Chariots Of Fire Research Articles

“Blake was a phenomenon”: Artistic, Domestic, and Blakean Visions in Joseph Paul Hodin’s Writing on Else and Ludwig Meidner

When Ludwig Meidner (1884–​1966), the German-Jewish expressionist painter, printmaker, and writer, returned to Germany in 1953, he took what he could carry: personal belongings, books, and images, his prints, drawings, paintings, and watercolors. Refugees face difficult choices; they can take only what is absolutely necessary. Meidner never adjusted during the fourteen years of exile and there is a sense that he wanted to eradicate all that reminded him of London—​except for Blake. Thomas Grochowiak, who first noted the significance of Meidner’s encounter with “the painter, poet, mystic William Blake” (“Maler-Dichter-Mystikers William Blake”), suggests that he identified with Blake’s adverse living conditions and artistic neglect, and argues that the occult aspects and especially the Visionary Heads interested him: “For him the preoccupation with Old Testament figures and prophets, with mystical philosophers or religious ecstatics, was just as natural as the everyday, familiar dealings with ghosts.” Meidner took not only John Piper’s British Romantic Artists (1942) and Ruthven Todd’s edition of Alexander Gilchrist’s Life of Blake (1942), but also reproductions of William Blake by Thomas Phillips, the large color print God Judging Adam (then known as Elijah About to Ascend in the Chariot of Fire), and James Deville’s life mask. These images were part of a selection that were to adorn his studio in Marxheim (1955–​63), where he shared his art with a small number of visitors who came to pay tribute to the old master of German expressionism.

Embodied Spiritual practices on the run: six exercises for a spirituality of running

ABSTRACTIn the movie, Chariots of Fire, Scottish Olympian and missionary Eric Liddell describes his missionary vocation alongside his enjoyment of running: ‘ believe God made me for a purpose – for China. But he also made me fast, and when I run, I feel his pleasure’. This article explores the experience of divine pleasure in running, in other words, a spirituality of running or running as a spiritual practice. It discusses six practices that help foster or utilise a spirituality of running: warm-up focus, gratitude, attentiveness, breathing, playfulness and the examen. As an engaged and embodied spiritual practice, running can foster physical and emotional health, appreciation for nature, life-giving relationships with others, awareness of breathing, space for prayer, and teach life-giving lessons about enjoying faith, life and play.

‘Chariot of Fire’: Genre slippages, iconographic agitation and ideological subversion in SRK’s Raees

Abstract Genres have often been a safe space for ideological containment, reworking popular conventions and fulfilling audience expectations. But many popular genres including science fiction, horror and the gangster film are also vehicles for subversion. This article will use Raees (Dholakia, 2017), a big budget Bollywood film starring Shah Rukh Khan (SRK), to demonstrate how the Indian gangster film acts as a rejoinder to Hindutva cultural politics, challenging the notion that popular Hindi cinema is merely in the bind of normalizing a nationalist agenda. Using the yatra (procession/journey) sequence as a focal point for textual analysis, I will cover three key areas. This includes the use of political iconography, the violent resistance that emerges to stop the yatra and that is instigated by Raees, a liminal figure of proletarian and secularist ideals, and finally, how the imagining of the Muslim harbours a punitive refrain.

Lord Burghley, Chariots of Fire and the Gentleman Amateur in British Athletics

This article sets out to examine the life and career of Olympic athlete, politician and sports administrator David Cecil, Lord Burghley (1905–1981). Burghley, or the Marquess of Exeter as he became in later life, more perhaps than any other individual embodied the amateur ethos that dominated British and world athletics from the late Victorian period to the 1970s. Steeped in the view that ‘taking part was more important than winning’, Burghley played a vital role in upholding amateur principles, serving for lengthy spells in senior positions on the Amateur Athletic Association, the British Olympic Association, the International Amateur Athletics Federation and the International Olympic Committee. Although regarded by his critics as being out of touch by the close of his career, when professionalism was coming to the fore, it will be argued here that Burghley made a deep and lasting contribution to the evolution of both elite and grass roots athletics.

