Torments Of Hell Research Articles

Dominating Demons in the Old English Prose Acts of Andrew

Dominating Demons in the Old English Prose <i>Acts of Andrew</i>

Manajemen Pendidikan Islam: Leadership dan Administrasi Pendidikan dalam Al-Qur’an

&#x0D; Leadership is a collective effort to solve problems facing the organization through joint thinking and action to achieve well-planned goals. Even though the principal/madrasah is affiliated with an Islamic educational institution, he or she has a leadership role among all members of the school and shares this leadership role and responsibility to achieve a goal. development in an Islamic context urges As a leader, start with those closest to you. Allah says in QS At-Tahrim verse 6 that Allah intends: Remind family members to take care of each other. We are commanded to take care of our families, make sure they do not do what is forbidden to us, and manage our families as God has commanded. Under the protection of 19 leaders, we are trying to save our family from the torments of hell. From the perspective of Islamic education, education management plays an important role in the administration of educational institutions such as schools and madrasas which are based on Islamic values ​​originating from the Al-Quran and As-Sunnah and supported by Islamic educational ideas.&#x0D; Keywords: leadership, education management.

Studi Kemampuan Layanan Wudhu Masjid / Mosque Ablution Service Capability Study

It is natural for men whos pray in congregation at mosque, trying to get the primacy of praying in congregation without missing imam's takbiratul ihram, because many good things will be obtained, including freedom from the torments of hell and from hypocrisy. However various restrictive factors, cause many congregations to be left behind in takbiratul ihram, and even become masbuk. One of them is because the queue for ablution caused by number of ablution faucets is not proportional with capacity of congregations that must be served, especially during Friday prayers. This study is important to do in order to know the factual ability of ablution services at mosques in the city of Palembang, as well as comparison with SNI 8135:2015 standards, so that it is expected to be a reference for planning mosque ablution facilities. Data collected using a field survey method at 35 mosques in the Palembang city. Analysis of service estimates using the calculus method, then presented in tables and diagrams as well as narrative descriptions. Results prove that the duration of ablution of 64.2 seconds is significantly valid with a margin of error of 6.39%. Total of 85.71% mosques have an average ablution service capability of 48.24% of the total capacity of the mosque at 15-minute intervals, with an average ratio of 1 faucet : 31 male congregation, or only 43.33% of the number of faucets based on SNI 8153:2015 standard.

The Tenacity of Popular Devotions in the Age of Vatican II: Learning from the Divine Mercy

Despite is global popularity in recent decades, the Divine Mercy devotion has received scant scrutiny from scholars. This article examines its historical development and evolving appeal, with an eye toward how this nuances our understanding of Catholic devotions in the “age of Vatican II.” The Divine Mercy first gained popularity during World War II and the early Cold War, an anxious era in which many Catholic devotions flourished. The Holy Office prohibited the active promotion of the Divine Mercy devotion in 1958, owing to a number of theological concerns. While often linked with the decline of Catholic devotional life generally, the Second Vatican Council helped set the stage for the eventual rehabilitation of the Divine Mercy devotion. The 1958 prohibition was finally lifted in 1978, and the Divine Mercy devotion has since gained a massive following around the world, benefiting in particular from the enthusiastic endorsement of Pope John Paul II. The testimonies of devotees reveal how the devotion’s appeal has changed over time. Originally understood as a method for escaping the torments of hell or purgatory, the devotion developed into a miraculous means to preserve life and, more recently, a therapeutic tool for various forms of malaise.

Rural Waterscape and Emotional Sectarianism in Accounts of Lough Derg, County Donegal

