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Journal articles on the topic 'Latin Religides drama'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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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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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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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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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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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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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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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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Zrałka, Jarosław, Monika Banach, Víctor Castillo, et al. "Recent Investigations on the Unique Maya Wall Paintings from Chajul (Guatemala)." Estudios de Cultura Maya 65 (June 10, 2025): 119–53. https://doi.org/10.19130/iifl.ecm.2025.1/0q27r1v054.

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This article presents the results of interdisciplinary research encompassing conservation, archaeological excavations, ethnographic, ethnomusicological and historical studies on the Colonial murals documented in the Ixil Maya residences of Chajul (Guatemala). The Chajul murals are unique for several reasons. First, they were documented in what are now private family homes, whereas most examples of Colonial art in Latin America are found in churches and convents. Moreover, the later paintings focus on Christian religious themes, while the murals from Chajul are associated with socio-religious a

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Baishy, Lalta Prasad. "Współczesna sytuacja sanskrytu." Gdańskie Studia Azji Wschodniej, no. 24 (December 2023): 277–82. http://dx.doi.org/10.4467/23538724gs.23.035.19031.

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The contemporary situation of Sanskrit This article presents the current situation of Sanskrit and the importance of Sanskrit in India. How is Sanskrit used in daily life in India and what is its role in the sub-continent’s religions? There are some television channels in Sanskrit and in schools Sanskrit is a mandatory subject. It is one of the twenty-three official languages in India. Sanskrit is not a dead language because there are some villages where people use it in daily life, for example in school, university, worship, and especially on traditional occasions. It has a role like Greek or

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Harvey, Carol. "Dramatising the Romance: from La Manekine to La Fille du roy de Hongrie." Florilegium 19, no. 1 (2002): 109–26. http://dx.doi.org/10.3138/flor.19.006.

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In the fourteenth century, a new kind of religious drama gained popularity in France, the miracle play or miracle par personnages. The genre originated in the numerous legends of the Virgin Mary in both Latin and French, of which the most famous are those collected by the thirteenth-century monk Gautier de Coincy. The miracle play was intended for the edification of the people, and its overarching theme is the Blessed Virgin's intercession in favour of mortals who have gone astray or who are otherwise in distress. The earliest-recorded dramatisation of the non-scriptural miracles attributed to

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Grippaudo, Ilaria. "‘Histriones sunt maximi’. I gesuiti di Palermo, le attività musicali e i rapporti con David Perez." Diciottesimo Secolo 9 (July 12, 2024): 85–100. http://dx.doi.org/10.36253/ds-14938.

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During his years in Palermo (1734-1748), David Perez collaborated with various institutions, in particular with the Jesuits, before being appointed Vice-Master of the Palatine Chapel, around 1739. Undoubtedly, the Jesuits were among the most influential orders in Palermo, standing alongside other congregations, such as the Dominicans and the Theatines, with whom they often competed. This was particularly evident in relation to music, which the Jesuits considered a powerful instrument of consensus. For the Jesuits, Perez composed three Latin cantatas performed during graduation ceremonies, and

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Malecka, Teresa. "Henryk Mikołaj Górecki’s road to the Oratorio “Sanctus Adalbertus” in the context of the composer’s fascination with the person and teaching of St. John Paul II." Pro Musica Sacra 21 (November 3, 2023): 49–66. http://dx.doi.org/10.15633/pms.2104.

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Henryk Mikołaj Górecki’s profound personal religiousnessbecame the source of his deep spiritual bond with the personality of Karol Wojtyła – Saint John Paul II. The relationship between the composer and the Pope was of a special nature. In 1977, Cardinal Karol Wojtyła commissioned a work from Henryk Mikołaj Górecki to commemorate the 900th anniversary of the death of St Stanislaus. The result was the oratorio Beatus Vir Op. 38, a psalm for baritone, mixed choir and orchestra. Since its premiere, the composer has been urged by the Pope to compose further works of religious music. This was to be

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16

Katritzky, M. A. "The Merchant Scene of Biblical Drama: Rehabilitating the Female Input." Journal of the Bible and its Reception, October 28, 2024. http://dx.doi.org/10.1515/jbr-2023-0022.

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Abstract This paper examines a ground-breaking innovation to medieval Easter plays: the creation of the extra-biblical merchant scene, in which the Marys purchase spices prior to their Visitatio Sepulchri. The patron of its earliest known representation was the female religious leader Uta von Kirchberg. An illuminated roundel in the Uta Codex she commissioned towards the end of her term as abbess of Niedermünster (1002–25), depicts the Holy women purchasing spices from a spice merchant. Until the twelfth century, this remained the only representation of an Easter merchant scene, visual or text

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17

KIRKPATRICK, DAVID C. "The Latin American Bullring: US Evangelicals and the Reception of Anti-Protestant Violence from Cold War Colombia." Journal of American Studies, June 29, 2023, 1–27. http://dx.doi.org/10.1017/s0021875823000257.

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In the shadow of the Cuban Revolution, American Baptist preacher Billy Graham and US President John F. Kennedy barnstormed South America through overlapping tours in 1961 and 1962. Kennedy's presidency has often been presented as an intermission in the drama of evangelical political power, but grassroots activism provides new angles for analysis at the intersection of the US and Latin America. While claiming an apolitical stance, Graham worked alongside the US State Department, planting spiritual seeds on the tilled ground of foreign policy. Graham – and Protestant leaders orbiting him – curat

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18

Hermawan, Hendra, and Abraham Nurcahyo. "FUNGSI PERMAINAN REMAJA NINI DHIWUT DUSUN GEBANG SANANWETAN BLITAR (KAJIAN MAKNA SIMBOLIK DAN NILAI-NILAI EDUKASI)." AGASTYA: JURNAL SEJARAH DAN PEMBELAJARANNYA 7, no. 01 (2017). http://dx.doi.org/10.25273/ajsp.v7i01.1064.

