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Bodybuilding.com Forums > More General Categories > Misc. > Religion and Politics > History Channels story on how the Bible came to be. Your thoughts.
View Full Version : History Channels story on how the Bible came to be. Your thoughts.
mntbikedude
I recently watched a documentary on the history channel regarding how the bible came to be. I am repeating this from memory so exact dates and so forth aren't exact but this was the basics of if.
Apparently for the first couple of hundred years after Christ there was no Bible. You had the Jewish or old testiment. But the new testiment did not exist. What did exist was a series of books and letters that were circulating around and some were more popular than others.
At the time of Constantine, he decides that to unify his people that he would convert and about the same time decides they need their own Bible. First they have a council of all the Bishops and they come to a desision of what basic beliefs are going to be. Then he assigns a Priest or Bishop to decide which books they will include.
Bottom line is this. It seems that many Christians believe in the Bible as though God himself or a Prophet organized and approved everything in it. For everything to be as perfect as you want it, that would have to mean that those that organized the Bible were receiving revelation.
And since most Christians believe that revelation ended with the Apostles then how do you exsplain your complete devotion to the end product and how do you know that some of the books left out shouldn't have been included?
I think the Council of Nicea presents a problem to Christian theology, but it seems that a lot of Biblical literalists explain it away by saying that the Council was inspired by God to choose the right texts.
I agree but I guess thats part of my point is that is pretty heavy duty inspiration. It just seems like a stretch to put so much faith in this group of men to do "exactly" what God wanted. That is more than being inspired. That means they had a direct link with God. And that would make them like unto the Prophets. It seems that religions at some point have to spin some of the story. It would be nice to just get the real facts sometimes.
I agree but I guess thats part of my point is that is pretty heavy duty inspiration. It just seems like a stretch to put so much faith in this group of men to do "exactly" what God wanted.
Not to mention a completely baseless assumption. I mean, had these people been the apostles, it would've been understandable and probably necessary in order to preserve the authentic scripture and discard the innovative additions. But we're talking about a group of people who have never even seen Jesus (pbuh). The only way that the events at the council of Nicea can be justified is if, like you said, these men were directly receiving revelations from God, which would make them all prophets. As far as I know, there is no proof of this at all.
TinyTex
And there are conspiracies that the Catholic church has altered the new testament in certain ways.
Why oh why are there so many mis-conceptions about Christianity?? Nearly everyone I have seen on here reject Christianity knows next to nothing true about it...
The one religion I have found to be a beacon of truth is the one so much false information is spread about, particularly by the secular and Islamic community.
You all claim to be open-minded but I find that hard to believe when you don't even know what the council of Nicea was about.
First and foremost the council of Nicea did NOT convene to discuss which books would be accepted in the New Testament. In fact this was NEVER even discussed.
The council of Nicea convened as a first importance to deal with the arian controversy and then other matters. Never was the list of New Testament documents discussed as to which of them were to be accepted.
If you really want to know what happened at the council of Nicea go here,
http://en.wikipedia.org/wiki/First_Council_of_Nicaea
Here is a site that deals with the myth that the council convened to compose the N.T,
http://www.tertullian.org/rpearse/nicaea.html
Here is a list of facts that may come as surprising to some of you but if you want to investigate they are accepted by the overwhelming majority of N.T scholars and critics alike,
FACT - We have all the documentation from the council of Nicea regarding what was spoken and what was concluded, it is there for everyone to read. We even have the documentation from the subsequent councils as well.
FACT - The 26 documents of the N.T (excluding the revelation) This is the four Gospels Matthew, Mark, Luke and John and all the letters are the earliest documents that were produced about Jesus. These all date to within the first century.
Note: Seven of Pauls letters are now accepted as being genuine and about 20 years after Jesus death by even the majority of N.T critics. This includes the letter of Corinthians in which Paul confesses that he is a personal witness of the risen Christ and where he also discusses other appearances.
FACT - All of the so called excluded documents that you see in these documentaries or popularised in the media and by "Islamic scholars" were all (each and everyone) written much later than the N.T documents. All of them occur in the 2nd century and later.
