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"The Rich Man and Lazarus," one of Jesus' best known parables, has been the subject of discussion and interpretation from the Church Fathers to the present day. Ten plays written in German during the sixteenth century dramatize this parable. Despite the fact that the parable and these plays are concerned with wealth and poverty, damnation and salvation - ideas that are at the very center of the social turmoil and theological struggles of the Reformation - the plays are virtually unknown, in part because six of the ten have not been reprinted or edited since they appeared between 1550 and 1579.
This study examines the sociocultural context of Bern's ten Reformation plays, authored by Niklaus Manuel and Hans von Rute, and argues that Protestant theater was instrumental in creating cultural community among an urban populace estranged from Catholic tradition.
Sins of the Fathers considers sins as nodes of cultural anxiety and explores the tensions between competing organizational categories for moral thought and behaviours, namely the Seven Deadly Sins and the Ten Commandments. Hilaire Kallendorf explores the decline and rise of these organizational categories against critical transformations of the early modern period, such as the accession of Spain to a position of world dominance and the arrival of a new courtly culture to replace an old warrior ethos. This ground-breaking study is the first to consider Spanish Golden Age comedias as an archive of moral knowledge. Kallendorf has examined over 800 of these plays to illustrate how they provide insight into aspects of early modern experience such as food, sex, work, and money. Finally, Kallendorf engages the theoretical terminology of Marxist literary criticism to demonstrate the inherent ambiguity of cultural change.
The Bohemian preacher and religious reformer Jan Hus has been celebrated as a de facto saint since being burned at the stake as a heretic in 1415. Patron Saint and Prophet analyzes Hus's commemoration from the time of his death until the middle of the following century, tracing the ways in which both his supporters and his most outspoken opponents sought to determine whether he would be remembered as a heretic or saint. Phillip Haberkern examines how specific historical conflicts and exigencies affected the evolution of Hus's memory-within the militant Hussite movement that flourished until the mid-1430s, within the Czech Utraquist church that succeeded it, and among sixteenth-century Lutherans who viewed Hus as a forerunner and even prophet of their reform. Using close readings of written sources such as sermons and church histories, visual media including manuscript illuminations and monumental art, and oral forms of discourse such as vernacular songs and liturgical prayers, this book offers a fascinating account of how changes in media technology complemented the shifting theology of the cult of saints in order to shape early modern commemorative practices. By focusing on the ways in which the invocation of Hus catalyzed religious dissent within two distinct historical contexts, Haberkern compares the role of memory in late medieval Bohemia with the emergence of history as a constitutive religious discourse in the early modern German land. In this way, he also provides a detailed analysis of the ways in which Bohemian and German religious reformers justified their dissent from the Roman Church by invoking the past.
A Primer in Theatre History covers productions, personalities, theories, innovations, and plays from ancient Greece to the Spanish Golden Age. Grange discusses theatre from 534 BC in Athens to 1681 AD in Madrid. The book contains highly informative chapters on theatre culture in the ancient classical world, the medieval period, the Italian Renaissance, classical Asia, German-speaking Europe, France to 1658, and England to 1642. Following a wide-ranging introduction, chapters allow the uninitiated reader straightforward access to well-researched material, often presented in a humorous and approachable fashion. Descriptions of films augment discussions of theatre, while an extended bibliography and comprehensive index assist the reader in making further inquiries. Each chapter features illustrations by Mallory Prucha, a designer and graphic illustrator who has received several awards at theatre conferences around the US. A Primer in Theatre History does not read like a scholarly tome. Its whimsical wrinkles offer readers a more contemporaneous view of theatre than is customary. It employs, for example, frequent references to movies germane to topics and time periods under discussion. Such use of film promotes familiarity among younger readers, who can then appropriate analogies to theatre performance.
The German-language theater is one of the most vibrant and generously endowed of any in the world. It boasts long and honored traditions that include world-renowned plays, playwrights, actors, directors, and designers, and several German theater artists have had an enormous impact on theater practice around the globe. Students continue to study German plays in dozens of languages, and every year scores of German plays are produced in a wide variety of non-German venues. This second edition of Historical Dictionary of German Theater covers its history through a chronology, an introductory essay, appendixes, and an extensive bibliography. The dictionary section has over 400 cross-referenced entries on directors, designers, producers, and movements such as Regietheater, “post-dramatic” approaches to theater production, the freie Szene of independent, non-subsidized groups, the role of increasingly massive government subsidies, and cities whose reputations as centers of innovation and excellence that have made the German-language theater one of the most vibrant anywhere on earth. This book is an excellent access point for students, researchers, and anyone wanting to know more about German Theater.
Susan Sontag in Illness as Metaphor and AIDS and Its Metaphors points to the vital connection between metaphors and bodily illnesses, though her analyses deal mainly with modern literary works. This collection of essays examines the vast extent to which rhetorical figures related to sickness and health-metaphor, simile, pun, analogy, symbol, personification, allegory, oxymoron, and metonymy-inform medieval and early modern literature, religion, science, and medicine in England and its surrounding European context. In keeping with the critical trend over the past decade to foreground the matter of the body and the emotions, these essays track the development of sustained, nuanced rhetorics of bodily disease and health ” physical, emotional, and spiritual. The contributors to this collection approach their intriguing subjects from a wide range of timely, theoretical, and interdisciplinary perspectives, including the philosophy of language, semiotics, and linguistics; ecology; women's and gender studies; religion; and the history of medicine. The essays focus on works by Dante, Chaucer, Spenser, Shakespeare, Donne, and Milton among others; the genres of epic, lyric, satire, drama, and the sermon; and cultural history artifacts such as medieval anatomies, the arithmetic of plague bills of mortality, meteorology, and medical guides for healthy regimens.
In February 1534, a radical group of Anabaptists, gripped with apocalyptic fervor, seized the city of Münster and established an idealistic communal government that quickly deteriorated into extreme inequality and theocratic totalitarianism. In response, troops hired by the city's prince-bishop laid siege to the city. Fifteen months later the besieged inhabitants were starving, and, in the dead of the night, five men slipped out. Separated from his fellow escapees, Henry Gresbeck gambled with his life by approaching enemy troops. Taken prisoner, he collaborated with the enemy to devise a plan to recapture Münster, and later recorded the only eyewitness account of the Anabaptist kingdom of Münster. Gresbeck's account, which attempts to explain his role in the bizarre events, disappeared into the archives and was largely ignored for centuries. Before now, Gresbeck's account was only available in a heavily edited German copy adapted from inferior manuscripts. Christopher S. Mackay, who previously produced the only modern translation of the main Latin account of these events, has adhered closely to Gresbeck’s own words to produce the first complete and accurate English translation of this important primary source.
This is the first cultural history of Baroque Dresden, the capital of Saxony and the most important Protestant territory in the Empire from the mid-sixteenth to the early eighteenth century. Helen Watanabe-O'Kelly shows how the art patronage of the Electors fits into the intellectual climate of the age and investigates its political and religious context. Lutheran church music and architecture, the influence of Italy, the cabinet of curiosities and the culture of collecting, alchemy, mining and early technology, official image-making and court theatre are some of the wealth of colourful subjects dealt with during the period 1553 to 1733.