London 2012, Chariots of Fire resurrected and Colombes Stadium today: hype, history and Olympic realities

The London 2012 Olympics resurrected Chariots of Fire as a theme and symbol for the Olympic ideal, glorifying the story of how Harold Abrahams, a British Jew of Lithuanian origin, and Eric Liddell, a Christian Scot, overcame religious and personal obstacles to win Olympic gold at Paris 1924. Unfortunately, the film is no more valid now than it was three decades ago when critics universally berated its historicity. It stands as a hollow reflection of the actual events – much like the real Colombes Stadium, where Abrahams and Liddell achieved their Olympic immortality, does today in Paris.

A note on the horses and chariots of fire at Dothan

Abstract: This contribution argues that the horses and chariots of fire in II Reg 6,15b–17 play an important function in the plot of II Reg 6,8–23. These verses contribute to irony in the story, to the theme of »seeing«, and it is likely that they are the means by which God smites the Arameans with the sanwerîm (v. 18). Their irrelevancy to the plot cannot be sustained as a sufficient argument for considering these verses to be a later addition to the pericope. Résumé: On avance ici l’hypothèse que les chevaux et les chariots de feu en II Rois 6,15b–17 jouent un rôle important quant à l’action de II Rois 6,8–23. Ces versets constituent un apport ironique au récit quant au thème du »voir«, et ce sont probablement là les instruments à l’aide desquels Dieu fracasse les Araméens, avec les sanwerîm (v. 18). Leur non-pertinence pour l’action en cours ne peut ainsi servir d’argument suffisant pour considérer ces versets comme une addition tardive à la péricope. Zusammenfassung: In diesem Beitrag wird argumentiert, dass die feurigen Rosse und Streitwagen in II Reg 6,15b–17 eine wichtige Funktion in der Handlung von II Reg 6,8–23 innehaben. Diese Verse tragen zur Ironie der Geschichte, dem Thema »sehen«, bei, und wahrscheinlich sind diese feurigen Rosse und Streitwagen das Mittel, durch welches Gott die Aramäer mit sanwerîm schlägt (v. 18). Ihre Irrelevanz für die Handlung kann kein ausreichendes Argument dafür sein, diese Verse einer späteren Ergänzung der Perikope zuzurechnen.

Listlessness in the Archive

Listlessness in the Archive

Encyclopedia of the Bible and Its Reception. Vol. 3: Athena – Birkat ha-Minim. Vol. 4: Birsha – Chariot of Fire

Encyclopedia of the Bible and Its Reception. Vol. 3: Athena – Birkat ha-Minim. Vol. 4: Birsha – Chariot of Fire

