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A study of medieval attitudes towards the ventriloquism of God's and Christ's voices through human media, which reveals a progression from an orthodox view of divine vocal power to an anxiety over the authority of the priest's voice to a subversive take on the divine voice that foreshadows Protestant devotion.
CHRIST'S VENTRILOQUISTS is a work of investigative history. It documents and describes Christianity's creation-event, in the year 49 or 50, in Antioch (present-day Antakya, Turkey), 20 years after Jesus had been crucified in Jerusalem for sedition against Roman rule. On this occasion, Paul broke away from the Jewish sect that Jesus had begun, and he took with him the majority of this sect's members; he convinced these people that Jesus had been a god, and that the way to win eternal salvation in heaven is to worship him as such. Paul here explicitly introduced, for the first time anywhere, the duality of the previously unitary Jewish God, a duality consisting of the Father and the Son; and he implicitly introduced also the third element of the Trinity, the Holy Ghost. This work also explains and documents the tortuous 14-year-long conflict Paul had had with this sect's leader, Jesus's brother James, a conflict which caused Paul, in about the year 50, to perpetrate his coup d'état against James, and to start his own new religion: Christianity. Then, this historical probe documents that the four canonical Gospel accounts of the words and actions of "Jesus" were written decades after Jesus, by followers of Paul, not by followers of Jesus; and that these writings placed into the mouth of "Jesus" the agenda of Paul. Paul thus effectively became, via his followers, Christ's ventriloquist. A work such as this can be documented and produced only now, after the development (during the past 70 years) of modern legal/forensic methodology. Previously, the only available methods, which scholars have used, simply assumed the honesty-of-intent of all classical documents, especially of canonical religious ones, such as Paul's epistles, and the Four Gospels. Only now is it finally possible to penetrate deeper than that, to reach the writer's intent, and not merely his assertions, and to identify when this intent is to deceive instead of to inform. Whereas scholars have been able to discuss only the truth or falsity of particular canonical statements, it is now possible to discuss also the honesty or deceptiveness of individual statements. This opens up an unprecedented new research tool for historians, and CHRIST'S VENTRILOQUISTS is the first work to use these new methods to reconstruct, on this legal/forensic basis, not just how crimes took place, but how and why major historical events (criminal or not), such as the start of Christianity, actually occurred. The author explains: "What I am doing in this work is to reconstruct from the New Testament the crucial events that produced it, without assuming whether what the NT says in any given passage is necessarily true or even honest. Instead of treating the NT as a work that 'reports history,' the NT is treated as a work whose history is itself being investigated and reported. Its origin goes back to this coup d'état that Paul perpetrated in Antioch in the year 49 or 50 against Jesus's brother James in Jerusalem, whom Jesus in Jerusalem had appointed in the year 30 as his successor to lead the Jewish sect that Jesus had started. The Gospel accounts of 'Jesus' reflected Paul's coup d'état - not actually Jesus, who would be appalled at the Christian concept of 'Christ.' That concept was radically different from the Jewish concept of the messiah, and Paul knew this when he created it."
Money, magic and the theatre were powerful forces in early modern England. Money was acquiring an independent, efficacious agency, as the growth of usury allowed financial signs to reproduce without human intervention. Magic was coming to seem Satanic, as the manipulation of magical signs to performative purposes was criminalized in the great 'witch craze.' And the commercial, public theatre was emerging – to great controversy – as the perfect medium to display, analyse and evaluate the newly autonomous power of representation in its financial, magical and aesthetic forms. Money and Magic in Early Modern Drama is especially timely in the current era of financial deregulation and derivatives, which are just as mysterious and occult in their operations as the germinal finance of 16th-century London. Chapters examine the convergence of money and magic in a wide range of early modern drama, from the anonymous Mankind through Christopher Marlowe to Ben Jonson, concentrating on such plays as The Alchemist, The New Inn and The Staple of News. Several focus on Shakespeare, whose analysis of the relations between finance, witchcraft and theatricality is particularly acute in Timon of Athens, The Comedy of Errors, Antony and Cleopatra and The Winter's Tale.