FACT - The overwhelming majority of N.T critics and historians agree that,
* There was a charismatic leader named Jesus in first century palestine who gathered a large following.
* Jesus was executed by way of Roman Crucifixion at the instigation of the Jewish high priests.
* Jesus was buried in a tomb by Joseph of Arimathea
* His tomb was found empty by a group of his female followers
* The disciples were sincere about their belief that they had encounters with the risen Christ and they really did have experiences where Jesus appeared to them as the risen Christ.
Note: Critics and skeptics of course do not believe that Jesus appeared to them after raising from the dead. They do however believe that the disciples did have such encounters but can be explained away by various hypotheses such as the hallucination hypothesis, or the apparent death hypothesis etc...
Not one thinks of the Gospel writers or Paul as bold-faced liars. The overwhelming majority of scholars and critics agree that these first followers of Jesus were sincere and devout about their beliefs in him although apparently they were sadly mistaken.
ironman1964bc
Constantine was a thug who had a dozen of his family members murdered, including his wife. To say that he was inspired by God is laughable at best. The same goes for King James who was a sick degenerate who killed animals and loved to roll around in their dead carcasses.
What Constantine accomplished at the Council of Nicea was to invent the Jesus myth copying the life of one Apollonius of Tyana, who also lived in the 1st century. He also had most of the ancient libraries burned to hide any mention of Apollonius of Tyana from seeing the light of day, but a few books survived. Don't forget that Constantine was the Emperor of Rome, so his agenda was not quite what Christians today believe, unless they think murderous thugs are inspired by God. If that is true, then why not go to prison for your religious teachings.
Other problems with early Christianity is that reincarnation was actually taught for the first few centuries AD and that 16 saviours had previously been crucified before the Jesus myth was created.
Yes, there was at least 1 other 'messiah' at the exact same time period as Jesus, who also happened to be born from a virgin, performed miracles, etc. I forget his name. I'd have to look it up. Yes, there were other messiahs before Jesus of Nazareth.
Point is, don't take the bible literally. Take it as a book trying to teach. It's full of symbolism- every preacher or priest will tell you that.
Lloyd Braun
QFT.
You don't have a clue what you're talking about, give me one peice of evidence that reincarnation was taught for the first few centuries... Keep in mind reincarnation and resurrection are two different things.
This is exaclty the kind of trash I was talking about in my previous post you should read it.
And your credibility went out the window when you cited wikapedia. If your not aware, wikipedia is made from people's opinions, anyone can change wikipedia.
SYRIANKID
Yes, for the most part it seems that many Christians do not know these details about how the NT was created and under what political circumstances.
More on this can be found here:
This has a good NT* section:
The History of the Qur�anic Text from Revelation to Compilation (http://individual.utoronto.ca/fantastic/The_History_of_the_Quranic_Text_from_Revelation_to _Compilation.pdf)
This is all about how Trinitarianism crept into Christianity after the NT was compiled:
http://forum.bodybuilding.com/showthread.php?t=363530&highlight=miracles
Vaper
The entire New Testament, as we have it today, was quoted by early church Fathers such as Barnabas (71 A.D.), Clemens Romanus (96 A.D.), Ignatius (108 A.D.), and Polycarp (108 A.D.) We also have early versions (such as the Syriac) which prove that the New Testament as we have it today was accepted as genuine and authentic in every century since the apostles,
Constantine was emperor of Rome in the 306 AD becasue the world was not in favour of paganism he decided to make up a story about that he saw a cross in the sky and he was now converted, he then made christianity as appealing as he possibly could to the pagans once in power, he legalized Christianity and those who followed it were not longer persecuted and the religion, lets not forget he ordered the death of many thousads of christians.
There is much talk these days about lost books of the Bible. From cults to the New Age, people make all sorts of claims about how the Bible is missing books, books that help justify what they hope to believe. Sometimes people claim that the Bible was edited to take out reincarnation, or the teaching of higher planes of existence, or different gods, or ancestor worship, or "at-one-ment" with nature.