Blake: Milton Inside Milton

PAUL MINER Blake: Milton Inside Milton He has now by him a long poem nearly finished, which he affirms was recited to him by the spirit of Milton. —Concerning the “Nativity of Mr. Blake,” Urania, 1825 J ohn milton’s writings often were a prism through which william Blake organized his own critical apparatus,1 and the complexity with which Blake in his epic Milton alludes to Milton’s various works has not been understood, in part because Blake frequently re-visioned such emula­ tions. Accordingly, Blake attempted to outdo Milton.2 The Argument of this essay, thus, assesses many of these nuances of meaning and counter­ meaning.3 To facilitate clarity of exposition, I have—insofar as possible— addressed the relevant particulars sequentially as they appear in Milton. 1. All citations to Blake, unless otherwise noted, are taken from The Complete Poetry & Prose of William Blake, ed. David V. Erdman, revised edn. (New York: Anchor, 1988). Stan­ dard abbreviations of Blake’s works are used in the citations. For plate numeration concern­ ing Blake’s designs to Milton, I also utilize Erdman’s The Illuminated Blake (Garden City, NY: Dover, 1992), a republished issue of the 1974 edition—hereafter referred to as TIB. Quota­ tions from Milton, unless otherwise indicated, are taken from Paradise Lost and from Paradise Regained, the Minor Poems and Samson Agonistes, 2 vols., ed. Merritt Y. Hughes (New York: Odyssey Press, 1937). 2. Blake often twists Milton’s contexts, and as early as An Island in the Moon, c. 1784-85, “Quid” (Blake) in mock audacity declares that “I think that Homer is bombast & Shake­ speare is too wild & Milton has no feelings (my emphasis) they might be easily outdone” (E 455). Blake’s aspersion to Milton tacitly reflects Samuel Johnson's criticism of Lycidas, where in Lines of the Poets (vol. 1) the lexicographer sternly declares there is no “effusion of real passion” in Milton’s poem—as it expresses “little grief.” Blake later modified his forego­ ing perspective, because Milton was inspired by the Holy Ghost, the Poetic Genius. Blake m A Descriptive Catalogue (E 544) confirmed that the “human mind cannot go beyond the gift of God, the Holy Ghost,” and Blake in his annotations to Wordsworth (E 665) further clarified that works inspired by the Holy Ghost can be “equal to . . . but not Superior” to each other. Hence, the Holy Ghost cannot be “outdone.” See also John B. Pierce, “Rewriting Milton: Orality and Writing in Blake’s Milton, ” in William Blake, A Critical Study, eds. T. Joseph and S. Francis (New Delhi: Anmol Publications, 2005). 3. The most comprehensive survey ofBlake’s Milton is The Illuminated Books, vol. 5 ofthe William Blake Trust, edited with commentary by Robert N. Essick and Joseph Viscomi (Princeton: Princeton University Press, 1993). Subsequent references to this work are desig­ nated as MAP (“Milton/a Poem”). SiR, 51 (Summer 2012) 233 234 PAUL MINER Parenthetically, it should be emphasized that themes in Milton often were initiated in The Four Zoas and expanded and consolidated in Jerusalem, Blake’s last great epic. Scholars repeatedly have called attention to the opening lyric of Milton (E 95—96)/ where Blake passionately demands: “Bring me my Bow of burning gold” and “my Arrows of desire: / Bring me my Spear: O [vagi­ nal] clouds unfold!” (cf. J 20:26, E 165). Blake in this introductory poem also possesses a “Chariot of fire,” reflecting Book Six of Paradise Lost (71018 , 832, 836), in which Christ with his fiery “Chariot” will “bring forth all my War” against Satan. Hence, Milton’s Christ in Book Six (lines 763-75) is armed with a stringed “Bow,” while his “Quiver” stores “three-bolted Thunder”—arrows of lightning, directed against devilish hoards.4 5 6 Christ in Paradise Lost (6.714) also possesses a “Sword,” placed upon his “puissant Thigh,” and, thus, militant Blake’s “Sword” in the initial lines of Milton (E 95) will not “sleep” in his hand, layered phrasing that residually amplifies Zechariah (13:1, 7), where “the LORD of [starry] hosts,” anticipatmgjerusalem ’s terrible purification, expostulates: “Awake, O sword” (my emphasis). The terminating stanza in Blake’s lyric in Milton (lines 13—16, E 95...

‘Too Semitic’ or ‘Thoroughly ‘Anglicised’? The Life and Career of Harold Abrahams

Harold Maurice Abrahams (1899–1978) – the British-Jewish athlete made famous by the film Chariots of Fire – won gold for Britain in the 100 m sprint in the 1924 Paris Olympics. Far from being the ‘outsider’ depicted in Chariots of Fire, however, Abrahams’ ‘Anglicisation’ was extensive and played an important role in his life before, during and after his athletics career. Abrahams’ integration went hand-in-hand with his sporting success – something which was celebrated by British Jewry. Such was his assimilation, that by 1936 – a year when Abrahams courted controversy over his stance on the Berlin Olympics – he was criticised for having ‘lost’ all attachment to the community of his birth. In contrast to the film, where Abrahams is seen to be ‘too Semitic’, the Bedford athlete was actually ‘thoroughly Anglicised’. A desire to move into or support middle-to-upper class British society characterised Abrahams’ personal and sporting life much more so than his Jewishness. As time progressed, Abrahams’ Jewish origins meant less and less, both to Harold himself and to those around him.

