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1000 tulosta hakusanalla Judith Westlund Rosbe
In The Late Nineteenth Century, America's new railroads flooded Marion with extravagant cargo: the rich and famous. For the likes of Mark Twain, Henry James and President Grover Cleveland, whose home here was known as the "summer White House," Marion became a treasured sanctuary from city life. Teeming with prosperity and the blossoming arts, this hamlet offered a setting so breathtaking that it inspired some of the world's foremost creative minds. Encouraged by The Century Magazine editor Richard Watson Gilder, prominent artists, architects, writers and celebrities flocked to Marion. Also frequented by Academy Award-winning actress Ethel Barrymore, it was here that Charles Dana Gibson sketched his iconic "Gibson Girl." Whether following First Lady Frances Cleveland's trendsetting fashion or the well-publicized wedding of Cecil Clark and Richard Harding Davis, the eyes of America were firmly planted on Marion's sparkling shores and glittering guests.
St. Gabriel's Episcopal Church was founded in 1871, when Adm. Andrew Harwood decided to retire in Marion, Massachusetts, and fulfill a promise that he had made to the archangel Gabriel after surviving a fierce storm at sea. Initially a church for Marion's summer residents, it became a year-round church in 1896. In 1899, the national press corps lined up outside the church to glimpse the wedding of the country's most famous journalist, Richard Harding Davis, to artist Cecil Clark. Beginning in 1913, the chapel was enhanced with 11 stained-glass windows designed for the church by Charles J. Connick, the most famous American stained-glass artist of the 20th century. The church was later expanded after the acquisition of adjacent land and the construction of a parish hall, church school buildings, and a new sanctuary. In the 1950s, the church began having full-time rectors. Today, the church has 300 family members on its rolls and will celebrate 150 years in 2021.
Judith is Volume 40 in the acclaimed anchor Bible series of new book-by-book translations of the Old and New Testaments and Apocrypha. In the Apocrypha, Judith is the saint who murdered for her people. She offered herself to Holofernes, the Assyrian general sent by Nebuchadnezzar to destroy the Israelites. After she had charmed Holofernes with flattery and drink, Judith chopped of his head while he lay in a drunken stupor, thereby leaving his troops “headless” and in a state of total panic and confusion. Her victory was celebrated in song and brought peace to her land for years to come. In his illuminating new translation and commentary, Carey A. Moore considers the historicity of the story and explores the author’s true intent: Was it to describe actual events or to compose a fictitious story of other purposes? Was his concern more historical or theological? The story of Judith abounds in ironies. There is Judith, the beautiful woman who lived a stark, celibate existence after her husband’s death had left her a wealthy widow. Born into a sexist society with rigidly defined roles, Judith better “played the man” than did any of her male compatriots. There is Holofernes, the Assyrian conqueror, unable to defeat a small Israelite village after dozens of countries had fallen under his sword. Intent on seducing Judith, Holofernes instead lost his head to her. Perhaps the ultimate irony of all is the story of Judith itself: the timeless tale of a deeply religious woman who became revered not for her poverty but for an act of murder. Dr. Moore’s study of the canonicity of Judith brings perspective to the story’s varied acceptance among both Jews and Christians. It also notes the similarity between this work and the equally popular story of Esther; each woman, through different means, served her people through acts of bravery. The photographs and maps illustrating Judith include depictions of the story of Judith by such masters as Machiavelli, Botticelli, Caravaggio, and Donatello.
The 1960s was a time when Australia was changing and the old ways were being left behind. At 21 Judith is ready to conquer the world, she has a new job working for the government, and a new life ahead of her that will test her resolve. Moving to the city will take her from naive romantic notions and the protection of small town living to discovering that around the corner life's twists and turns carry you along paths you never anticipated. The communist movement is looking for converts to infiltrate the government. Will they draw her in? Women are living and loving more freely. Will she ignore the promises she made and allow the lure of this new life to change her? Will she find romance or tragedy? What will her family think if she tells them? She will need wisdom, courage and faith for the journey as the road to independence always comes at a price.