The "lost books" were never lost. They were known by the Jews in Old Testament times and the Christians of the New Testament times and were never considered scripture. They weren't lost nor were they removed. They were never in the Bible in the first place.
When mentioning the �lost books� of the Bible, many people wonder, �Why do we no longer have these books?,� and �Do we really need them?� First, some of the so-called �lost books� probably are references to inspired books that still exist, but by another name. Others were historical references used as sources for inspired books, such as Kings and Chronicles, and so the Jews saw no need to treat them with special reverence, nor to strive to preserve them. Some were books of poetry or song that were uninspired, but served as a record of Hebrew culture. Others were non-Hebrew sources, making them non-biblical compositions and therefore not canonical writings. Many of these �lost books� probably are references to sections of the same work,
While under subjugation to the Babylonian, Persian, Greek, and Roman empires, the Jews ultimately were able to preserve only those books that were holy and inspired�everything else was destroyed or lost. While this is unfortunate, it should not affect our faith adversely. The books we have are inspired, and came from inspired men who sometimes mentioned non-inspired sources for recording historical fact, giving places to find additional information, or simply to make a point. These men, like modern researchers, felt compelled to cite their sources, but did not intend these sources to become writings on a par with Scripture.
Obviously, the �lost books� did not present a problem to Jesus and the apostles, who accepted the Hebrew Bible (our Old Testament) as all they needed. They quoted from none of these books, and the only things they quoted as Scripture were the books of the Old Testament. To accept that God allowed the inspired writers to employ sources in composing historical books of the Bible does not negate inspiration by the Holy Spirit. If these men used sources, God still guided them by the Holy Spirit to correct, compile, and add to the uninspired source material.
God obviously did not intend certain works to be preserved, because His hand would have guided their perpetuation, just as He guided the continuation of the canonical books. Like the lost Corinthian letter, it is likely that other inspired books were written that God intended for a particular historical setting, but did not intend to be preserved in the canon of the Bible. God has given us �all things that pertain to life and godliness, through the knowledge of Him� (2 Peter 1:3), and our knowledge of Him is complete through the revealed Word. None of the books God intended to be in the Bible is lost, and the phrase �lost books� refers only to those books of which no record exists. Whatever these �lost books� contained is irrelevant, because we have the Word of God exactly as He wanted us to have it�nothing more, and certainly nothing less.
What do you mean "the entire NT as we have it today was quoted" by those people? Are you saying that those people quoted the entire manuscript which didn't even exist until 325? Or do you mean they quoted parts of the NT, which had some of its constituent books floating around in those earlier periods?
Weightaholic
Nicaean Council, ~375AD.
- Decided Christ was divine (was regraded as a prophet before this)
- Decided what books were going to make up the NT.
These 2 items are fact. Denial of history is both unproductive and irrelevant.
not true
You're funny...
What you say doesn't even make sense... they quoted the entire manuscript which didn't even exist?? You do know there is more than one manuscript available of the N.T right??
The oldest we have date back to the first century which is a fragmentary peice of Matthew and after that a peice of John. However we have an almost complete copy of the N.T that dates back to around 190-225 AD on about 5 or possibly 6 different manuscripts all dated within that range...
Constituent books? name one for me please...
Frederick G Kenyon the director and principal librarian of the British Museum in his book 'The Bible and archaeology' writes this about the New Testament,
"The interval, then, between the dates of original composition and the earliest extant evidence becomes so small as to be in fact negligible, and the last foundation for any doubt that the Scriptures have come down to us substantially as they were written has now been removed. Both the authenticity and the general integrity of the books of the New Testament may be regarded as finally established."
But I suppose you have privilege to some secret knowledge that he does not...?
Textual Criticism of the New Testament also finds it to be 99.5% textually pure out of the 20'000 lines of the new testament only 40 are found to be questionable. Also none of these 40 lines affects any Christian doctrine.
So all of the scholars (the overwhelming majority) who at least agree that the four Gospels and letters of Paul as we have them now are indeed genuine and the earliest written literature about Jesus they are all wrong I suppose?
