Sanctity

2018 ◽  
pp. 262-279
Author(s):  
Neema Parvini
Keyword(s):  
Thomas Aquinas ◽  
King Lear ◽  
John Calvin ◽  
Richard Iii ◽  
Timon Of Athens

This chapter examines the link between sin and dirtiness, disease or contagion in Shakespeare by looking at some key examples in King Lear, Timon of Athens, Othello, Richard III, Hamlet,Othello, and Macbeth. It also compares Shakespeare’s sometimes gruesome descriptions of degradation with those found in the Protestant theology of Richard Hooker and John Calvin, who each provide dark visons of human impurity. It also cross references Catholic teachings on sin as embodied in Thomas Aquinas. In the process, the chapter attempts to discover what was sacred to Shakespeare.

scholarly journals The work of the couple Brailowsky in the mirror of Serbian critiques

Muzikologija ◽  
2003 ◽  
pp. 81-113 ◽  
Author(s):  
Nadezda Mosusova
Keyword(s):  
King Lear ◽  
Merchant Of Venice ◽  
Richard Iii ◽  
National Theatre ◽  
The World ◽  
Historical Dramas ◽  
Queen Of Spades ◽  
Artistic Career ◽  
Edmond Rostand ◽  
Husband And Wife

Leonid (1867-1937) and Rimma (1877-1959) Brailowsky brought to Belgrade National theatre (together with other Russian emigrated stage and costume designers) the spirit of the World of Art (Mir Iskusstva), making d?cor and costumes for 18 performances during the period of 1921-1924. Les romanesques by Edmond Rostand, Le malade imaginaire by Moli?re, Shakespeare's Richard III, Merchant of Venice and King Lear and two Serbian dramas, Offenbach's Hoffmann's Tales, Faust by Gounod, Smetana's Bartered Bride, Bizet's Carmen Onegin and Queen of Spades by Tchaikovsky, Massenet's Manon, The Tsar's Bride by Rimsky-Korsakov, The Wedding of Milos by Petar Konjovic, the Serbian opera composer, two ballets, Sheherazade and Nutcracker. The artists, husband and wife, were praised for their modernization of the Belgrade scene, for their vivid realization of sets and costumes, for their novelties, especially in Serbian historical dramas by Branislav Nusic and Milutin Bojic, and Shakespeare as well. In operas and ballets they were also respected in some extent, but the pictorial, sometimes independent value of their scenic work, although inspired by music, arouse opposing questions among the musical critics, who could not accept their too bright colors which once conquered Paris in the scenic interpretation of Leon Bakst or Nikolai Roerich. To avoid resistance of Belgrade critics the couple decided to leave Yugoslav capital for Italy where they continued successfully their artistic career.

scholarly journals Mengubah Air Filsafat Menjadi Anggur Teologi

2010 ◽  
Vol 11 (2) ◽  
pp. 171-185
Author(s):  
Kalvin S. Budiman
Keyword(s):  
Thomas Aquinas ◽  
John Calvin