Henry B. Stallard, MD: The 1924 Paris Olympics, and Chariots of Fire

Hyla Bristow Stallard was one of the greatest middle-distance runners in British athletic history. While an English medical student, he won the bronze medal in the 1500-meter run at the 1924 Paris Olympics, immortalized in the critically acclaimed 1981 epic British film, Chariots of Fire. He later became one of the most famous ophthalmologists in the world for his pioneering work in radiation therapy of malignant eye disease. He was an inspiring role model for both athletes and physicians. As a gifted individual who enjoyed two international careers, he is worthy of great admiration and emulation.

Wölfflin과 Delong 이론을 통해 고찰한 영화의상의 형태적 특성 연구

This study researches the formative character of 1920`s fashion through cinema costumes from the perspective of the theories of Wlfilin and Delong. This study organizes a new perspective such as closed form & open form, part recognition & whole recognition, and flat & rounded to analyze the characteristics of form in the costumes of `The Great Gatsby`, `Chariots of Fire`, and `Chicago`. The 1920`s style in the fashion history is a closed form and flat because of simplicity and functionality. The costumes in Chariots of Fire` that focuses on the reappearance of 1920`s fashion is a flat and closed form. However, the costumes of `The Great Gatsby` that presents a symbolic meaning and `Chicago` that expresses a splendid look are an open and rounded form. Evening dresses are open, with whole recognition and a rounded form because of sheer fabrics, beading, uneven hemlines, and lighting. Daytime dresses are a closed form and flat because of heavyweight fabrics, dark or achromatic colors and non-patterns. Also, open form and rounded, closed form and flat have a similar distribution in diagrams. When the viewer recognizes the form of clothes, they react in a similar way to two-dimensional and three-dimensional presentations that shows that the form of clothes is recognized by the relation with the body. In addition, this study researches the connection between diverse elements such as clothes, body, movements, space, and external elements such as lighting.

Chariots of Fire

Chariots of Fire

Chariots of Fire: bigotry, manhood and moral certitude in an age of individualism

Chariots of Fire is examined both as a chronicle of the 1920s, in which it is set, and an allegory for the period in which it was released, the early 1980s. The film unfolds amid a culture of individualism in which British patriotism, while strong, is both conditional and instrumental. Class inequalities are deep, unemployment is growing steeply and industrial conflict is widespread. Victorian values are changing and the end of British Empire is approaching. The film records the intersecting paths of two athletes, Harold Abrahams and Eric Liddell, as they prepare for the Paris Olympic Games of 1924. Both are, in different ways, marginal: Abrahams, a Jew, is challenged by anti‐Semitism; Liddell, the son of a missionary, is a steadfast Christian and runs because he believes he is fulfilling God's purpose. The two dominant themes of the film – masculinity and anti‐Semitism – are addressed. Abrahams, with his singular mentality and professional coach, is seen to prefigure later developments in sport. The context of the film's release is also considered: the enterprise culture encouraged by the British Prime Minister Margaret Thatcher rewarded the kind of dogged, individualistic enterprise exhibited by Abrahams and Liddell and supported the film's patriotic motifs, especially during the Falklands War of 1982. While based on actual historical characters and events, the film is most productively accepted as a figurative reconstruction that has resonance in the late rather than early twentieth century.

The perfect mile: three athletes, one goal, and less than four minutes to achieve it

There was a time when running the mile in four minutes was believed to be entirely beyond the limits of human foot speed. And in all of sport it was the elusive holy grail. In 1952, after suffering defeat at the Helsinki Olympics, three world-class runners set out individually to break this formidable barrier. Roger Bannister was a young English medical student who epitomized the ideal of the amateur -- still driven not just by winning but by the nobility of the pursuit. John Landy was the privileged son of a genteel Australian family, who as a boy preferred butterfly collecting to running but who trained relentlessly in an almost spiritual attempt to shape his mind and body to this singular task. Then there was Wes Santee, the swaggering American, a Kansas farm boy and natural athlete who believed he was just plain better than everybody else. Santee was the first to throw down the gauntlet in what would become a three-way race of body, heart, and soul. Each young man endured thousands of hours of training, bore the weight of his nation's expectations on his shoulders, and still dared to push to the very limit. Their collective quest captivated the world and stole headlines from the Korean War, the atomic race, and such legendary figures as Edmund Hillary, Willie Mays, Native Dancer, and Ben Hogan. Who would be the first to achieve the unachievable? And who among them would be the best when they raced head to head? In the answer came the perfect mile. In the tradition of Seabiscuit and Chariots of Fire, Neal Bascomb delivers a breathtaking story of unlikely heroes and leaves us with a lasting portrait of the twilight years of the golden age of sport.