After years of textual, historical and archaeological study and academic pursuit which has found the N.T to be proven right time and time again we are now suddenly wrong? Why is that?
If you think there was any earlier material than the N.T documents please name it and provide one scrap of evidence, just a scrap or even a hint of a scrap...
This is a gross mis-representation of the events at the council of Nicea,
First of all they were brought together to discuss Christ's relation to the father was he of the same essence or was he a lesser God? The reason for this was that Arius an early church theologian declared that though Christ was a God he was a lesser God to the father and not eternal nor of the same substance.
The council overwhelmingly voted against Arius and dismissed his doctrine's as heretical, there were about 250-318 attendants and all but two voted against Arius.
The second "fact" you listed is nothing more than a lie.
You yourself just said that denial of history is counter productive and irrelevant yet you are the one who denies it...
Scholars differ on the composition date for the New testament, but most agree on roughly 65 - 70 AD with a few placing at as late as 100 - 134 AD, the books were only compiled later on.
These are the quotations im reffering to, they didnt quote the entire NT word for word on paper but the teachings of the NT they do. It was more verbal, Pastor polycarp for example is known for preaching the NT teachings without a shred of documentation around the 100AD mark. He met with the apostle John.
http://www.bsmvt.org/documents.html
the only reason the NT wasnt written earlier becasue they believed Jesus was returning around 100AD when he didnt they got there act together.
If you read my post again you will see that I didn't say that the Council of Nicaea was convened to decide the books of the NT but to decide the basic beliefs of the church. The key issue being whether Christ was divine or not.
After this council Constantine ordered a person to put together a list of books to be considered as the Christian Bible.
Of course they quoted from all of the texts of the NT. They also quoted from books that were not included in the NT. It was all available. But it was not organized into the NT untill after Constantine.
Remember it was a group of books and some weren't books they were letters written to specific congregations. The programn brought up that Paul probably had no idea that his letters would ever even be included in a book. They were simply letters to a straighten out certain beliefs in those specific congregations.
I love how many think the Bible has always just existed as this nicely organized book. As though Moses went to the mountain and came back with the exact books and letters that would now be the complete word of God.
I know this all sounds like I'm ripping on the Bible. I'm not I cherish it, I'm thankfull for all those that worked hard to put it all together. I think for the most part it is true.
What I am saying is stop spinning the history of how it came to be.
It's interesting that one of the books that almost didn't make it in the final cut was the book of Revelation.
"I know this all sounds like I'm ripping on the Bible. I'm not I cherish it, I'm thankfull for all those that worked hard to put it all together. I think for the most part it is true."
You cherish it? For the most part? It seem's to me that your aim here is to cast doubt that the bible is God's word. As Christian's the belief that the Bible in it's entirety is God's word is the foundation of our faith. Great rebuttal's Persecuted, keep it up.
If the truth about how the Bible came to be affects the foundation of your beliefs then maybe you need to re-evaluate your beliefs.
iBswole
then why are so many details left out from the old testament? And all this dead sea scrolls drama that is deliberatly left out? Why does a religious text have to be altered by people for it to be the word of God?
Yes, scholars differ on when the BOOKS of the NT were first written (not the NT itself since the word didn't even exist at the time). But during the time that those books were written, many other conflicting biographies of Jesus (pbuh) were also written, and the authorship of all of these is questionable. So the main point of all of this is to understand that while the CONSTITUENT texts of the NT existed before they were compiled into a single book, WHY were those particular books chosen and not others, what was the methodology used for "screening".
What you say doesn't even make sense... they quoted the entire manuscript which didn't even exist??
So you're claiming that the entire NT was quoted before it was compiled? Link us to some proof please because you've just discovered something right here on bodybuilding.com that no Christian scholar has ever even claimed.