The story of Lough Derg in Ireland’s County Donegal is arranged around clusters of sectarian narratives in juxtaposition, synthesis and conflict. The Sanctuary of Saint Patrick sits on Station Island, a small rocky islet set within the waters of the lake. The site became well known in the early Middle Ages as the place of Saint Patrick’s delving of a cave that led to purgatory, allowing the sinner to experience a glimpse of the torments of hell while still in this life. The island then attracted pilgrims from all over Europe and became embedded into the Catholic literary and spiritual imagination. After the Protestant Ascendency and the Plantation of Ulster began in the seventeenth century, the place became a site of tension and narrative clashes between differing visions of rural place, each with its own spectrum of affect, emotions and ideals. This essay unpacks the resonances of Lough Derg as a site of sectarian narrative by 1) situating the discussion within a distinctly rural context; 2) adding the unique properties of spiritual waterscape to the discussion; and 3) discussing the Irish sectarian narratives and identities arising from the lake and its purgatorial isle. It focuses on a case study of Protestant and establishment accounts of the lake during the nineteenth century, depicting them as internally diverse as well as part of a larger ecology of sectarian contestations. It explores waterscape and its role in influencing community responses to and shaping of place, the manner in which sectarian responses to space are internally diverse, and the manner in which Catholic and Protestant narratives of place have intertwined to shape the lake in the twenty-first century.

Rauschenberg's Modern Infernos for Life Magazine

In 1965 the American magazine Life published “A Modern Inferno,” a work commissioned from Robert Rauschenberg (1925–2008) to commemorate the 700th anniversary of the birth of the Italian poet Dante Alighieri (1265–1321). This work was inspired in part by the first canticle of Dante's celebrated Divine Comedy – the Inferno – which contains 34 cantos describing the torments of Hell. Rauschenberg made two prototypes for the Life feature, each of which comprises two panels. To create those, Rauschenberg used photographs selected in large part from past issues of Life and from its archives. This paper aims first to situate “A Modern Inferno” in the history of the reception of Dante within the United States. Secondly, it intends to place the Life feature and the studies for it in relation to Rauschenberg's immediately preceding work, emphasising its importance in his development of what art critic Rosalind Krauss had termed a “newly ‘photographic’ medium.” To understand the historical significance of Rauschenberg's compositions, the paper also seeks to identify the characters and events illustrated in the photographs contained in them. Moreover, it considers how Rauschenberg deployed this subject-matter in order to represent the evil that occurred in much of the twentieth century. It is argued that some of these passages display affinities with the narrative of Dante's Inferno. Overall, however, relationships between Rauschenberg's compositions and the horrors of the Inferno are sweeping and metaphorical rather than literal. The paper concludes by touching on other elements from Dante's poetry that appear in works that Rauschenberg made in the years immediately after the Life commission.

Preaching to Convert: Evangelical Outreach and Performance Activism in a Secular Age by John Fletcher

Reviewed by: Preaching to Convert: Evangelical Outreach and Performance Activism in a Secular Age by John Fletcher Jay Ball Preaching to Convert: Evangelical Outreach and Performance Activism in a Secular Age. By John Fletcher. Ann Arbor: University of Michigan Press, 2013. 412 pp. $44.00 cloth. Part ethnography, part polemic, John Fletcher’s new book provides a landmark survey of contemporary American evangelicalism’s vibrant culture of performance. It is also a provocation addressed to “secular Left” scholars who might (falsely) believe they have cornered the market in theatre for social change. These two themes—the range and sophistication of evangelical performance versus the smug hypocrisy and dismissiveness of antitheistic critics—form the double helix of Fletcher’s well-researched and closely observed study. It deserves to be widely read and debated. As the lengthy introduction explains, Fletcher sets out to identify and categorize the array of performance strategies that “evangelicals in the United States use to change their world, to win converts to their faith and worldview” (5). Fletcher places particular emphasis on “the challenges they face, and the solutions, innovations, or compromises they create” in the context of a society whose norms are regarded as increasingly antireligious and tolerant of difference, that is, the “secular age” of his title, which he takes from the Canadian philosopher of identity Charles Taylor (5). Structured as eight lengthy chapters, Fletcher covers everything from traditional door-to-door “soul winning” (or “kerygmatic” performatives) to alternative Halloween immersive theatres known as “Hell Houses,” from Ken Ham’s Kentucky-based Creation Museum to “seeker-sensitive [Church] services” pioneered by Rick Warren’s Saddleback Church. Fletcher also discusses evangelical debates about “sexual orientation change efforts,” also known as “conversion therapy,” in the penultimate chapter of the book. In most of these case studies, Fletcher’s rhetorical criticism is grounded in firsthand “thick descriptions” based on his wide-ranging fieldwork. But Fletcher is no disinterested observer on these travels. Eschewing “paranoid criticism,” which he defines as the reflexive ascription of “hegemonic ideologies” to anything but the most politically radical practices, he instead adopts the perspective of “critical generosity,” or the “good faith” approach (29). Drawing on scholars of activist performance such as Jan Cohen-Cruz and David Roman, Fletcher seeks to employs “deep empathy” with American evangelicals in order to render their aims and methods with greater nuance and complexity. (For a work that engages so many theorists so well, it may seem ungenerous to wish Fletcher had employed others. However, one cannot help but wonder how [End Page 323] he might have engaged with Michael Walzer’s notion of “connected criticism.”) Further, this challenge to the values of left-progressive theatre historiography is intended to lift “significant limitations on the critical and political imaginations of theatre and performance activist-scholars” (29). Fletcher demonstrates that evangelicals are social-change innovators whose practices are worthy of admiration and possibly even theft. The chapter “Hell and Judgment: House of Distinction” may be the strongest application of this method for the way in which it complicates the premise that all evangelical performance is “preaching to convert.” Originally devised by Colorado pastor Keenan Roberts during the 1990s and now circulated nationally through so-called Outreach Kits (sold for $299), the typical “Hell House” stages a procession of harrowing tableaux depicting the wages of sin, especially teenage forms of moral misadventure: fatal drunk-driving accidents, drug overdoses, rape, abortion, and demonic possessions brought on by dabbling in the occult, all of which consign the victims to the just torments of hell. As Fletcher records, Roberts’s original has inspired numerous variants, including Judgment House, Revelation Walk, and Rapture House. According to Fletcher, all of these productions create what he memorably terms “interactive eschatological theatre” (160). However, in one of the more important takeaways from this study, Fletcher problematizes the notion that Hell Houses are designed to interpellate the unconverted. Drawing on Baz Kershaw’s theory of “authentication” in community-based theatre, Fletcher writes, “In order to ‘work,’ Hell House relies on an audience of people willing to buy into (authenticate) the picture of reality that Hell House presents. For those who do not already believe in demons or God or the...

