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JERUSALEM — A three-foot-tall tablet with 87 lines of Hebrew that scholars believe dates from the decades just before the birth of Jesus is causing a quiet stir in biblical and archaeological circles, especially because it may speak of a messiah who will rise from the dead after three days.
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Much of the text, a vision of the apocalypse transmitted by the angel Gabriel, draws on the Old Testament, especially the prophets Daniel, Zechariah and Haggai. New York Times.
With snow-white veil and garments as of flame,
She stands before thee, who so long ago
Filled thy young heart with passion and the woe
From which thy song and all its splendors came;
And while with stern rebuke she speaks thy name,
The ice about thy heart melts as the snow
On mountain heights, and in swift overflow
Comes gushing from thy lips in sobs of shame.
Thou makest full confession; and a gleam,
As of the dawn on some dark forest cast,
Seems on thy lifted forehead to increase;
Lethe and Eunoë -- the remembered dream
And the forgotten sorrow -- bring at last
Am I interested, excited, moved by what I have read, enough to think it is important for my students to understand it?
Really? Sincerely?
Can I locate the source of my excitement, of what is important, of what has meaning in what I and these students just read?
Can I explain it to my students so that they understand something of what it means, of why it is important, why it moves me?
If the answer to any of these questions is no, do not teach.
If the answer to all of these is yes, here is how you teach your students to read:
You select for discussion a passage or a text that you care about, that you see as important, and you talk about it truthfully, candidly, thoughtfully, and you show them how you got what you got out of it. If they follow you, they will get more out of it than you gave them, because they will learn from and make use of your example of how to read. Oh, and by the way that means you have to know your way around the text.
You ask open-ended questions, none of that "Socratic Dialogue" bullshit.
You encourage students to try to form their own questions about what they read -- to define their own problems n their own words. You don't tell them this necessarily, but defining the problem you are having with a text can solve about 80 percent of it. And then you answer their questions.
You don't judge their words. You respond to them with thoughtfulnes, care, and respect, establishing a lucid relationship between their question and the text. Because when they tell you they don't understand, that is the frontier of the humanitiies.
If you make this conversation interesting and rich, if you give a sense that the material has untapped riches and **that they have as much of a right to get at in their way as anybody else**, they will learn to read.
Give them permission to skim over the hard parts if they must, and urge them to make note of anything interesting -- page number, phrase, written out passage, comment on it, just so they can find it if they need to talk about it or write about it. In discussion, keep referring the conversation back to the text: as in "Well, let's see again what XXX actually says." Because it's good to remember that the actual text is different from your idea of it at any given moment.
Honestly I do not think it is necessary to do more. If you don't believe you can teach the material on the merits of its inherent interest you just should find something you can care about or get out of teaching.
Everything else just gets people tangled up in all the apparatus and then they feel even more cut off from the author and his/her material. All you are doing is giving it to them as a gift, not even as a gift, as something they already own.
Reading is experience, it is an activity like thinking; it isn't a method. There is no system for getting it, just reading one thing after another.
important for a study of Dante because embedded in this masque are many of the ideas Dante has been working toward not to be dismissed as silly childlike entertainment to convey surface churchy notions, though in a way it does that too. He counted on the masque form as a familiar experience of his time I believe.We should pause to consider why, upon the culmination of the long journey ending in the Earthly Paradise and the "unmediated" vision of the face of Beatrice, Dante chooses to present these final cantos in a mode reminiscent of animal fable and other popular forms.
miracle play or mystery play,form of medieval drama that came from dramatization of the liturgy of the Roman Catholic Church. It developed from the 10th to the 16th cent., reaching its height in the 15th cent. The simple lyric character of the early texts, as shown in the Quem Quœritis, was enlarged by the addition of dialogue and dramatic action. Eventually the performance was moved to the churchyard and the marketplace. Rendered in Latin, the play was preceded by a prologue or by a herald who gave a synopsis and was closed by a herald's salute. When a papal edict in 1210 forbade the clergy to act on a public stage, supervision and control of presenting the plays passed into the hands of the town guilds, and various changes ensued. The vernacular language replaced Latin, and scenes were inserted that were not from the Bible. The acting became more dramatic as characterization and detail became more important. Based on the Scriptures from the creation to the Second Coming and on the lives of the saints, the plays were arranged into cycles and were given on church festival days, particularly the feast of Corpus Christi, lasting from sunrise to sunset. Each guild was responsible for the production of a different episode. With simple costumes and props, guild members, who were paid actors, performed on stages equipped with wheels (see pageant); each scene was given at one public square and drawn on to its next performance at another, while a different stage succeeded it. Named after the towns in which they were performed, the principal English cycles are the York Plays (1430–40), the longest, containing 48 plays; the Towneley or Wakefield Plays (c.1450, in Yorkshire); the Coventry Plays (1468); and the Chester Plays (1475–1500). The Passion play is the chief modern example of the miracle play. The French mystère distinguished those plays containing biblical stories from those about the lives of the saints. The auto, the medieval religious drama in Spain, was acted concurrently with the secular drama throughout the Golden Age and into the 18th cent. Calderón was the greatest composer of the auto sacramental, which dealt with the mystery of the Mass in allegory. In Italy the laudi were basically choral in form and so distinguished from the later sacre rappresentazioni, which became lavish artistic productions comparable to the French mystère.
See K. Young, The Drama of the Medieval Church (2 vol., 1933); and anthologies ed. by A. W. Pollard (8th ed. 1927) and V. F. Hopper and G. B. Lahey (1962).
The twenty-ninth canto is occupied with revelation; . . . it is all public and impersonal. The next two cantos are the most intimately personal in the Divine Comedy. The pageant . . . is as if forgotten during the interview between Beatrice and Dante. Yet the thirtieth and thirty-first cantos are not only relevant but essential to the matter of the twenty-ninth. Revelation is not revelation unless it reveals a man to himself . . ..