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Q: Prove that for all $b \in \Bbb{R}$ there exists a point $a \in A$ such that |a - b| = inf{ |x-a| : $x \in A$ } I'm self-studying real analysis using A course in mathematical analysis by Garling
One of the problems after the subsection on closed sets reads
Suppose that A is a non-empty closed subset of $\Bbb{R}$
Prove that for all $b \in \Bbb{R}$ there exists a point $a \in A$ such that |a - b| = inf{ |x-a| : $x \in A$ }
I think that letting A = [0, 1] and b = 3 is a counter example to this as { |x-a| : $x \in A$ } contains no numbers > 1 for any a $\in$ A and |a - b| $\geq$ 2
Could someone explain why my counterexample isn't a valid counterexample or is the book wrong?

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James "Jim" Tessier was born in Natick, Massachusetts in 1954; the youngest of five siblings. When Jim was five years old, his parents moved the family from Massachusetts to Wheaton, Maryland in pursuit of a better life. From an early age, Jim displayed a knack for overcoming obstacles large and small, beginning by forcing himself to lose his New England accent to avoid being made fun of in school. His next major obstacle would come at age eighteen when he was admitted to the hospital with a severe case of breathing difficulty. Jim's health quickly deteriorated as doctors were stumped and unable to pinpoint the cause of his lung failure. While being transferred to another floor at the hospital, Jim underwent an emergency tracheotomy in the elevator. In light of his rapidly deteriorating health, a priest was summoned to read his last rights. Remarkably, instead of leaving this earth at eighteen, Jim survived and overcame what the medical field later discovered and named, "Legionnaires' disease." Jim had a lot of life left. He married, moved to Adamstown, Maryland in 1989 and raised two children as he worked as a transmission specialist for over twenty five years.
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EN Drama Panorama
EIN STÜCK: TSCHECHIEN/NEW CZECH PLAYS 2020 – Staged Readings
Text workshop
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EIN STÜCK: TSCHECHIEN/NEW CZECH PLAYS 2018
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EIN STÜCK: TSCHECHIEN: NACHLESE (NEW CZECH PLAYS: Gleanings) 2017
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Gabriel Ochoa: DESIRE AND LUST
Jolanta Janiczak: JOAN THE MAD
Theater Horizon Latin America
Theatre Translators Unplugged II
Milena Bogavac, Filip Vujošević: New Voices from Serbian Theatre in Leipzig und Berlin
Theatre translators Unplugged I
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Festival: PHOENIX TRANSATLANTIC
Panel: Do agents replace literary managers?
Roman Sikora's "Death of a talented Pig" and the method of collaborative translating
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International Plays on International Stages – dramaturgs tell it all: criteria for a translation that is right for the stage
SPECIAL: International Day of Translating
The Anthology INTERNATIONAL QUEER DRAMA and Its Body of Work
by Lisa Wegener
Translation into English by Fiona Mizani
The second volume in the anthology series Drama Panorama published by the Drama Panorama association (Drama Panorama: Forum für Übersetzung e.V.) and Neofelis Verlag, aims to bring into focus alternative artistic positions and non-binary realities within contemporary drama. An international call for queer plays was broadcast in December 2017. The aim was to gather a diverse body of queer work and, instead of defining the term "queer", the call for submissions included a vague outline of the kind of political perspectives we were interested in. The wide range of pieces submitted provides a vivid picture of the various forms this discourse takes.
REFLECTIONS ON THIS ANTHOLOGY
Most local theatres continue to be run by men, and more than eight out of ten plays staged in Germany are penned by male authors. Strong female characters are still scarce and non-gender-assigned characters are practically non-existent. Although an increasing number of pieces are being staged in Germany that deal with gender issues or describe homosexual realities, many of these subscribe to an Anglo-American or European tradition and/or show only selected mainstream-friendly extracts of an otherwise subversive movement. In such pieces, the "domesticated" queer often appears tamed or toned down, "defanged" (Campbell/Farrier as cited in Schildrick, 2016).
While the lack of queer feminist and emphatically non-binary perspectives can still be explained by social structures in theatres and educational establishments, it is also caused by continued discrimination against radical artists whose works, for lack of suitable stages or because of strong backlash, for example in the countries of the Global South, the Balkans, the Middle East etc., are in the minority. These works are then often characterised by the same milieu affiliation and an intense willingness to identify with it.
