Abstract This paper discusses the sculpture of "The Head of Constantine." The paper examines the work in terms of its place both in the past and in the present. The paper looks at how the sculpture makes reference to art of the first and second centuries.
From the Paper "Constantine the Great was the first Roman ruler to be converted to Christianity. He was the founder of Constantinople (present-day Istanbul), which remained the capital of the Eastern Roman Byzantine Empire, until Roman sculpture was determined to portray the individual as he or she actually looked whether an ordinary person or an emperor. Roman art is distinguished throughout its history through the use of a selective retrospection. Generals and emperors often liked to associate themselves with great emperors or warriors of the past..."
Tags: pagan art, chrisian art, sculpture, Constantine the Great
Abstract The reasons for and the nature of Constantine's commitment to Christianity is a complicated issue. By examining Eusebius's "Life of Constantine", his "Edict of Milan", the laws of Constantine as found in the Codex Theodosius, his architectural undertakings, and the coins he issued, this paper shows that Constantine devoted himself to Christianity because he believed the Christian god afforded his victory at Milvian Bridge. However, through these sources the writer also reveals that the nature of his commitment originally was not of a genuine belief in Christian theology, but rather more of a vague monotheism.
From the Paper "When Constantine decided to march against Maxentius in Rome, Eusebius explains that Constantine sought the assistance from a god, knowing that he would need a "more powerful aid than an army can supply because of the mischievous magical devices practiced by" Maxentius. Eusebius then describes that Constantine had sworn an oath that he had seen a trophy in the shape of a cross resting above the sun with "By this conquer" attached to it. During the night, God had appeared in his dream with the same trophy, urging him to make a replica and use it as protection against the enemy. Baffled by these events, ?those expert in his words,? members of the clergy, enlightened him about the Christianity of his signs; so, Constantine became ?determined to worship no other god than the one who had appeared.? "
Abstract The paper analyzes the Christian status before Constantine's act of legalizing Christianity, as a premise of defending the idea that his act paved the way for subsequent Christian evolution. The eventual recognition of Christianity and its path ever since is subsequently presented by the paper, along with the potential negative outcomes that may have arisen. The paper determines that, during the period preceding Constantine's legalization of Christianity, the religion consolidated its own faith, characteristics and place among the other religions. With Constantine's recognition, its path opened for a bivalent participation in worldly matters, both for the case of simple individuals, and the case of nation - states.
Outline:
Introduction
Christianity before legalization
Legalization of Christianity
Effects of legalization
Potential negative consequences of legalization
Conclusions
From the Paper "Initially, Christianity develops around the personality of Jesus Christ, more as "a movement of people around a single charismatic teacher or preacher". The moment of Jesus Christ's death transforms the movement of people into a sect, because these are individuals that have been able to transform real life happenings into something bearing a religious and mystical meaning. The Christian mythology and cosmogony is this born, along with the main writings of the new religion."
Abstract This paper explains the persecution of the Christian minority before Constantine, and how he led them to become the Emporer's favored people and a recognized religion that no longer needed to practice in fear. The paper focusses on the growth of Catholicism and Constantine's crucial role.
From the Paper "The first recorded persecution of the Christian people perpetrated by the Roman Government was in the year 64 AD. Nero was Emperor and he saw the Christians as both threatening and blasphemous to the Roman Empire. At that time, the Christians were seen as threatening by the other Romans because they would not partake in pagan rituals. Because the Christian Gospels opposed idolatry, and their First Commandment clearly ordered their followers to accept no others gods, it basically insisted that the Roman gods be rejected. Beginning in the third century, Edicts were composed by the Emperor and entailed persecution of the Christians. The Christians that would not pay public homage to the Roman gods were subject to torture and death at the hands of the rulers. In the early fourth-century, Diocletian was the main threat to the Christians; he ordered all of their books and places of worship to be burned. In addition, Christians were not allowed to congregate and were omitted from the protection of laws. However, all of this would end in 311 when Galerius issued a decree that allowed Christians to continue with their religious practices. These liberties were temporarily halted when Galerius died and Maximinus Daia once again ordered for the persecution of the Christians. Soon after though, Constantine was named Emperor after his father's demise. With Constantine's ascent to Emperor, the Christian people breathed a sigh of relieve; they knew that they would no longer be a minority people and fear persecution."