Judith tells the story of a beautiful Jewish woman who enters the tent of an invading general, gets him drunk, and then slices off his head, thus saving her village and Jerusalem. This short novella was somewhat surprisingly included in the early Christian versions of the Old Testament and has played an important role in the Western tradition ever since. This commentary provides a detailed analysis of the text's composition and its meaning in its original historical context, and thoroughly surveys the history of Judith scholarship. Lawrence M. Wills not only considers Judith's relation to earlier biblical texts--how the author played upon previous biblical motifs and interpreted important biblical passages--but also addresses the rise of Judith and other Jewish novellas in the context of ancient Near Eastern and Greek literature, as well as their relation to cross-cultural folk motifs. Because of the popularity of Judith in art and culture, this volume also addresses the book's history of interpretation in paintings, sculpture, music, drama, and literature. A number of images of artistic depictions of Judith are included and discussed in detail.
2023 Catholic Media Association First Place Award, Scripture – Academic Studies The striking scene of Judith cutting off Holofernes’s head with his own sword in his own bed has inspired the imaginations of readers for millennia. But there is more to her story than just this climactic act and more to her character than just beauty and violence. This volume offers a comprehensive examination of gender ideologies in the book of Judith, from the hyper-masculine machinations of war and empire to the dynamics of class in Judith’s relationship with her enslaved handmaid. Overall, this commentary investigates the book of Judith through a feminist lens, informed by critical masculinity studies, queer theory, and reception criticism.
Judith
University of Exeter Press
1997
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Undergraduates frequently find the fine Old English poem JUDITH the most stimulating of the surviving texts from the Anglo-Saxon period. In the past thirty years it has attracted a wide range of literary criticism both in the UK and the US. Feminist critics of English literature have been particularly interested by the ways in which the poet has adapted the traditional masculine heroic ethos of Old English poetry to a story figuring a violently active female protagonist.Yet there is no available edition of Judith which is either comprehensive or up to date, or which at all explains how and why the poem is worthy of our attention. This new edition aims to fill this gap. It includes a full Introduction and commentary by the editor, plus a comprehensive glossary, bibliography and appendices.
Judith is an aspiring young actress and the mistress of a writer on a popular satirical magazine. We learn of her involvement with drugs and increasing self-delusion. After a crack-up, she seeks healing in an Indian ashram run by an eccentric and possibly mad guru. But what is at the back of appearances; how calculated is the self-destructiveness from which a new order might emerge?
The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars.Western literary study flows out of eighteenth-century works by Alexander Pope, Daniel Defoe, Henry Fielding, Frances Burney, Denis Diderot, Johann Gottfried Herder, Johann Wolfgang von Goethe, and others. Experience the birth of the modern novel, or compare the development of language using dictionaries and grammar discourses. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++British LibraryT109299W- H- = William Huggins. Libretto only, in verse.London: printed in the year, 1733. 29, 1]p., plate; 8
At a great assemblage of the Israelites for the worship of Moloch the priests demand the children of Manasseh for sacrifice. The king, overborne by the frenzy of the crowd, acquiesces. The priests go to the king's palace and take the children from their mother, and bring them down into the Valley of Hinnom to sacrifice them. Judith endeavours to save the children and is near being sacrificed herself by the furious worshippers, but is saved by the coming of the Assyrian host, who lay Jerusalem in ruins, and take Manasseh prisoner to Babylon.
The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars.Western literary study flows out of eighteenth-century works by Alexander Pope, Daniel Defoe, Henry Fielding, Frances Burney, Denis Diderot, Johann Gottfried Herder, Johann Wolfgang von Goethe, and others. Experience the birth of the modern novel, or compare the development of language using dictionaries and grammar discourses. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++British LibraryT109299W- H- = William Huggins. Libretto only, in verse.London: printed in the year, 1733. 29, 1]p., plate; 8