Apakah peran filsafat dalam teologi? Pemakaian filsafat dalam disiplin teologi memiliki sejarah yang panjang dan seringkali diterima dengan rasa curiga dan was-was. Kutipan di atas diambil dari salah satu tulisan Thomas Aquinas, seorang tokoh utama dalam sejarah Gereja di Abad Pertengahan, yang terkenal karena tafsirannya terhadap tulisan-tulisan filsuf besar Yunani, Aristoteles, dan karena usahanya untuk memakai filsafat dalam teologi. Pada akhirnya, di mata sebagian besar orang Kristen, Aquinas lebih diingat sebagai seorang filsuf ketimbang seorang teolog, apalagi penafsir Alkitab. Padahal jabatan yang diemban oleh Aquinas semasa hidupnya adalah sebagai baccalaureus biblicus dan magister in theologia. Khususnya di kalangan kaum injili, Aquinas memiliki reputasi yang kurang baik karena dianggap telah mencemari kemurnian injil atau teologi Kristen dengan racun pemikiran manusia atau filsafat. Kebalikan dari kesimpulan Aquinas sendiri sebagaimana yang ia ungkapkan dalam kutipan di atas, Aquinas justru sering dipakai sebagai contoh tentang bentuk penculikan teologi Kristen ke dalam ranah filsafat yang asing bagi injil. ... Di dalam tulisan yang tidak terlalu panjang ini, lewat pengamatan terhadap dua tokoh dalam sejarah Gereja, saya ingin mengajak pembaca untuk mempelajari kaitan dan peran filsafat dalam teologi. Tulisan ini bermaksud untuk membandingkan pemakaian filsafat oleh Thomas Aquinas dan oleh John Calvin. Tulisan ini juga bertujuan untuk menjawab kesalahpahaman umum terhadap kedua tokoh ini. Yang pertama (Aquinas) sering dianggap telah mencemari teologi Kristen dengan filsafat; yang kedua (Calvin) seringkali diabaikan dalam diskusi tentang peran filsafat dalam teologi. Kedua asumsi ini perlu diluruskan dengan tujuan untuk mempelajari dengan benar warisan pemikiran Kristen tentang kaitan antara filsafat dan teologi.

Care

2018 ◽  
pp. 280-294
Author(s):  
Neema Parvini
Keyword(s):  
Human Nature ◽  
King Lear ◽  
Moral Order ◽  
Richard Iii ◽  
Titus Andronicus ◽  
State Of Nature ◽  
Henry Vi

This chapter assesses the extent to which harm is caused in Shakespeare’s plays when the moral order breaks down by focusing on plays in which the dramatis personae revert to the Hobbesian state of nature and unspeakable cruelty: Titus Andronicus, 3 Henry VI, Richard III, and King Lear. In such moments Shakespeare seems to invoke the image of the tiger, which he only uses fifteen times in all his works. In the constrained or tragic vison (Thomas Sowell), when there are no institutions with which to reinforce the morals that bind people together (authority, loyalty, fairness, sanctity), the worst aspects of humanity – as embodied in the tiger – are granted their fullest expression. However, in Shakespeare’s version of this vision, human nature provides the seeds of its own rebirth.

Predestination

2018 ◽  
Author(s):  
George I. Mavrodes
Keyword(s):  
Thomas Aquinas ◽  
The Other ◽  
John Calvin ◽  
Eternal Life ◽  
Human Beings ◽  
Equal Condition ◽  
Divine Grace ◽  
The World ◽  
The Will ◽  
Determining Factor

Predestination appears to be a religious or theological version of universal determinism, a version in which the final determining factor is the will or action of God. It is most often associated with the theological tradition of Calvinism, although some theologians outside the Calvinist tradition, or prior to it (for example, Augustine and Thomas Aquinas), profess similar doctrines. The idea of predestination also plays a role in some religions other than Christianity, perhaps most notably in Islam. Sometimes the idea of predestination is formulated in a comparatively restricted way, being applied only to the manner in which the divine grace of salvation is said to be extended to some human beings and not to others. John Calvin, for example, writes: We call predestination God’s eternal decree, by which he compacted with himself what he willed to become of each man. For all are not created in equal condition; rather, eternal life is foreordained for some, eternal damnation for others. Therefore, as any man has been created to one or the other of these ends, we speak of him as predestined to life or to death. (Institutes, bk 3, ch. 21, sec. 5) At other times, however, the idea is applied more generally to the whole course of events in the world; whatever happens in the world is determined by the will of God. Philosophically, the most interesting aspects of the doctrine are not essentially linked with salvation. For instance, if God is the first cause of all that happens, how can people be said to have free will? One answer may be that people are free in so far as they act in accordance with their own motives and desires, even if these are determined by God. Another problem is that the doctrine seems to make God ultimately responsible for sin. A possible response here is to distinguish between actively causing something and passively allowing it to happen, and to say that God merely allows people to sin; it is then human agents who actively choose to sin and God is therefore not responsible.

