X |
Michael O'Connell shows that Reformation culture was preoccupied with idolatry and that the theatre was attacked as idolatrous. This anti-theatricalism targeted the traditional mystery plays. The text aims to explain what this meant for the secular theatre that followed.
| Author | : Michael O'Connell |
| Publisher | : Oxford University Press |
| Total Pages | : 209 |
| Release | : 2000-01-13 |
| Genre | : Literary Criticism |
| ISBN | : 0195344022 |
This study argues that the century after the Reformation saw a crisis in the way that Europeans expressed their religious experience. Focusing specifically on how this crisis affected the drama of England, O'Connell shows that Reformation culture was preoccupied with idolatry and that the theater was frequently attacked as idolatrous. This anti-theatricalism notably targeted the traditional cycles of mystery plays--a type of vernacular, popular biblical theater that from a modern perspective would seem ideally suited to advance the Reformation project. The Idolatrous Eye provides a wide perspective on iconoclasm in the sixteenth century, and in so doing, helps us to understand why this biblical theater was found transgressive and what this meant for the secular theater that followed.
| Author | : Elizabeth Williamson |
| Publisher | : Routledge |
| Total Pages | : 296 |
| Release | : 2016-04-08 |
| Genre | : Performing Arts |
| ISBN | : 1317068114 |
Offering fuller understandings of both dramatic representations and the complexities of religious culture, this collection reveals the ways in which religion and performance were inextricably linked in early modern England. Its readings extend beyond the interpretation of straightforward religious allusions and suggest new avenues for theorizing the dynamic relationship between religious representations and dramatic ones. By addressing the particular ways in which commercial drama adapted the sensory aspects of religious experience to its own symbolic systems, the volume enacts a methodological shift towards a more nuanced semiotics of theatrical performance. Covering plays by a wide range of dramatists, including Shakespeare, individual essays explore the material conditions of performance, the intricate resonances between dramatic performance and religious ceremonies, and the multiple valences of religious references in early modern plays. Additionally, Religion and Drama in Early Modern England reveals the theater's broad interpretation of post-Reformation Christian practice, as well as its engagement with the religions of Islam, Judaism and paganism.
| Author | : R L Coursey |
| Publisher | : WestBow Press |
| Total Pages | : 405 |
| Release | : 2022-10-18 |
| Genre | : Religion |
| ISBN | : 1664279512 |
Thomas Chalmers, in his classic sermon entited, “The Expulsive Power of a New Affection,” correctly ascribes subjective power to subjective affections, for love does have an expulsive power, whether one loves God to the despising of self, or loves self to the despising of God. But he incorrectly sides with objective justification, full pardon and gracious acceptance as the power that creates love and the engine that empowers sanctification. He is right to suggest that a new affection has expulsive power, but wrong to suggest that the source and power of a new affection is primarily in the indicative benefits. Jonathan Edwards, on the other hand, sided with regeneration for the obvious reason that without a new nature, the natural man can only be constrained by outside considerations (the indicatives) to superficially walk in newness of life (the imperatives). Such considerations mght produce change that rises as high as the outward performance of the Legalist, but it is still only the superficial height that self-love alone can achieve. The Spirit’s work of illuminating the higher glory and beauty of Christ to the soul is the only source of an affection that can be called new. If the expulsive power of a new affection does not dethrone self as one’s primary concern in life and theology, then what exactly is being expulsed by the power of the gospel? If one’s religion does not surpass one’s primary concern for what’s in it for oneself, then one’s self-love may have an expulsive power, but it will be the light of the glory of God in the face of Christ Jesus that is expulsed by the power of self-love. The irony of the cross was that Christ was crucified by those who already had a knowledge of God’s steadfast love and rejoiced in spiritual priviledges. The proper force and source behind the believer’s love for God is not found in the objective benefits as they reflect upon the believer’s high privileges, but God’s power alone as it is exerted in the soul by the Spirit imparting a new heart, new affections and a new principle of action that did not exist prior. Good fruit is produced only by a good tree, and however constrained by outside forces, a bad tree cannot be manipulated to produce fruit contrary to its nature.
| Author | : Moshe Halbertal |
| Publisher | : |
| Total Pages | : 320 |
| Release | : 1992-08-31 |
| Genre | : Religion |
| ISBN | : |
Ranging with authority from the Talmud to Maimonides, from Marx to Nietzsche and on to G.E. Moore, this account of a subject central to our culture also has much to say about metaphor, myth, and the application of philosophical analysis to religious concepts and sensibilities.