The Deepest Sense: A Cultural History of Touch by Constance Classen

Reviewed by: The Deepest Sense: A Cultural History of Touch by Constance Classen Sara Spike Classen, Constance – The Deepest Sense: A Cultural History of Touch. Chicago: University of Illinois Press, 2012. Pp. 227. In The Deepest Sense: A Cultural History of Touch, Constance Classen gives readers a “feel” for medieval and early modern Europe while demonstrating the centrality of touch to the social, cultural, and religious formations of premodernity. More broadly, she advocates for sensory history, and for the role that scholars in the social sciences and humanities have to play in our understanding of the senses. Early in the book Classen reminds readers that “to rely on science for a true understanding of perception is both to disregard the ways in which science is itself a social construct and to detract from the significance of culturally specific models of sensation” (p. xv). The sensory practices and symbolism of any period and its cultural values and norms are closely related and indeed mutually constituted. Foregrounding the senses therefore provides an innovative analytical lens for understanding past cultures; Classen argues that such analyses have the potential to make the “dry bones of historical fact…more interesting and more memorable” (p. xii). Classen defines touch broadly to include not just bodily contact, but also the sensations associated with temperature, corporeal movement, pleasure, pain and other aspects of embodied experience. She also carefully acknowledges the multisensory nature of human experience rather than trying to disentangle touch from the other senses. Drawing such wide boundaries around her subject allows Classen to investigate an eclectic range of ideas and experiences related to touch by exploring “the tactile values that shaped the sensibility and sociality” of medieval and early modern Europe (p. xiii). The Deepest Sense challenges the common assertion that the transition to modernity can be charted through a straightforward narrative of the rise of the cultural importance of vision – which Enlightenment thinkers came to associate with rationalism – and a corresponding decline in the primacy of touch – which the same thinkers associated with primitivism and base emotion. This is, of course, an embodied version of the equation that allowed the Middle Ages to be characterized and dismissed as “dark.” Classen problematizes these assumptions, arguing that “the sensory patterns of history are too complex” for such a simplified account (p. 159). She writes that “touch does not simply recede from cultural life in modernity, it is re-educated, and while it retreats from some domains, it expands into others” (p. xiv). For example, although Classen would not suggest that one replaced the other, the practice of touching artifacts was newly banished from museums and art galleries in the nineteenth century at the same time that the rise of the department store (regularly cited as representative of the new regime of vision) provided a new public venue for handling both precious and profane objects. This shift, [End Page 229] and the persistence of touch in modernity, which Classen uses “in the sociological sense to refer to the period beginning with the eighteenth century” (p. xiii), are detailed in the final two chapters of the book. The majority of the text focuses on the tactile realms of medieval and early modern Europe, providing a compelling account of a fundamentally “hands-on” culture. Following a short preface, Classen draws the reader into a world of communal living, sleeping, eating, and bathing, where bodies regularly came into contact. The warmth of the hearth, the feel of a soft or hard bed, the physical strains of feudal agriculture, the weighty armour and painful blows of knighthood, and the pleasures of games and fairs are among the sensations that characterized a tactile environment both seemingly familiar and very foreign to our own. The extent to which religion underwrote sensory values is also made clear. Unlike the prioritization of iconography and the written word in later periods, Classen makes the case that touch was the predominant sense of early Christian piety. This is exemplified by the theological interest in the tangible corporeality of Christ, embodied rites of physical penance, the numerous cults of relics for which physical contact was profoundly meaningful, the relationship between bodily suffering and the torments of Hell, and the...