Self-Knowledge and Humility in Chariots of Fire

Self-Knowledge and Humility in Chariots of Fire

Dos episodios de la vida de Eliseo en el hipogeo de Dino Compagni

In the Catacomb of Via Latina (Via Dino Compagni) on the back wall of an arcosolium in Ferrua’s cubiculum B (Pavia’s E), are represented two scenes from Prophet Eliseus’s life. On the left is the ascension of Elias in the presence of Eliseus (the chariot of fire, 2 Kings 2, 11 18); on the right, Eliseus’s choice as a disciple of Elias (1 Kings 19, 19-21). All that remains are the two oxen of Eliseus’s sacrifice and the young Eliseus seated on a stone near a plough and a yoke. The latter scene is a “unicum” in ancient Christian iconography; no other examples before the 16th century are known.[Author]

Movies and Money

PUTNAM, the Oscar-winning producer of such modern classics as Chariots of Fire, The Killing Fields, Local Hero, Midnight Express and The Mission, shares his insights, knowledge and experience in this very well researched, captivating and, at times, humorous volume. He tells the story of cinema and he tells the story about money since, for some, money is what cinema represents. He starts his tale with the description of the first moguls in the early days of cinema, beginning with Edison and the Lumiere brothers, and continues, in chronological order, to thoroughly present the history of the film business on American and European continents to the present day. Step by step he documents the international success of Hollywood and the struggle of Europeans and their attempts to win their home markets. The economic war over the control of the world's film industry seems to have come to an end long...

Hollywood: An Oscar for Misinformation?

New Perspectives QuarterlyVolume 16, Issue 3 p. 42-44 Hollywood: An Oscar for Misinformation? LORD PUTTNAM, LORD PUTTNAM LORD PUTTNAM, the Oscar-winning British producer of such films as Chariots of Fire, The Killing Fields and Midnight Express, was also chairman of Columbia Pictures from 1986 to 1988. David Puttnam is also author of Movies and Money (Knopf, 1998) and is an advisor on education to British Prime Minister Tony BlairSearch for more papers by this author LORD PUTTNAM, LORD PUTTNAM LORD PUTTNAM, the Oscar-winning British producer of such films as Chariots of Fire, The Killing Fields and Midnight Express, was also chairman of Columbia Pictures from 1986 to 1988. David Puttnam is also author of Movies and Money (Knopf, 1998) and is an advisor on education to British Prime Minister Tony BlairSearch for more papers by this author First published: 01 February 2011 https://doi.org/10.1111/j.1540-5842.1999.tb00053.x AboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Volume16, Issue3Summer 1999Pages 42-44 RelatedInformation

『炎のランナー』再解釈: スポーツ映像の象徴的意味

The purpose of this paper is to consider philosophically symbolic meanings of sport as expressed in the medium of film. More specifically, a hermeneutic analysis will be conducted of the structure and functions of the meanings conveyed in one particular film, namely, “Chariots of Fire.” The study will involve an investigation of the following three items: (1) the formation processes entailed in the production of sport images; (2) rethinking of the nature of sporting values represented; and, (3) the symbolic meanings of the sport represented.To engage in a hermeneutical analysis of sport, it is necessary to interpret the playtext of sports in accordance with a specific context and in consideration of the prevailing metatext. Consequently, “Chariots of Fire” will be investigated and interpreted in this threefold framework.Obviously, even the title “Chariots of Fire” has strong religious and other symbolic meanings. The body of the film conveys many symbolic images including, for example, instances of racism and muscular Christianity. This paper will investigate these and other images within the context of the expressed purpose of the film producers. It will be demonstrated that sport films, such as “Chariots of Fire, ” are highly effective mechanisms by which to present, communicate, and reinforce a wide range of symbolic meanings, thus causing the viewer to reflect anew upon both the nature and purpose of sport.