| Papers [1-6] of 6 | Search results on "DAMASCUS I": |
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"To Damascus I", 2002.
An analysis of the biblical connections in the play "To Damascus I" by August Strindberg.
1,650 words (approx. 6.6 pages), 4 sources, $ 62.95
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Abstract
This paper will discuss the play "To Damascus I" by August Strindberg, and seek to understand the Scandinavian folklore and fairy tale elements that exist within the text. By understanding the motifs for the book in the realms of fate, the concept of good and evil in the Christian mythology of Christ, and feminine relationships with the women in the play, we can see some of the Biblical connections that also make themselves apparent in the work of Strindberg. By clearly making the connection between these two belief systems, the story of the 'stranger' can be brought into a conscious mode of thought.
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Theology of Icons: The Defense of John of Damascus, 2001.
This essay outlines John of Damascus' defense on why icons are important in worship and how they bring us closer to the Divine.
4,170 words (approx. 16.7 pages), 10 sources, MLA, $ 111.95
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Abstract
This paper looks at the Iconoclastic Controversy. The author talks about John of Damascus' defense of icons at a time when there was debate about whether icons should be used in worship or if they were idolatrous. The essay lists several of John's points and looks at both the positive and negative aspects of each point.
From the Paper
"It seems that art is such a natural part of everyday life. It would be difficult to picture a world where art was not involved. From the flower pots outside on the window sill to the mounted picture in the living room, art pervades every aspect of our lives. It is difficult to imagine that there was a controversy over whether such type pf media should be allowed in a Church setting. The word icon usually describes ?those religious pictures-mainly portable wood panel paintings-which have a prominent place in the life and worship of the Eastern Orthodox Churches? (Baggley, 1). The Iconoclasm controversy dealt with the debate over whether painted images of the Divine Christ were valid or idolatrous. Popular culture felt that the icon was a necessary part of their worship because it gave them a sense of understanding. It gave the worshipper a visual image of what he/she was praying to and so, made the person feel that his/her prayers were not futile and wasted. However, it was these exact beliefs that sparked the controversy, but also led to the writings in defence of the images. John of Damascus was one of the greatest Christian defenders of the iconodule position (Sch?nobon, 192)."
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The Iconostasis, 2004.
This paper discusses the iconostasis, a feature of church architecture, which developed during the Byzantine period and later in Russia.
3,600 words (approx. 14.4 pages), 20 sources, MLA, $ 100.95
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Abstract
This paper explains that one of the most unique and forthright features of the Greek Church, the iconostasis, a screen running from wall-to-wall and decorated with icons, is the prime causal factor to differentiate the architecture of a Greek Orthodox church from Roman and Latin churches. The author points out that the most frequently used icon in the sketch of the Greek Byzantine iconostasis is ?The Crucifix with Mary and John?, whereas, the most frequent icon in the sketch of the Russian Orthodox iconostasis is a simple cross at the top.
Table of Contents
Introduction
The Emergence of the Iconostasis as a Consistent Theme in Byzantine Orthodox Churches
Influences that Impacted the Emergence of the Iconostasis in the East Orthodox Churches
Salient Features of the Greek Orthodox Churches and How Their Iconostasis Spread to Russia
Listing [by Frequency] of Icons in the Sketch of the Greek Byzantine Iconostasis
Russian Iconostasis of the Orthodox Church Established during the 17th?19th Centuries
Listing [by Frequency] of Icons in the Sketch of the Russian Orthodox Iconostasis
The Relevance of Iconoclasts as Perceived by St. John of Damascus and Pavel Florensky
Conclusion (s)
From the Paper
"It would also be noteworthy to here acknowledge that even before being influenced by oriental trends in concern to the iconostasis early Greek Churches had a minor fence about waist high or lower, that divided the altar from the people. Naught more than an essential barrier or columns, it was common for this fence to be adorned with pictures of the saints at the top. This barrier, invariably comprised of columns at the top of which the pictures were affixed, can be idealized as the first instance of the iconoclast within the interior of the church. Gradually and eventually, the iconostasis evolved from a rather unexceptional separating fence into a ?a great screen or partition running from side to side of the apse or across the entire end of the church?. The iconostasis eventually came to completely obscure the altar as well as the sanctuary from the portion of the church where the worshippers are located. Solid materials, such as stone, wood and metal began to be employed in the construction of iconostasis and the final version, which is still seen today, had three doors within it. The center door, known as the royal door, leads directly to the altar while the doors to the right and left are respectively the deacon's door and the door leading to the area of the preparation of liturgy."