WORD LINKS BETWEEN “TIMON OF ATHENS” AND “KING LEAR”

1978 ◽  
Vol CCXXIII (apr) ◽  
pp. 147-149
Author(s):  
ELIOT SLATER
Keyword(s):  
King Lear ◽  
Timon Of Athens

Shakespeare on the Stage in Restoration Dublin

PMLA ◽  
1941 ◽  
Vol 56 (2) ◽  
pp. 369-378 ◽  
Author(s):  
R. C. Bald
Keyword(s):  
King Lear ◽  
The Other ◽  
Henry Viii ◽  
The Winter's Tale ◽  
Twelfth Night ◽  
Winter's Tale ◽  
Original Volume ◽  
Timon Of Athens

The Folger Shakespeare Library possesses a number of separate plays, all from the Shakespearian Third Folio, and all bearing unmistakable signs of theatrical annotation. They were acquired by Mr. Folger from a variety of sources: the majority were bought from a bookseller in Munich, one was purchased in London, and another came with the Warwick Castle collection of Shakespeariana. There are nine plays in all: The Comedy of Errors, The Merry Wives of Windsor, Twelfth Night, The Winter's Tale, Henry VIII, Timon of Athens, Macbeth, King Lear, and Othello, but three of them—The Merry Wives, Macbeth, and Othello—are imperfect. It soon became clear that they were all from the same original volume, which, apparently, had belonged to Halliwell-Phillipps and was dismembered by him. The bindings of the separate plays—half leather, with boards of marbled paper or purplish-brown cloth—are obviously all the work of one binder, and are similar to the bindings of other books which have passed through Halliwell-Phillipps's hands. In addition, his handwriting is to be found in six of them: in The Merry Wives and Macbeth there is an inscription on one of the preliminary flyleaves, and in the other four there is a mere “C. and P.” on a fly-leaf at the end of the book.

The Time Is Out of Joint

2017 ◽  
Author(s):  
Robert Shaughnessy
Keyword(s):  
Frame Of Reference ◽  
King Lear ◽  
Jet Lag ◽  
Richard Iii ◽  
Point Of Departure ◽  
Unexpected Consequences

One of the culturally dominant means through which time is conceptualized as space, and vice versa, jet lag has increasingly become a metaphor we live by. It has particular resonances for Shakespearean performance, a phenomenon that is, by definition, perpetually out of time. Taking as a point of departure Brian Cox’s 1991 account of his experience of the National Theatre’s touring productions of King Lear and Richard III, this chapter aligns the predicament of the jet -lagged traveller, the off-form actor, and the jet-lagged, off-form travelling actor to argue that their mutual predicament offers an under-explored frame of reference for performance in general and for Shakespeare in performance in particular. It examines how mechanisms of synchrony (or entrainment) shape the actor’s work in performance and with the audience. It also examines the implications of theatrical good and bad timing, and the sometimes unexpected consequences of time getting out of joint.

Animals and Innocents

2003 ◽  
Vol 59 (4) ◽  
pp. 559-582 ◽  
Author(s):  
John Wall
Keyword(s):  
United States ◽  
The United States ◽  
Thomas Aquinas ◽  
Christian Ethics ◽  
John Calvin ◽  
Child Rearing ◽  
Friedrich Schleiermacher ◽  
Christian Tradition ◽  
United States Today ◽  
Meaning And Purpose

This article develops a Christian ethics of child-rearing that addresses the plight of children in the United States today. It seeks greater clarity on what Christians should view as child-rearing's larger meaning and purpose, as well as the responsibilities this meaning and purpose impose on parents, communities, churches, and the state. The article first explores three major but quite distinct models of child-rearing ethics in the Christian tradition—those of Thomas Aquinas, John Calvin, and Friedrich Schleiermacher—and then proposes a new “critical covenant” that appropriates these traditions, in conjunction with feminist and liberationist critiques, into a publicly meaningful Christian ethics of child-rearing for today.

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