Alongside a concern for the political implications, we are also motivated by an interest in questions of translatability. What language do German speakers find for radical subjective positions which, in their pursuit of "disidentification" (Muñoz, 1999), represent a complete rethink of the universality of a discourse, what equivalents for its terminology and the nature of its aesthetics? This dimension should be explored in special translation workshops with the opportunity for exchange on aspects of content, form, history, politics and the philosophy of language.
A recurring struggle in the translation of queer drama revolves around "the in-between". Sometimes this is inherent in the language itself, or is a part of the aesthetics or narrative of the piece etc. The task of translation is to produce a playful adaptation of the phenomenon, which requires comprehensive knowledge of the genre and a certain sensitivity in the use of LGBTQIA*-related terminology and intertextual references. Translation also plays a mediating role, particularly where the empowering potential of queer drama and non-binary concepts falls victim to audience-grabbing storylines.
There is no shortage of theories on the subject of translating drama, but before we look at the difficulties presented and creative approaches to solving them (discussed elsewhere), we should first attempt at least a rudimentary classification of the body of work submitted.
THE PLAYS
In the course of the last 12 months, more than 130 texts have been sent in from 24 different countries. We aimed to attract plays from cultures where queer art is still an exception, because that which is radically queer in Senegal, for example, where same-sex relations are prohibited by law (which is, by the way, a striking instance of colonial legacy, as the law in question is a relic of French colonial rule), is widely accepted in, let's say, the Netherlands, where same-sex marriage and the official third gender have been enshrined in law for years. But, it seems, the so-called Global North is rather over-represented.
In fact, the material we received reflects, first and foremost, our own language focus and the cultural backgrounds spanned by our network (Drama Panorama, buerozwei.berlin etc.). Many plays were submitted in (raw) English translation and, although this aided evaluation, it did raise issues of representation. The worldwide dominance of English should not be underestimated, and it is crucial, when working with languages that have long dictated the globalised narratives and terminologies of gender and feminism, not to reproduce these without questioning them.
The diagram shown above, and the designation of countries of origin are, moreover, only partly representative, as many of the works' creators have long shifted the focus of their life and work, not least due to the threat of repression. With the word "globalisation" no longer sufficient to describe the strength of relationship built through exchange and travel, the term "translocality" lends itself, in particular, to the processes of exchange and networking of stakeholders and ideas that, in turn, then affect local processes. Thus, although it is difficult for local LGBTQIA* structures to escape Anglo-American dominance, through the circulation of artists, activists and ideas, they do spawn new forms of emancipative local and notional structures which frequently reflect back into the local setting.
The issue of origin led us to question of form: The "biopic" is, without doubt, one of the most popular forms, for example Soita minulle Billy (Heini Junkkaala), the story of transgender jazz musician Billy Tipton, who lived and worked in the early 20th century, or the play Gertrude and Alice by Canadians Anna Chatterton and Evalyn Parry, in which Gertrude Stein and her partner Alice B. Toklas philosophise about Gertrude's work and standing in the Paris art scene, or Barbette by Bill Lengfelder, etc.
In second place comes the queer performance or drag show. Here the text of the play mostly includes precise descriptions of the stage including props, movement within the space, songs, interaction with the audience, make-up and wigs. Whereas drag shows were long considered a subversive genre, they are now performed all over the world, with the language of the "performance" often being English. A classic is No strings attached by Canadian artist Sunny Drake, who picks out as a central theme the dominance of the white cis male body within the gay community.
We also received documentary plays, plays for young audiences, naturalistic plays, comedies, epic historical dramas and adaptations of bible stories, classics and fairy tales such as Ishmael (Yasen Vasiliev), Orlando (Joeri Vos), Kassandra (Sergio Blanco), Splendids (Magdalena Barile), A home at the end of the world (Hannah van Wieringen In koud water) and, inspired by popular culture: 55 shades of gay by Jeton Neziraj.
