Abstract This paper explains that, in John 3:16 - 21, Jesus speaks to Nicodemus during the dark of night and reveals Himself to be "the only begotten Son of God". The paper points out that more than other writers in the Bible, John builds upon the conception of love God's primary nature as the way to perpetuate and demonstrate the heavenly life. The paper concludes God's eternal love ultimately consummated in Him sending His Son as the light into the world, and consequently, all of the Gospel revolves around the action of the Father sending the Son into the world. A table relating Strong's designated numbers for the words in the King James Version of John 3:16-21 along with the Greek word is included with the paper.
Table of Contents:
"Son of God"
John 3:16 - 21
Multifaceted Mystery: "Son of God"
Truth
When One Believes....
Consequently
Conclusion
From the Paper "Contrary to "krino" in verse 17, the Greek word "sozo", which means "to save" relates the idea of rescuing one from danger and restoring him/her to a prior safe state and well being. In John 3:15, the verse prior to the segment covered in this paper, the term "eternal life" is used for the first time used in the gospel. Each time after this initial one, when the phrase is used in John, it is noted with a present tense verb, generally usually "have". Believers currently have or possess eternal or "unending life". It begins when one believes and contrary to the time allotted to humans on earth, endures for eternity."
Abstract This paper explains that the beginning of Matthew 16:13-18 reveals the transforming perspective of the disciples towards Christ, who becomes fully established in a formative, substantive plan. The author points out that the original Greek, NIV and NASB versions of the passage of "Matthew 16:13-17" are rife with lexicological curiosities, thematic complexity and literary tools used for significant theological debate. The paper relates that these verses of Christological preeminence for their establishment of the foundation of Christ as the accepted Son of God are as interesting to academic scholars as to theologians.
From the Paper "After expressing gratitude and pride in the faith of Simon Peter, Jesus then proclaims, "I also say to you that you are Peter, and upon this rock I will build my church; and the gates of Hades will not overpower it." (16:18) The exegetical dilemma provided by 16:18 is to establish what the "rock" of which Jesus speaks actually is. Historically, Rome has connected Simon's last name, what we call Peter (Pevtro), and the word rock (pevtra) with liturgical emphasis, contesting that it implies that Simon himself is the rock. At the same time, most Protestant scholars reject this claim, largely positioning themselves into two different theoretical camps."
Abstract This paper examines the "Book of John" in the Bible. It specifically focuses on the verses 3:16-17. The paper describes the overall content of the "Book of John" and then analyzes each of the verses specifically in terms of its content, language and the meaning used. The paper then looks at the message that each of the verses sends to its Christian readers.
Table of Contents:
Introduction
John 3:16 Analysis
John 3:17 Analysis
From the Paper "To answer this question, we need only look to God's creative process. God created the world, all things in the world, all the plants and the animals. Then, God created man, and He created man in his own image. To suggest that God loved the world, into which he put the image of His self, is without merit, as it is not supported in the Old or New Testaments. Rather, both books say time and again that God so loved mankind, that he gave his only Son so that man could be reassured of God's love for mankind. This is explained in John 3:16, "For," the beginning preposition explaining the motivation of the object noun, God. So mankind is assured of God's love for us, and, as such, that God's sacrifice was on behalf of mankind. God loved the world, but He loves the world with his image in it. God knows that the world is beautiful, except for the sin of mankind. So God is going to make a sacrifice on behalf of mankind, to show love for those whom he created in his image."
Abstract This paper gives basic information about the F-16 fighter jet. It explains its unique qualities and discusses the sales of this plane and its ramifications.
From the Paper "The F-16 Fighting Falcon is a compact, multi-role, extremely maneuverable fighter that is suitable for air-to-air combat as well as air-to-surface attacks. It has a combat radius (the distance the jet can fly to combat and return safely) of 500 miles, which is superior to that of other fighter aircraft. The pilot has unobstructed vision both forward and upward through to the bubble canopy. It is a precision attack aircraft and can function in all types of weather."
Abstract This paper provides an exegesis of a challenging passage in St. Paul's epistle to the Romans - "Romans 7:14-16". The paper briefly examines the socio-historical context of the passage, the immediate literary context and the meaning of some of the key words - principally the word "I" and the word "unspiritual." It analyzes the passage for its fundamental meaning and explores the theological considerations raised by the excerpt. Finally, the paper looks at the application of the passage to a practicing Christian looking for spiritual guidance in a complicated world.
Table of Contents:
Introduction
Socio-historical background
Literary context
Word study
Passage analysis
Theological considerations
Application
Conclusion
From the Paper "In the end, this paper has hopefully shed some light on a brief but challenging passage from St. Paul's Epistle to the Romans. The paper has looked at the socio-historical background to the passage, at the pertinent literary context, at the words and meaning of Romans 7:14-16 and at the theological considerations these few lines raise. While the few dozen words lying at the heart of this exegetical exercise can be interpreted as a despondent analysis of human nature, they should be read instead as a call for eternal vigilance and as a reminder to Christians that the only escape from servitude to sin is complete subjection to the Will of God. In the final analysis, the Law sheds light on wrong-doing, but knowledge of evil and the actual act of rejecting evil, are two different things - though the former is necessary for the latter to occur."
Abstract This paper analyzes Chapter 16 of Mary Shelley's famous novel "Frankenstein," which was first published in 1818. It discusses the Gothic aspect of this passage. The paper then shows the two faces of the monster and how his mood goes from admiration to hatred in contact with human beings. Finally, the paper discusses the monster's desire for revenge.
From the Paper "Ultimately, thanks to his way to avenge himself the monster can be considered as a "creator" since he rules human life in his turn: he has the power of taking or leaving the life of a human being, like with William's murder. Also, he appears as a creator, but an evil creator because he creates death, misery and suffering. What's more, he creates a murderer when he puts the stolen portrait in Justine's dress. And finally, he has the idea of creating another monster: he imagines the concept of a similar being, which would "be of the same species and have the same defects" (l.87-88). In short, he can be considered as a sadistic creator, who brings new sufferings, hideousness and vice. In fact, we can say the monster is sadistic and even cynical since he wants to see Victor suffer and even destroy him ("a thousand other miseries shall torment and destroy him" l.43-44); what's more, he appears sadistic when he whispers to the girl while he knows that if she awakens, she would be scared and would curse him."
Abstract This paper discusses the ministry gifts listed in Ephesians 4:11-16, analyzing the text closely in the context of the entire epistle. The writer describes the historical background and context of the letter to the Ephesians, and the evidence proving Paul to be its author. Definitions are provided for the five gifts, apostles, prophets, evangelists, pastors, teachers, and different interpretations of the passage are discussed as well. The writer discusses how the passage applies to the church today, and concludes that Paul's teaching would make an excellent church growth seminar with the three points, position, train, and act, in mind.
From the Paper "A very convincing discovery leads one to believe Ephesians is of Pauline authorship: the discovery of "Papyrus 46" or P46. It is one of the oldest New Testament manuscripts known to exist. P46 probably originally was discovered in the ruins of an early Christian Church or Monastery. It contains the last eight chapters of Romans, all of Hebrews, most of 1 and 2 Corinthians, all of Ephesians, all of Galatians, all of Philippians, all of Colossians, and two chapters of 1Thessalonians. It is thought to be of one author. In an article written for Biblica, Y.K. Kim, dates this papyrus at C 80."
This paper explores the question:Are Geoffrey Chaucer's 'The Prioress' Tale?, Christopher Marlowe's "The Jew of Malta", and William Shakespeare's "The Merchant of Venice" Christian texts?
4,045 words (approx. 16.2 pages), 4 sources, 1997, $ 109.95
Abstract The paper states that all three works are a critique of Christian behavior and decadence in their contemporary Christian societies. The author feels that the key to understanding the sense in which these texts are Christian involves understanding the function and portrayal of the Jew, which are more functional props than human characters.