Tags: christian, edict, history, nero, gospels, rituals, pagan, religion, pope
Abstract This paper discusses the mysterious story behind the Roman Emperor Constantine's conversion to Christianity. The paper explains that due to the lack of historical evidence, there are many speculations surrounding his conversion. The paper contends that one of the most commonly accepted facts is that Constantine saw something when he looked up at the sun that caused him to convert to Christianity.
From the Paper "The Roman Emperor Constantine's conversion to Christianity is a story filled with intrigue and mystery. Due to the lack of historical evidence, many speculations arise from his conversion. One of the most commonly accepted facts is that Constantine certainly saw something that day in 312 when he looked up at the sun. Some believe that he did see a sign from God. Others believe that Constantine saw ice crystals in the sun's rays. What he saw we will never know but what he did after his vision changed the course of Western history and there can be no doubt that Constantine credited his vision as a sign from the Christian God."
Abstract This paper discusses the modern acting methodology created by Constantin Stanislavski and his follower, another great acting teacher, Uta Hagen. The paper details many elements of Stanislavski's theory such as the core concept of the "creative objective": A character's objective on the simplest level is what the character wants. The author points out that the modern actor would never go into a play without having an understanding of his or her character's relationships with other characters.
From the Paper "The "magic if" technique essentially places the actor in a situation wherein he or she may use the imagination to develop the appropriate emotions. For example, an actor may have never tried out for the football team, but he is playing a character that has just been cut from the team. The actor may not know what that feels like; but, by employing the "magic if", he can place himself in that position. In other words, as the actor prepares he might say to himself: "It's as if I walked up to look at the cast list and saw that I"d been cut or not cast.? Through the use of ?if,? an actor can find similar emotions."
Abstract Thisessay compares Herod and Constantine as builders and shapers of Jerusalem. The author examines how the Jewish king and the Christian emperor used and/or abused religion in their respective actions and policies.
Abstract This paper debates whether the Emperor Constantine can be considered a true Christian Emperor, or whether he was a Roman Emperor who adopted aspects of Christianity. In particular, it looks at his political needs and his establishment of the Senate and other institutions at Constantinople. It also examines his supposed conversion and whether it an be considered genuine or not.
From the Paper "The principal primary sources we have for the life of Constantine are Eusebius' Vita Constantina, the writings of Lactantius, and the various edicts which Constantine himself put forward. These sources should be looked at in the context of Christianity and the tradition of Roman historical writing. Since Christianity was a new development, the roman historical traditions were still being taught to bishops and prominent Christian writers. In this tradition the agenda of the writer was exceptionally important; the writer's opinions affected most strongly what would be written down. Eusebius is no exception. 'I would be ashamed of myself if I did not put together what I can, little though it be and poor, for the one who out of his extraordinary devotion to God honoured us all.' Eusebius describes his ultimate goal of honouring Constantine, and throughout the book he commends Constantine highly as a Christian Emperor. "
Abstract This essay discusses the reign of Roman Emperor Constantine and how his defeat of Maxentius at the Battle of Milvian Bridge was what was ultimately responsible for the rise in power of the Church of Christ.
From the Paper "The life rule and leadership of Christianity by Constantine continue to be surrounded in controversy and mystery. Constantine was born to Constantine Chlorus and his wife Helena in Naissus, a location south of the Danube. Constantine's father was the Augustus of the West and when he died his son succeeded him. As a Roman Emperor, Constantine faced a world of military conflict and political strife that often pitted government against church. During the battle for Rome Constantine defeated Maxentius at the Milvian Bridge..."
Tags: bishops, clergy, Jesus Christ, December 25, Edict of Milan, Council of Nicaea, Nicene Creed, God, religion
Abstract This paper discusses the theories and methods for acting that were devised by actor Constantin Stanislavski throughout his life. It provides a brief timeline of his life's work which demonstrates the variety of work he did and the multinational nature of his craft. It also establishes a context for which to look at the evolution of his system and practice.
From the Paper "Though it is often difficult to demonstrate a diagram or picture of the inner workings of the mind Stanislavski is often credited with coming closer than almost any other dramatic theorist, but once again clarity might have been reached to a greater or lesser degree if he had lived a more complete life and had the opportunity to compile his works in the manner that befitted his years of theatrical experiences. Often these actions that are consistent with the Stanislavski methodologies are not written, in dialogue or scene development and can be seen as demonstrative of the actor's improvisation, which in its own right can be contraindicated by the playwright or director, depending on their own vision. Which of coarse demonstrates a possible incongruence in the two methods, yet Stanislavski's intention was for the theater to be and remain an actor driven institution, hopefully without the ego often associated with the role of actor, as can be seen in earlier expressions of the Stanislavski standard, in this work."