Imagine a biblical playground of new riddles and parables where the scriptures themselves actually play along with you! WordPlay® is a twist-n-learn experience of fun mystery & a better bible memory at the same time, on the same page! Discover a ventriloquist without his puppet, watch a blind architect, and witness a hide-n-seek champion who finally finds himself! With plenty more tales, and with the symbolism of today, you're all set to share Morals, Fun Facts, the Instant Replay & Family Skits to instantly inspire the bible study in others! For all ages. Your List of New Christian Riddles & Parables: Each parable inside comes in 3 formats: Story Version WordPlay Version Family Skits Version The Hidden Smile Parable A hide-n-seek champion becomes thrilled to be found inside a "new game which hides from him! And "ready or not," wisdom comes to reveal who's truly 'It.' The Parable of the Ventriloquist A mysteriously famous ventriloquist, without his puppet, reveals the "real dummy" to a potential fan. The Smarter Copycat Parable A schoolboy takes an "open book test," but in the subjects of School Crushes, Wisdom, and Caution. The Mirror with Hallucinations A painter strolls person-to-person offering to paint portraits for anyone if they simply pose for it. Although free of charge, posers will be "paying attention" to a picture worth a thousand words. The Unsuspecting Suspect Parable A standoff between a suspect and police becomes a mission for a hostage negotiator, a chess player, and an invisible smokescreen were (spiritual) justice is served. The Parable of the Patient's Patience A concerned father experiences the homonym effects between "patience" and "patients." The Blind Architect Parable A construction crew, blamed for a child's injury, discovers the real reason which hits many "like a ton of bricks." The Parable of A Fair Affair A potential office romance is threatened by an unusual request by Mr. Right result in a Ms. Story (or missed story) (or mystery). The Invisible Carpool A taxi driver recognizes an even more "driven" motive between his favorite sitting customer. The Parable of the Fixed Marriage Uncover the secret matrimony between a metaphorical Mr. & Mrs. Verbal Abuse.
Her stuttering and lack of self-confidence have her locked in a trap she can't escape. She's faced these problems since childhood, when her pretty, outgoing sister was born. Wanting to serve the Lord--and show her family she can amount to something--Tabby enrolls in a class on ventriloquism. When she visits the shop of accomplished ventriquist Seth Byers to inquire about buying a dummy, he quickly notices her potential. With the help of Tabby's best friend, Seth begins a campaign to turn Tabby into what he thinks she should be--the perfect woman to be his wife. But Tabby knows she will never be perfect. Will she ever let go of her shyness and use her talent to serve God? Will Seth be able to love her just as she is? Or will Tabby spend the rest of her life letting her dummy talk for two?
(Limelight). "...essential to any understanding of...O'Neill if only because they demystify him." Arthur Miller, The New York Times Book Review
The whole purpose of magic is the fulfilment and intensification of desire, claims the ventriloquist-narrator as he tells his stories of love and catastrophe.
The Dictionary of the Bible is a landmark reference work edited by biblical scholar James Hastings. It is a thorough index of all key terms in Scriptures. This edition features two linked tables of contents: one at the beginning of the volume, which takes you to individual chapter, and the other at the beginning of each chapter linking to its verses. The full title was A Dictionary of the Bible, dealing with the Language, Literature and Contents, including the Biblical Theology. It was edited by James Hastings, with the assistance of John A. Selbie. Additional assistance with revision of the proofs was provided by A. B. Davidson, S. R. Driver and H. B. Swete. Although described as a “dictionary”, the work is better described as an encyclopaedia, with signed articles sometimes several pages in length. It is a substantial work, with more than 8000 pages and 1,401784 words. The 194 authors of articles were established scholars of the day, generally Protestant Christians, from many countries, but mostly from the UK and the USA in that order. The subject matter was "the Old and New Testaments, together with the Old Testament Apocrypha, according to the Authorized and Revised English Versions." Articles were written "on names of all Persons and Places, on the Antiquities and Archaeology of the Bible, on its Ethnology, Geology and Natural History, on Biblical Theology and Ethic ..."It remains a one of the best source of Biblical information.
Why can none of us hear our own recorded voice without wincing? Why is the telephone still full of such spookiness and erotic possibility? Why does the metaphor of ventriloquism, the art of 'seeming to speak where one is not', speak so resonantly to our contemporary technological condition? These are the kind of questions which impel Steven Connor's wide-ranging, restlessly inquisitive history of ventriloquism and the disembodied voice. He tracks his subject from its first recorded beginnings in ancient Israel and Greece, through the fulminations of early Christian writers against the unholy (and, they believed, obscenely produced) practices of pagan divination, the aberrations of the voice in mysticism, witchcraft and possession, and the strange obsession with the vagrant figure of the ventriloquist, newly conceived as male rather than female, during the Enlightenment. He retrieves the stories of some of the most popular and versatile ventriloquists and polyphonists of the nineteenth century, and investigates the survival of ventriloquial delusions and desires in spiritualism and the 'vocalic uncanny' of technologies like telephone, radio, film, and internet. Learned but lucid, brimming with anecdote and insight, this is much more than an archaeology of one of the most regularly derided but tenaciously enduring of popular arts. It is also a series of virtuoso philosophical and psychological reflections on the problems and astonishments, the raptures and absurdities of the unhoused voice.