Table of Contents
Introduction
The Prioress? Tale
The Ecclesia
The Christian Masses
Who They Judge
What they Judge
The Positive Model
The Jew of Malta
Murder
Avarice and Theft
Lack Of Chastity
Trickery and Deceit
The Positive Model
The Merchant of Venice
The Court Scene
The Corruption of the Positive Model
Significant Names
Shylock
Jessica
Tubal
Chus
Conclusion
From the Paper ""I Stand here for Law" (The Merchant of Venice IV I 142) declares Shylock. While he literally means that he is awaiting the judgment according to the law of Venice, it is also metaphorically true within the religious framework of the text. As a Jew, Shylock is representative of the outlook which (in Christian thinking) demands strict adherence to the law as opposed to the Christian stand for mercy. But here, as in the other works we have examined, the sole significance of the Jew is to provide a standard by which to measure the Christian by comparison and contrast. From a Christian point of view, Shylock and his religion are presumed corrupt; Judaism itself is beyond saving; the best one can do for its members is to convert them individually to Christianity."
Abstract This paper analyzes the Strindberg play, "Miss Julie" and describes how to present it in theatre production. The paper describes the character dialogue of the actors, the nineteenth century setting for the stage and props. It further illustrates the lighting effects, which allude to observing something that the characters want hidden from the audience.
From the Paper "In August Strindberg's Miss Julie, the use of setting helps advance the theme and conveys meaning to the audience not only through the visible setting but also in terms of off-stage space. For the current production of the play, the basic description in the text will be followed, though the set need not be as naturalistic as originally intended. What is important is that the set suggest a large kitchen in an aristocratic home at the end of the nineteenth century. The script says that the roof and side walls of the kitchen are hidden by drapes and borders, so they need be little more than suggestions of walls and ceiling. To the rear, on the right, is an arched exit porch, and through this can be seen a fountain and trees, which can also be suggested rather than naturalistic in design. The important kitchen props are a large stove, a kitchen table, some chairs, an ice-box, a sink, and some shelves. Prominent in the side wall is a large speaking tube, which becomes an important symbol of the master of the house and so which should be given special emphasis through size and position."
Tags: stage, props, dialogue, miss, julie, lighting, nineteenth, century
Abstract This paper explains that nowhere has the struggle to mandate "affirmative action" in a meaningful way been more viciously fought than in California, and its Proposition 209. The author points out that, at first glance, the wording of Proposition 209 sounds the same as the federal Civil Rights bills of 1964 and 1991 but it is actually very different: The sticking point is that phrase "or grant preferential treatment to", which seems to continue to make all the difference between normal equal rights and forced equality. The paper stresses that the idea of affirmative action is not to exclude anyone, but, at the same time not to include someone simply because of race or gender; while it would seem logical that affirmative action opens doors for admissions or for hiring in the workplace, it is just as logical that previous discrimination should not now become the basis for inclusion.
From the Paper "Proposition 209 was only the latest attempt to "right some wrongs". California, it seems, has always tried to find some means of balancing hiring, education, and fairness, regardless of gender, race, religion, or ethnic background. With the growing minority populations of both Hispanics and Asians entering the state, some sort of fairness needed to be legislated. And, there were just as many who sought to defeat any sort of mandated (i.e. forced) hiring or college admissions. So, years before Proposition 209, there was CCRI...California Civil Rights Initiative
This is a proposed amendment which, as in proposition 209, forbids discrimination and preferential treatment. It was a Republican initiative, co-written by Tom Wood and Glynn Custred. They enlisted the aid of Ward Connerly, who was black and a Republican, and considered a traitor by many blacks in California, since he was one of those working with the Board of Regents to re-establish admissions and hiring guidelines in Berkeley. The reason he was called was because the Amendment was in trouble, lacking enough signatures to put it on the ballot in November."
Abstract This paper analyzes Reginald Rose's play "Twelve Angry Men", based on the TV teleplay and feature film. It discusses conflicts among the jurors, the case, characters, set and props. The author explores the themes of justice and prejudice. The concept of reasonable doubt is also explained.