The Ethical Values of &lt;em&gt;Narodnoe Pravoslavie&lt;/em&gt;: Traditional Near-Death Experiences and Fedotov

In 1935 the emigre scholar G. P. Fedotov published an analysis of the ethical values of popular Russian Orthodoxy, basing his conclusions on the genre of dukhovnye stikhi (lit. spiritual verses). These religious songs were performed before the Revolution by the blind itinerant singers known as the kaleki or kaliki perekhozhie [Fedotov 1935/1991].(2) For Fedotov the key features of folk Orthodoxy (narodnoe pravoslavie) were the emphasis on life as suffering, the profound sinfulness of man, the belief in the power of Christian love and the attachment to Mother Earth (Mat’ syra zemlia) and maternal values in general, with their supreme embodiment in the Mother of God. His view has proved highly influential outside Russia, largely through its distillation in the opening chapter of volume one of The Russian Religious Mind [Fedotov 1946]. Fedotov’s influence has perhaps been reinforced by the coincidences between his own concept of folk Orthodoxy and key aspects of Dostoevskii’s view of the people (narod), itself based to a considerable extent on the writer’s reading of the dukhovnye stikhi [Ivanits 2002; Wigzell 2002b:28-31].(3) In Russia where Fedotov’s work began to appear only in 1989, his views have had less impact, while, among folklorists, there is a new interest in and awareness of the complexities of folk ethics [Belova 2002]. In this essay I question the validity of Fedotov’s analysis for popular Orthodoxy as a whole by examinng another of the genres of religious folklore, the type of vision known as the obmiranie. So unfamiliar is the obmiranie, except to some folklorists and traditional Orthodox believers, that a definition would seem in order. The term obmirat’, self-evidently linked to umirat’ (to die), refers both to the state of falling into/being in a coma as well as to the narrative account of what is seen during a coma, that is, essentially a near-death experience. To this day among traditional believers (official Orthodox or Old Believers) in rural Russia as in other Orthodox Slavic countries, the near-death experience is generally believed to consist of a journey to the world beyond the grave.(4) Here the subject most commonly meets relatives, sees the torments of hell and learns the date of his or her own death. Obviously these narratives represent a continuation of early and medieval Christian tradition (Dante’s Divine Comedy is the supreme literary example.) Visits to the world beyond the grave were traditionally experienced not only during coma but also as dreams, or, when awake, as visions, but in Orthodox Slavic countries in the nineteenth and twentieth centuries such visions are linked primarily with a coma or unusually prolonged and deep sleep. Indeed, it is traditionally assumed that anyone in this state will visit the afterlife, and in particular hell. During the vision, even when heaven is mentioned, the specific virtues of the blessed are not. Consequently, the ethical emphases of the obmiranie have to be judged largely from the sins mentioned, whether those of categories of sinners, or specific people known to the visionary, including his or her own moral failings. Within the Byzantino-Slavic Orthodox tradition considerable differences exist between accounts of visits to heaven and hell, allowing the visionary to select