THEMES AND NARRATIVES
Finally, we examined the body of work submitted in terms of its recurring themes and narratives:
Many pieces in this anthology evolve from a very central notion: that of the "in-between". Flowers and other natural elements often serve as metaphors for intersexuality, genderqueer identities and the "in-between". This can be seen in the short text Chou-Fleur by Servane Daniel, about an intersexual child who is given the name Chou-Fleur (English: cauliflower) at birth, as it is neither flower nor cauli/cabbage. The imagery employed here demonstrates a playful handling of the impossibility of assigning a clear gender. In Le gène de l'orchidée, Lucie Vérot reflects on the orchid as a symbol for an escape from the two-gender system.
Narratives involving utopic, dystopic and science fictional worlds open up infinite space for creative solutions. The Finnish play Taikanaksutin by Salla Viikka depicts a child who has been assigned the "wrong" soul-colour at birth. A supernatural and non-binary being wants to help her out and gives Hanna a super-switcher device, a kind of remote control that allows her to change gender. Finnish does not distinguish in the third person singular between male or female, the neutral "hän" being used for all genders, a grammatical ambivalence that has led many Finnish authors to play around creatively with the question of gender (Salla Viikka, Emmy L. Karhu, Eeva Turunen etc.).
The piece Vers où nos corps célestes by Julie Ménard, written together with an astrophysicist, features a science fiction universe with a "language of the future". In Toen gingen we onder de grond Zitten, Miriam Boolsen creates a dystopic world where religion and social norms are taken ad absurdum, a foretaste of the "in-between" appears here in abstract forms of openness.
QUEER BODIES AND QUEER DESIRE
The politics of the queer body and queer desire are addressed via drug excess (Jan Fabre, Drugs kept me alive), sex work (Jason Danino Holt, Whore) and self-destruction and the death drive (Nina Rapi, Angelstate). The vulnerability of the queer body is dealt with in Lazna dojka by Slovenian performer Urban Belina, who explores transition-related health issues. Tuppergender by Italian performance duo Goghi&Goghi, is an intersectional didactic play about a wheelchair-bound transgender boy. In the piece, stereotypes surrounding trans identity and the physically handicapped are played off against each other with a charming sense of self-irony.
Both Vedrana Klepica (Bijeli bubrezi) and Asja Krsmanovic (Vakuum) found strong images for depicting gender-political conflicts in post-war societies. In Жените от портокаловите градини, Olya Stoyanowa portrays the precarious and exploitative working conditions of female East European seasonal workers. In Ljudozderka, Lejla Kalamujic explores the queer subject and their social environment, with a focus on the topos of family.
In Kimsenin ölmediği bir günün ertesiydi by Ebru Celkan, Umut (meaning "hope") narrates the story of her man-to-woman gender reassignment, the reactions of her family, prostitution, drugs, routine harrassment by the police, as well as the solidarity and fighting spirit within the community. In Gender by Magne van den Berg, two teenagers wax philosophical about both the annoying and uncool as well as the cool and liberating aspects of issues of gender politics.
META PLAYS
Also very popular are meta plays discussing gender roles in the context of the theatre industry (Jotain toista by Finnish playwright Milja Sarkola), a reference to the concept of gender (social gender) as a performed category. Jen Silverman's Collective Rage: a play in 5 Betties is also, to some extent, a meta play. In this tragic-comic story five Betties are rehearsing Shakespeare's play-within-a-play Pyramus and Thisbe, a project which, among other things, leads to brutally honest self-reflection and an awakening queer desire. In Princess by Tjeerd Posthuma, a theatre actress resists the pornographic stage directions of her director. This piece also uses a play-within-a-play to examine the inherent objectification of women.
QUEER LOVE
Of course, romantic love is one of the most recurring subjects. Serbian author Olga Dimitrijević uses magic realism in her play Kako je dobro videte te opet to explore the subject of homosexual love between older people. Serbian, too, lends itself to linguistic openness, especially when it comes to the nature of a relationship between two older ladies fighting for recognition of their love. Michel Beretti's Poisson braise is a love story between two women in Sub-Saharan Africa. The prohibition of homosexual love, a relic of colonial days, proves fatal to their relationship.