Abstract This paper takes a look at the historical and architectural differences of the National Memorial Arch in Valley Forge, Pennyslvania and the Arch of Constantine in Rome. The author provides historical data for both structures and also compares their architectural styles.
From the Paper "Some disputed the National Memorial Arch's construction at the time. From an architectural standpoint, a triumphal arch was seen as inappropriate to a rural setting like Valley Forge, as such arches usually stood in major cities like Rome. Today the arch is no longer controversial. In fact, because of the arch's congruity with so many of the structures in the area, it is hard to remember that it was not built during the time of Washington's triumphant entrance, but in 1908. It is important to remember that it harkened back to the classical past of ancient Greece and Rome, the neoclassicism of the founders, as well as to Washington's triumph. There is nostalgia to the work that is not immediately evident, nostalgia for the actual construction and design of Washington D.C. under the watchful eye of Jefferson, and a less complicated age of American heroism, embodied in the persona of Washington."
Abstract This essay compares the Christian religion prior to and after the rise of Constantine from A.D. 50 to A.D. 100. The author examines the influence Constantine had on Christianity in forming a single unified Orthodox Roman Church.
From the Paper "When Constantine the Great took the throne in A.D. 306, Christianity began to be more clearly adopted as the religion of the Roman imperial government. While a struggle for spiritual authority had been going on since the time of Jesus, it was from this official embrace of Constantine that the idea of forming a single, unified and orthodox Roman church began to develop."
Abstract This paper looks at how difficult it was for the Romans to accept the Christian religion and how they gradually tried to suppress it and how Christianity was still able to spread throughout the world. It includes specific historical dates, events, places and people such as Alexander the Great, the Jewish states, persecutions during Jesus? ministry, Herod the Great and Pontius Pilate, and Nero, the emperor of Rome trying to rid the empire of Christianity. The paper concludes by talking about Constantine and how he proclaimed the Edict Toleration.
From the Paper "The Christian religion was hard for the Romans to accept at first. A historical person had conquered death and promised a blessed afterlife to all who believed in him. The new faith demanded that every believer practice love and justice in new communities made up of Jew and Greek, slave and free, male and female, rich and poor, educated and ignorant. Christians had no temples or other holy places, no priests, no ordinary sacrifices, no oracles, or any visible gods. They had no initiations; they made no pilgrimages, did not practice divination, would not venerate the emperor, and challenged the final authority of the father (or oldest male) in family life. Christians were accused of being atheists who undermined traditional society."
Abstract This paper analyzes the Third Century crisis when the Roman Empire suffered many losses of territory and leadership changes. It discusses the problems faced by the empire and details the reforms of Diocletian and Constantine. It concludes with a look at the effects of these reforms.
From the Paper "The third century was the time of crisis for the Roman Empire. Several German tribes overcame the empire's European provinces, the Palmyra were after the Asian lands and one after the other emperors were being killed for power. Diocletian and Constantine made efforts to save the empire from the invaders and intruders."
Abstract Constantin Stanislavsky is the father of modern acting theory. His theories which he extols in his four books, "My Life in Art" (1924), "An Actor Prepares" (1936), "Building a Character" (1941) and "Creating a Role" (1961) have had an unparalleled effect on actors and acting instructors throughout the world. Acting theorists such as Vsevelod Meyerhold, Uta Hagen and Bertold Brecht have all taken his theories into account while developing their own. Indeed, entire movements in world drama have been in part inspired by the work of Stanislavsky.
This paper focuses on Stanislavsky's influence on Russia. During his life and his career, Russia went through many changes. Two major events in Russian history would determine the fate of theatre and as a result Stanislavsky. The first was the failed revolution in 1905, or ?The Great Rehearsal,? as Lenin called it. The second major event which affected Stanislavsky (which in turn affected Russian theater) was the 1917 revolution.
From the Paper "Konstantin Stanislavsky developed the Moscow Art Theatre in 1898. The creation of this particular theatre was important in that it differed from many of the other theatres of the time. It was a fully professional theatre organization and it emphasized new plays as opposed to older work. Stanislavsky believed that new plays would bring the theatre to life. His theatrical philosophy was that the actor was an educator and that plays were tools of education. As a result the initial work produced at the theatre was not successful. It wasn?t until Stanislavsky partnered with a young playwright named Anton Chekhov that the theatre attained any commercial success."