The Middle Irish Homily Scéla Laí Brátha

Scéla Laí Brátha (“Tidings of the day of judgement”) is a Middle Irish homily on the day of judgement. It relates how the righteous will be welcomed to heaven and sinners will be banished to hell. It attributes these “tidings” to Jesus Christ, who uttered them shortly before His passion (Iss e ro ráid na scéla sa gair bic ríana chésad, LU 2309), and quotes from the gospel of Matthew, who wrote them down as he heard them from the lips of his master (iss é ro scrib 7 ro lesaig na scela so lathi bratha. mar rochúala a bélaib a mágistrech, LU 2315). Matth. 25:32-45 ff. is cited almost verbatim in the opening section, but thereafter the Irish homilist launches into descriptions of the fourfold division of souls on the day of judgement, the torments of hell, and the rewards of heaven.

The Search for Idols and Saints in Colonial Peru: Linking Extirpation and Beatification

The Search for Idols and Saints in Colonial Peru: Linking Extirpation and Beatification

Joyce's Sermon on Hell: Its Source and Its Backgrounds

S TEPHEN'S effort, in Joyce's A Portrait of the Artist as a Young Man,' to impose a romantic order upon the adolescent tumult within him and the Dublin commonplaceness without is soon exhausted, like his pot of pink paint. The phantom of Dumas's Mercedes is made flesh in Nighttown, and soon, deep in mortal sin, Stephen sits in the chapel of Belvedere College on a gloomy December day while the retreat master remorselessly expounds the spectacles and torments of hell. Overwhelmed by fear and remorse, Stephen confesses his sins and once more sets about ordering his life-no longer by outworn configurations of romance but by the admonitory consciousness of death, judgment, hell, and heaven. However, when he is urged to ask himself whether he has a vocation, his long-standing dissatisfactions with a church that has too much of the Dublin earth about it assume definite form, and he concludes that his freedom must remain inviolate, that selfdoomed, unafraid, he must learn wisdom from others . . wandering among the snares of the world. The reactions of most readers to Father Arnall's depiction of eternal tortures have been less extreme than Stephen's. Farrell calls it of the most magnificently written passages in all of Joyce's work, comparable with Dante, and all have granted its dramatic effectiveness. But few readers can judge the sermon and the phase of development that it opens apart from their own assumptions and commitments: Father Arnall's words produce something like awe, amusement, or scorn (and little more) in Magalaner, Tindall, and Kenner. Catholic writers, with no hostile bias, nevertheless have objected to the sermon, one critic, Father Noon, holding that it is not a comprehensive or characteristic Catholic account.2 Kevin

Vercelli Homily VIII and the Christ

Homily VIII of the Vercelli Codex CXVII, is a brief dramatic sermon on penance and the Last Judgment, intended for the first Sunday after Epiphany. It opens with an admonition to the faithful to remember the Lord's warning of the tribulation attending the end of this world. Let us never think our sins too grievous or too shameful for confession: for it is better to confess our sins here before one man, than to confess them at the Day of Judgment, before God and the whole host of Heaven, when all our deeds shall be revealed. The homilist briefly outlines the advent of the Judgment: the coming of the Son of Man in power and great glory, God's mercy to the righteous, the angels blowing their trumpets to the four ends of the world, the resurrection of the dead, and the raging fire. All this, however, is introductory to the central feature of the homily—the address of the Judge to the guilty souls. From His throne of Judgment, God the Son reviews His dealings with man: the Creation, the establishment of man in the joys of Paradise, the Fall, God's mercy to fallen man in His Incarnation, Passion, and Death. The Savior dramatically calls the sinner to behold the wounds in His hands and feet and side; then, charging man with indifference and ingratitude, He sentences him to dwell forever with Satan and his host in Hell. After a brief description of the torments of Hell, the homilist closes with an exhortation to be worthy of the Lord's welcome to the righteous, and of the bliss of Heaven.

Judas' Sunday Rest

IT is altogether pleasant to find, among the mediaval traditions which betray such an obvious delight in heaping damnation upon damnation on the head of the Arch-Traitor, the story of Judas' weekly respite from the torments of hell. The conception of a Sunday rest is indeed oriental, but its transference to Judas Iscariot and the invention of a reason for his relief from torture must be credited to Western