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The Modern Middle East, 2005.
This paper discusses four individuals and one group of journeymen weavers who were affected by late nineteenth-early twentieth century European imperialism in the Middle East.
2,270 words (approx. 9.1 pages), 12 sources, MLA, $ 70.95
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Abstract
This paper explains that the history of the modern Middle East is peppered with revolts and revolutions against European dominance and against self-serving individuals within the culture who attempted to rule the area. The author points out that European colonial imperialism had a capacity of forcing divergent groups to integrate or to marginalize or peripheralize those who are not willing to work within its economic policies. The paper relates that the leaders who fought for their country's freedom had to modernize defensively their military, which also led to modernizing the internal political structure of their nations.
Table of Contents
Introduction
Imperialism
Integration and Peripheralism
Five Biographies
Journeymen
Textile Weavers
The Revolutionaries
Mohand N'Hamoucha, Middle Atlas Berber
Ramadan al-Suwayhli Hero of the Libyan Resistance
Abu Ali al-Kilawi A Damascus Qabaday
Muhammed El Merid - The Man Who Became Qaid
Conclusion
From the Paper
"When Abd al-Krim proclaimed himself the head of a Rifian republic in 1923, it appeared he might be able to take control of northeastern Morocco from Spain. El Merid's efforts to assist the Spanish during this period were noted by Spanish authorities and the made him Quaid of the qabila of Ulad Stut. Muhammed El Merid was the most powerful and influential of the indigenous Spanish protectorate officials in Zaio. He was responsible for day to day law and order, general administration and justice in the tribe. In this position, El Merid was able to acquire and control the lands of the Sebra. Although the other Moroccan groups legally challenged El Merid's claim to this ill gotten land, even when Morocco became an independent state his progeny continued to be the most influential and wealthy members of the notability of Zaio to this day."
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| Term Paper # 30067 |
temporarily unavailable
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Theology of Icons, 2001.
Examination of the debate of the Iconoclastic Controversy in the Eastern Orthodox Churches.
3,250 words (approx. 13.0 pages), 10 sources, MLA, $ 93.95
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Abstract
This essay discusses the iconoclastic Controversy in the Eastern Orthodox Church and its defense by John of Damascus. It follows John?s separations of the topic and explores what each argument entailed and the resistance which it faced. It outlines both the strong and weak points of the argument and how each issue was solved.
From the Paper
"It seems that art is such a natural part of everyday life. It would be difficult to picture a world where art was not involved. From the flower pots outside on the window sill to the mounted picture in the living room, art pervades every aspect of our lives. It is difficult to imagine that there was a controversy over whether such type pf media should be allowed in a Church setting. The word icon usually describes “those religious pictures-mainly portable wood panel paintings-which have a prominent place in the life and worship of the Eastern Orthodox Churches” (Baggley, 1). The Iconoclasm controversy dealt with the debate over whether painted images of the Divine Christ were valid or idolatrous. Popular culture felt that the icon was a necessary part of their worship because it gave them a sense of understanding. It gave the worshipper a visual image of what he/she was praying to and so, made the person feel that his/her prayers were not futile and wasted. However, it was these exact beliefs that sparked the controversy, but also led to the writings in defence of the images. John of Damascus was one of the greatest Christian defenders of the iconodule position (Schצnobon, 192)."
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