Under the skin by Yonathan Calderon is a haunting piece about lesbian love in the Third Reich. Anneliese Kohlmann, a concentration camp guard, falls in love with the Jewish prisoner Lotte Rosner and attempts to escape with her. However their escape is foiled and there are drastic consequences for Lotte. After the end of the war, Anneliese is exposed as a Nazi soldier by her lover, and is hanged.
CONCLUSION AND FUTURE PERSPECTIVES
Wherever heteronormativity and the two-gender system begin to crumble, new narratives emerge of a future that allows difference without discrimination. Visions of a new awareness of privilege and alternatives to cultural and biological essentialism lead to fresh intellectual approaches and find expression in creative form. The pieces presented here, and many more besides, make up the body of work from which the anthology International queer drama will emerge. We cannot mention here all the pieces that seemed to us relevant and memorable, but we hope that they will find mention elsewhere or even make their way onto international stages. We thank all authors for their submissions and would love to read more of your work in the future. The shortlist will hold a few surprises and will be presented soon. In the meantime, we would be happy to receive any comments, criticism or corrections.
Note: This essay resulted from a lecture given at the conference TRANSLATING FEMINISM which took place in May 2018 in Glasgow.
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Disney Announces Three New Lands Coming to Disneyland Paris
Disneyland Paris Introduction
Front Lot
Toon Studio
Production Courtyard
Backlot
New Lands
Breaking news! Disney has announced that three new lands are coming to Walt Disney Studios, one of two parks that makes up Disneyland Paris. These lands include a Marvel area, Frozen area, and Star Wars area. Each will include new attractions and entertainment experiences.
The Mouselet's have visited Disneyland Paris (DLP) twice, and we loved both parks. The first park is Disneyland Park, which is similar to Magic Kingdom at Walt Disney World in Orlando, Florida.
The second park is Walt Disney Studios, which is most similar to Hollywood Studios at Walt Disney World. It's official sister parks are California Adventure and Hollywood Studios.
This park map shows the basic attractions that are in the park, including some favorites from Hollywood Studios: Lights Motor's Action, Tower of Terror, and the Studio Backlot Tour. There's also some unique attractions to this park including the Crush Coaster, a Ratatouille Ride (coming to the France Pavilion in Epcot), and carnival attractions in Toy Story Playland as well as other attractions.
The park has four themed areas including the Front Lot, Toon Studio, Production Courtyard, and Backlot.
Front Lot is the park's main entrance, which opens up with three large soundstages. It is home to most of the shops and services in the park, as well as the classic Earful Tower.
Toon Studio includes classic Disney and Pixar Animation characters. The lot features characters such a Crush, the Genie, Mater and Lightning McQueen, Ratatouille, and characters from Toy Story.
The best part of Toon Studio is the Ratatouille area. It's themed after a town in France (fitting, since this park is in France), and has an amazing trackless ride and a Remy themed restaurant.
Another themed area is Toy Story Playland. This area shrinks you down to the size of a toy, similar to the Toy Story Land coming soon to Hollywood Studios. This land is cute, but it feels like it was rushed and has an amusement park vibe.
We also love the Crush Coaster, which is an attraction unique to DLP. A quick tip: don't go single rider on this attraction. We waited almost twice as long as the stand-by line.
Production Courtyard is themed around Hollywood. It includes both the production of Hollywood movies, and Hollywood myths like movie legends. There are two parts to the land, Hollywood Boulevard and Place des Stars.
Hollywood Boulevard has Hollywood-inspired street sets, The Twilight Zone Tower of Terror, and the Studio Tram Tour.
The other area is the Place des Stars, themed around the production facilities of movie lots. It includes several attractions including Stitch Live and Disney Junior.
The last land of this park is the Backlot. The Backlot is themed after actual movie backlots with an industrial theme and is very plain. It showcases the high thrills of movies and has three attractions. The attractions include Armageddon – