Relevant bibliographies by topics / Latin Religides drama

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Academic literature on the topic 'Latin Religides drama'

Author: Grafiati
Published: 28 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Latin Religides drama"

1

Nahrendorf, Carsten. "1624) (Fundamentalismus und Intertextualität im lutherischen Schuldrama – die Eusebia Magdeburgensis von Johannes Blocius (1624)." Daphnis 44, no. 4 (2016): 515–46. http://dx.doi.org/10.1163/18796583-10000009.

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Johannes Blocius’s Jubilee drama Eusebia Magdeburgensis was performed by the Latin School pupils in 1624 to mark the centenary of the city’s Reformation. Historically attested Lutheran theologians and aldermen figure in the play as embodied exempla for religious faithfulness and willingness to self-sacrifice. This essay demonstrates how Blocius translated into Latin his pre-texts: vernacular flyers and historical sources from Reformation era Magdeburg. Referring to Nicodemus Frischlinʼs Phasma, Blocius skillfully inserted a citation from Plautus, by which he thwarted the orthodox reading of th
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Haskell, Yasmin. "The Vineyard of Verse." Journal of Jesuit Studies 1, no. 1 (2014): 26–46. http://dx.doi.org/10.1163/22141332-00101003.

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This review of scholarship on Jesuit humanistic literature and theater is Latin-oriented because the Society’s sixteenth-century code of studies, the Ratio Studiorum, in force for nearly two centuries, enjoined the study and imitation in Latin of the best classical authors. Notwithstanding this well-known fact, co-ordinated modern scholarship on the Latin poetry, poetics, and drama of the Old Society is patchy. We begin with questions of sources, reception, and style. Then recent work on epic, didactic, and dramatic poetry is considered, and finally, on a handful of “minor” genres. Some genres
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3

Vršecká, Kateřina. "Scénická poznámka středověkého chrámového dramatu z hlediska obsahu a formy. Úvod do problematiky." Divadelní revue 35, no. 1 (2024): 64–80. http://dx.doi.org/10.62851/35.2024.1.04.

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The stage directions of medieval plays, the so-called rubrics, represent a unique and integral part of the dramatic text which is most often examined for the purpose of interpreting and reconstructing the staging aspect of a concrete play or general staging forms and conventions of the period theatre. Somewhat less attention has been paid to formal and stylistic aspects of rubrics, their language, purpose and their diverse functions within the text of the medieval play, their relation to the dialogue, and so on. The study presents the content, style and specific form of the rubrics of medieval
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4

Díaz, Gustavo Herrera. "Ecos órficos y afrobrasileños en Réquiem por Yarini , de Carlos Felipe." Latin American Theatre Review 58, no. 1 (2024): 61–80. https://doi.org/10.1353/ltr.2024.a949368.

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Abstract: In the history of Cuban theatre, the appropriation and racialization of Orpheus have been shaped by Brazilian adaptations of the Orphic myth. In 1964, choreographer Ramiro Guerra staged the Afro-Cuban dance Orfeo Antillano , which was inspired by the French-Brazilian film Orfeu Negro (1959) by Marcel Camus. In 1980, Cuban playwright José Milián premiered Carnaval de Orfeo , a musical play with Yoruba themes that was directly influenced by the Carioca tragedy Orfeu da Conceição (1956) by Vinicius de Moraes. These two Cuban plays reveal a unique and alternative Afro-Latin circuit of tr
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5

Lumsden, Douglas W. "“Touch No Unclean Thing”: Apocalyptic Expressions of Ascetic Spirituality in the Early Middle Ages." Church History 66, no. 2 (1997): 240–51. http://dx.doi.org/10.2307/3170656.

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The earliest Latin commentaries on the Apocalypse of John interpret this strange and powerful text as a revelation of the Christian community's drama as it fulfills the conditions leading to its glorious triumph in the final chapter of God's temporal plan. According to early Latin exegetes, one event—the opening of the seven seals, described in Apocalypse 6:1 through 8:1—represents a microcosm of the whole, revealing the entire purpose for the church's historical development. Throughout the first millennium of Christian history, biblical authorities analyzing the account of the seven seals for
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6

Guerrero Jiménez, Bernardo. "POPULAR RELIGIONS AND CULTURAL IDENTITY IN THE NORTH GRANDE OF CHILE." Revista de Ciencias Sociales 8, no. 9 (1999): 13. http://dx.doi.org/10.61303/07172257.v8i9.70.

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Las relaciones simbólicas entre católicos y pentecostales es el tema del presente artículo. La presencia de la Madre y el Padre son figuras importantes en la vida cotidiana. La presencia de la madre (y la ausencia del padre) por parte de los católicos, y la certeza de contar con un padre -en los pentecostales- crea una dinámica sico-social y cultural que llama la atención. El drama del mestizaje latinoamericano se expresa en el caso de los católicos, en una madre sobreprotectora y generosa, y en un padre ausente constantemente recriminado, pero querido. La Virgen versión andina de la Pachamama
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7

Poole, Stafford. "‘El Yndio Mas Venturoso’: A Spanish Guadalupan Drama of the Early Nineteenth Century." Americas 73, no. 2 (2016): 171–84. http://dx.doi.org/10.1017/tam.2016.36.

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The Catholic missionaries who first brought Christianity to New Spain (colonial Mexico) were often very creative and innovative in their teaching methods. They used various audiovisual devices and, often without realizing it, built on preconquest and pre-Christian concepts, a form of unconscious syncretism. It is widely accepted that the missionary enterprise began in 1524 with the arrival of “The Twelve,” the first Franciscan missionaries. Their initial decision that evangelization would be carried on in the native languages, not Spanish, was crucial and had become Church policy by the eighte
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8

Dobre, Angela Anca. "The Destiny in the Tomitan Funerary Poetry." Analele Universităţii "Dunărea de Jos" din Galaţi Fascicula XIX Istorie 8 (November 27, 2009): 257–62. http://dx.doi.org/10.35219/history.2009.12.

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The destiny is a favorite topic in the Greek and Latin mythology, which defines it as a divine independent body, superior to all deities of the Panthenon, „dictating” the facts even to Zeus. The Greek theatre illustrates the best the relationship between destiny and the individual freedom (to see the Greek drama authors: Eschil, Sophocle, Euripide). The Romans believed as well in Destiny seeing him as a personal genius, supreme judge of everyone’s life. The Greek colony and then the metropolis of the Left Pont, Tomis was perfectly framed into the Greek philosophical-religious system, Hellenist
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9

KREUDER, FRIEDEMANN. "Flagellation of the Son of God and Divine Flagellation: Flagellator Ceremonies and Flagellation Scenes in the Medieval Passion Play." Theatre Research International 33, no. 2 (2008): 176–90. http://dx.doi.org/10.1017/s0307883308003672.

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Medieval Passion Plays appear to be no less violent than the flagellation and crucifixion scenes in Mel Gibson's film The Passion of the Christ. They were performed with what to today's eyes appears to be, in the context of its presentation in a religious play, chillingly intense and explicit violence. This suspicion is supported by surviving descriptions of performances of medieval Passion Plays in London and Metz, in each of which the actor playing Jesus in the crucifixion scene was fatally injured by the thrust of Longinus' spear or nearly died of heart failure. The expansion of what in the
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10

Classen, Albrecht. "The York Corpus Christi Play: Selected Pageants, ed. Christina M. Fitzgerald. Broadview Anthology of Medieval Drama. Peterborough, Ont.: Broadview, 2018, pp. 405, 11 b/w ill." Mediaevistik 31, no. 1 (2018): 489–90. http://dx.doi.org/10.3726/med012018_489.

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We can only be thankful for any efforts to make major or minor medieval texts available to our students today because the knowledge of medieval Latin or vernacular languages is disappearing at an alarming rate. Christina M. Fitzgerald here presents in a very reader-friendly version a selection of pageants in The York Corpus Christi Play from the late fourteenth century (earliest, 1376), consisting of 47 plays in total, 27 of which are reproduced here, and couples those with a selection of contemporary texts to illustrate better the global interest in religious topics for public performance at
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Books on the topic "Latin Religides drama"

1

Giornate filologiche genovesi (13th : 1985), ed. La Coscienza religiosa del letterato pagano. Università di Genova, Facoltà di lettere, Dipartimento di archeologia, filologia classica e loro tradizioni, 1987.

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2

phil, Bauer Barbara Dr, and Leonhardt Jürgen, eds. Trivmphvs divi Michaelis Archangeli Bavarci =: Triumph des Heiligen Michael, Patron Bayerns (München 1597) ; Einleitung, Text und Übersetzung, Kommentar. Schnell & Steiner, 2000.

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3

Bloemendal, Jan. Neo-Latin Writings and Religion. Edited by Andrew Hiscock and Helen Wilcox. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199672806.013.14.

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This chapter explores the many genres of neo-Latin writing in which theology found its place. Not only theological writings from both Roman Catholic and Protestant authors were written in Latin, but also in other genres theological issues were brought to the fore in Latin, such as political narratives like Thomas More’s Utopia, religiously inspired school and academic drama, Buchanan’s Psalm Paraphrases and other religious poetry, and in letters. Foremost through correspondence, but also by means of other genres, contacts existed between the United Kingdom and the continent. In addition, the r
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4

Cultic Theatres and Ritual Drama: A Study in Regional Development and Religious Interchange Between East and West in Antiquity (Studies in Mediterranean Antiquity, 4). Aarhus Univ Pr, 2002.

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5

Handelsman, Michael. Culture and Customs of Ecuador. Greenwood Publishing Group, Inc., 2000. http://dx.doi.org/10.5040/9798400635298.

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Culture and Customs of Ecuador celebrates the extraordinary cultural, geographic, and ethnic diversity that has made this small country one of Latin America's most unique. Through this overview of its history, religious institutions, literature, social customs, cinema, media, and visual and performing arts, Ecuador emerges as a vibrant microcosm of Latin America. Students and other readers will learn how Ecuadorian society blends pre-Colombian, colonial, modern, and postmodern cultural forces. The underlying themes of Ecuador's continuous struggles with multiculturalism and national identity a
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6

Feeney, D. C. Literature and Religion at Rome: Cultures, Contexts, and Beliefs. Cambridge University Press, 1998.

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7

Literature and religion at Rome: Cultures, contexts, and beliefs. Cambridge University Press, 1998.

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8

The Jesuit Theater of Jacob Masen: Three Plays in Translation With an Introduction (American University Studies, Series XVII : Classical Languages a). Peter Lang Pub Inc, 1988.

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9

Parente, James A. Religious Drama and the Humanist Tradition: Christian Theater in Germany and in the Netherlands 1500-1600 (Studies in the History of Christian Thought). Brill Academic Publishers, 1997.

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10

Triumphus divi Michaelis, archangeli bavarici: Triumph des Heiligen Michael, Patron Bayerns (Munchen 1597) : Einleitung-Text und Ubersetzung-Kommentar ... Gesellschaft Jesu im deutschsprachigen Raum). Schnell + Steiner, 2000.

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Book chapters on the topic "Latin Religides drama"

1

Święcicki, Klaudiusz. "Epifanie Doniosłej Tajemnicy. Zapiski z peregrynacji traktem wiodącym z Aten do Emaus." In Okno na przeszłość: Szkice z historii wizualnej, T. 4. Ksiegarnia Akademicka Publishing, 2021. http://dx.doi.org/10.12797/9788381386197.01.

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EPIPHANIES OF SIGNIFICANT MYSTERY: NOTES FROM THE PEREGRINATION ALONG THE ROUTE FROM ATHENS TO EMMAUS In the presented article, I discuss the relationship between the Greek tragedy of the classical epoch and the medieval liturgical drama. They are commonly regarded as the roots of European theater. The ritual of Dionysus, present in the Greek tragedy, and the soteriological sacrifice of Christ, present in the liturgical drama, have the power of purification/redeeming of the human being. Aristotle described it as catharsis (κάθαρσις). Tragedy and liturgical drama also testify to the dialogical
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2

Howell, Charlotte E. "Nonwhite Christian Dramas." In Divine Programming. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190054373.003.0005.

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This chapter examines the vastly different approach to religious representation for prime-time dramas focusing on casts and characters of color: Latinx Catholicism in Jane the Virgin (The CW, 2014–2019) and black megachurch evangelism in Greenleaf (OWN, 2016–). These portrayals of nonwhite Christianity use race as a distancing mechanism to articulate Christianity as a religion without the fear of (white) middlebrow taste associations. The assumed whiteness of upscale audiences allows for these shows to expand the possibilities of engaging with Christianity-qua-religion instead of Christianity
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3

Ferraro, Thomas J. "Our Lady of Art." In Transgression and Redemption in American Fiction. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198863052.003.0006.

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Chapter 5 examines Willa Cather’s neglected story, “Coming, Aphrodite” in light of her fascination with the bodily presentation that Camille Paglia would later call “sexual personae”—for which Cather develops her own Marian interpretive sensibility, half Roman Catholic and half Pagan, as a deliberate counterforce to the Puritan heritage deflating U.S. artistic and expressive culture. In her twenties, Cather was a prodigious journalist fascinated by the radiant figurae of statuary, painting, drama, poetry, and fiction both home and abroad—which she interrogated in explicitly religious terms, wi
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