From the Paper "Reginald Rose's play,"Twelve Angry Men" has an unusual and fascinating genesis. Initially written as a teleplay for live television the drama was then adapted for a feature film in winning Oscars for Best Picture and Best Screenplay for Rose and several ..."
An examination of the use of lighting, camera angles and props to symbolize the changing characters of Othello and Iago in Orson Welles' film version of William Shakespeare's "Othello".
Abstract This paper discusses how, in his play "Othello", Shakespeare establishes Iago as a manipulative character who brings chaos and pain to Othello's world of order and respect. Iago's influence on Othello is seen in the text as Othello's lines become progressively shorter and more violent, and Othello loses everything he loves. The paper then looks at how Welles, in his 1952 adaptation of the play, brings these men's opposing styles, chaos and order, to film through the use of visuals and how he emphasizes Othello's loss of power and order at the hands of Iago with the use of lighting, props and confining sets.
From the Paper "In his play Othello, Shakespeare establishes Iago as a manipulative character who brings chaos and pain to Othello's world of order and respect. Iago's influence on Othello is seen in the text as Othello's lines become progressively shorter and more violent, and Othello loses everything he loves. Welles brings these men's opposing styles, chaos and order, to film through the use of visuals. In his 1952 adaptation of William Shakespeare's Othello, Orson Welles emphasizes Othello's loss of power and order at the hands of Iago with the use of lighting, props, and confining sets."
Abstract The paper compares the United States' and Mexico's rites of passage for teens in the form of the quinceaneras (Mexico) as compared to the "sweet 16" party (US). The paper describes the religious rite of the quinceaneras and the sweet 16 parties and relates that both are becoming spectacles of human consumption. The paper concludes that the reception part of the quinceaneras is strikingly similar to the secular sweet 16 party as the girl is brought forth into adult relationships and responsibilities.
From the Paper "Historical views of rites of passage for women have evolved over the years and have come to mean different things in different cultures, In early European cultures the rites of passage for women often began an ended with marriage, as it was upon her marriage that the individual girl was acknowledged as being likely to survive into adulthood and potentially produce heirs. In certain societies these rites took place at the age of 12 or even earlier (depending on the wealth and connections of the family). Yet, in the upper classes at least these young women were governed by a totally different set of rules and standards that by virtue of a logical acknowledgement that the girl had not yet reached full sexual or physical maturity, was often not fully espoused in a mature sexual relationship until much later."
Tags: rituals, consumption, extravagance, Roman, Catholic, Church
Abstract Analysis of Opus 48, No. 16. "Die alten bosen Lieder." The musical theme of this 1840 song. Development of the vocal melody. Heinrich Heine's lyric poem as the source of the lyric. Its place in Schuman's song cycle. How it is interlocked with Song 15. Relationship between songs 12 and 16.
From the Paper "Robert Schuman was born June 8, 1810 in Zwickau, Germany, the son of a book publisher and writer. He showed early abilities in both music and literature, though he was not considered a prodigy by any means. His sister and father died tragically when he was sixteen, and he was then sent to the University of Leipzig, where he studied law until he was able to convince his mother of his need to study music. His works are noted for their links to literature, and many of his compositions allude to characters or scenes from poems, novels, and plays. His music thus has an intimate relationship with the written word, and this is certainly true of the songs he wrote, such as "Die alten bosen Lieder."
This work (Op. 48, No. 16) was written in 1840. The song ..."
Abstract The author of this paper describes how 16 of those who attended the fifth Solvay Conference in Brussels in 1927 were laureates or went on to win the Nobel Prize. He examines in detail the contributions these attendees made to the field of physics.
From the Paper "Compton is responsible for the study of the scattering of high-energy photons by electrons-the Compton effect. Besides Langmuir, Compton was the only American at the Fifth Solvay Conference. Compton was also responsible for pioneering work on gamma rays and their interaction with matter. Towards the end of his career, Compton worked on cosmic rays."
Tags: Einstein, Bohr, chemistry, Quantum, Theory, thermodynamics, EPR, paper