| Author | : Peter Rollins |
| Publisher | : Simon and Schuster |
| Total Pages | : 233 |
| Release | : 2013 |
| Genre | : Religion |
| ISBN | : 1451609027 |
We must lay down our certainties and honestly admit our doubts to identify with Jesus. Rollins purposely upsets fundamentalist certainty in order to open readers up to a more loving, active manifestation of Christ's love. He explores how the Good News actually involves embracing the idea that we can't be whole, that life is difficult, and that we are in the dark. By joyfully embracing our brokenness, and courageously accepting the difficulties of existence, we truly rob death of its sting and enter into the fullness of life.
| Author | : E. Randolph Richards |
| Publisher | : InterVarsity Press |
| Total Pages | : 308 |
| Release | : 2020-10-13 |
| Genre | : Religion |
| ISBN | : 0830843795 |
The Bible was written within collectivist cultures. When Westerners, immersed in individualism, read the Bible, it's easy to misinterpret important elements—or miss them altogether. In any culture, the most important things usually go without being said. So to read Scripture well we benefit when we uncover the unspoken social structures and values of its world. We need to recalibrate our vision. Combining the expertise of a biblical scholar and a missionary practitioner, Misreading Scripture with Individualist Eyes is an essential guidebook to the cultural background of the Bible and how it should inform our reading. E. Randolph Richards and Richard James explore deep social structures of the ancient Mediterranean—kinship, patronage, and brokerage—along with their key social tools—honor, shame, and boundaries—that the biblical authors lived in and lie below the surface of each text. From Abraham, Sarah, and Hagar to Peter's instructions to elders, the authors strip away individualist assumptions and bring the world of the biblical writers to life. Expanding on the popular Misreading Scripture with Western Eyes, this book makes clear how understanding collectivism will help us better understand the Bible, which in turn will help us live more faithfully in an increasingly globalized world.
| Author | : Andrea Stevens |
| Publisher | : Edinburgh University Press |
| Total Pages | : 189 |
| Release | : 2013-06-30 |
| Genre | : Literary Criticism |
| ISBN | : 0748670513 |
Recovering a crucial grammar of theatrical representation, this book argues that the onstage embodiment of characters-not just the words written for them to speak-forms an important and overlooked aspect of stage representation.
| Author | : Ellen MacKay |
| Publisher | : University of Chicago Press |
| Total Pages | : 256 |
| Release | : 2011-02-15 |
| Genre | : Literary Criticism |
| ISBN | : 0226500217 |
The theater of early modern England was a disastrous affair. The scant record of its performance demonstrates as much, for what we tend to remember today of the Shakespearean stage and its history are landmark moments of dissolution: the burning down of the Globe, the forced closure of playhouses during outbreaks of the plague, and the abolition of the theater by its Cromwellian opponents. Persecution, Plague, and Fire is a study of these catastrophes and the theory of performance they convey. Ellen MacKay argues that the various disasters that afflicted the English theater during its golden age were no accident but the promised end of a practice built on disappearance and erasure—a kind of fatal performance that left nothing behind but its self-effacing poetics. Bringing together dramatic theory, performance studies, and theatrical, religious, and cultural history, MacKay reveals the period’s radical take on the history and the future of the stage to show just how critical the relation was between early modern English theater and its public.
| Author | : Professor Joanne Rochester |
| Publisher | : Ashgate Publishing, Ltd. |
| Total Pages | : 186 |
| Release | : 2013-04-28 |
| Genre | : Literary Criticism |
| ISBN | : 1409475824 |
The playwrights composing for the London stage between 1580 and 1642 repeatedly staged plays-within and other metatheatrical inserts. Such works present fictionalized spectators as well as performers, providing images of the audience-stage interaction within the theatre. They are as much enactments of the interpretive work of a spectator as of acting, and as such they are a potential source of information about early modern conceptions of audiences, spectatorship and perception. This study examines on-stage spectatorship in three plays by Philip Massinger, head playwright for the King's Men from 1625 to 1640. Each play presents a different form of metatheatrical inset, from the plays-within of The Roman Actor (1626), to the masques-within of The City Madam (1632) to the titular miniature portrait of The Picture (1629), moving thematically from spectator interpretations of dramatic performance, the visual spectacle of the masque to staged 'readings' of static visual art. All three forms present a dramatization of the process of examination, and allow an analysis of Massinger's assumptions about interpretation, perception and spectator response.