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<p>Penelitian ini membahas Permainan Nini Dhiwut yang diperuntukkan para remaja berupa warisan lisan masyarakat Dusun Gebang. Penelitian ini ditujukan guna menganalisis Fungsi ,makna simbolik serta nilai-nilai edukasi di dalamnya. Jenis penelitian adalah penelitian deskriptif khususnya kajian teks dan etnohistoris terutama penggunaan dimensi waktu (sejarah) sebagai komparasi. Sumber data menggunakan sumber data primer berupa wawancara dan obervasi. Data sekunder berupa kajian teks yang relevan dan kearsipan. Pengumpulan data menggunakan teknik observasi, wawancara, dan dokumentasi. Anali

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19

Basas, Allan. "Inculturation: An Ongoing Drama of Faith-Culture Dialogue." Scientia - The International Journal on the Liberal Arts 9, no. 1 (2020). http://dx.doi.org/10.57106/scientia.v9i1.115.

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Inculturation emerged as a result of paradigm shifts in the missionary outlook of the Church necessitated by a heightened sense of culture, especially the plurality of cultures. This outlook saw culture as a tool for the transmission of the Gospel message to different frontiers. In view of this, dialogue with culture has passed from being an exception to the rule to becoming normative. Inculturation is a complex process, which must be undertaken gradually and critically. Overall, it aims to incarnate the Gospel in every culture by maintaining a healthy balance between tradition and progress. I

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20

Stenner, Paul. "Machines for the Making of Gods?" International Review of Theoretical Psychologies 1, no. 1 (2021). http://dx.doi.org/10.7146/irtp.v1i1.127083.

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In the early 1930s Henri Bergson made a bold attempt to trace the source of religious experience, belief and practice to a psychological process he called ‘fabulation’ (a term deriving from the Latin fabula, meaning either talk / conversation / discourse, or a story, tale, myth, legend or fable). Beginning with an illustration from the drama series Humans, this paper delineates six main features of fabulation and concentrates attention on two of these: the occasioning of fabulation by a significant event of rupture, and a subsequent double attribution of a powerful agency addressing a powerles

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Torello‐Hill, Giulia. "The role of the Praenotamenta of Jodocus Badius Ascensius in shaping early modern dramatic criticism." Renaissance Studies, November 20, 2023. http://dx.doi.org/10.1111/rest.12904.

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AbstractThis article examines the profound and enduring legacy of the treatise on classical drama known as Praenotamenta ascensiana in shaping early modern dramatic poetics. Written by Flemish scholar Jodocus Badius Ascensius (1462–1535) as a preface to his 1502 edition of the Classical plays of Terence, this work has been unjustly overlooked by the critics that have invariably credited Aristotle’s Poetics for foregrounding the debate on early modern dramatic criticism, following Alessandro de Pazzi’s first Latin translation (1536) and Francesco Robortello’s monumental commentary (1548). The p

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Nelson, Elizabeth Èowyn. "General Editor's Introduction to Volume 14." Journal of Jungian Scholarly Studies 14 (June 11, 2019). http://dx.doi.org/10.29173/jjs24s.

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Welcome to the 2019 Journal of Jungian Scholarly Studies. This volume marks an important milestone in the history of journal, the first year in which it is being hosted by the University of Alberta to enable wider accessibility and influence in the community of scholars interested in Jungian ideas. Great thanks go to Dr. Alexandra Fidyk and Professor Luke Hockley, as well as the fine staff of the University of Alberta’s Library Publishing Team, for making this partnership possible. Essays in the 2019 volume reflect the theory of emergence, the theme of the 16th annual conference, in June

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Nolan, Huw, Jenny Wise, and Lesley McLean. "The Clothes Maketh the Cult." M/C Journal 26, no. 1 (2023). http://dx.doi.org/10.5204/mcj.2971.

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Introduction Many people interpret the word ‘cult’ through specific connotations, including, but not limited to, a community of like-minded people on the edge of civilization, often led by a charismatic leader, with beliefs that are ‘other’ to societal ‘norms’. Cults are often perceived as deviant, regularly incorporating elements of crime, especially physical and sexual violence. The adoption by some cults of a special uniform or dress code has been readily picked up by popular culture and has become a key ‘defining’ characteristic of the nature of a cult. In this article, we use the semiotic

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Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2620.

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   Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussi

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Toftgaard, Anders. "“Måske vil vi engang glædes ved at mindes dette”. Om Giacomo Castelvetros håndskrifter i Det Kongelige Bibliotek." Fund og Forskning i Det Kongelige Biblioteks Samlinger 50 (April 29, 2015). http://dx.doi.org/10.7146/fof.v50i0.41247.

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Anders Toftgaard: “Perhaps even this distress it will some day be a joy to recall”. On Giacomo Castelvetro’s manuscripts in The Royal Library, Copenhagen. In exile from his beloved Modena, Giacomo Castelvetro (1546–1616) travelled in a Europe marked by Reformation, counter-Reformation and wars of religion. He transmitted the best of Italian Renaissance culture to the court of James VI and Queen Anna of Denmark in Edinburgh, to the court of Christian IV in Copenhagen and to Shakespeare’s London, while he incessantly collected manuscripts on Italian literature and European contemporary history.

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Watson, Robert. "E-Press and Oppress." M/C Journal 8, no. 2 (2005). http://dx.doi.org/10.5204/mcj.2345.

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   From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elepha

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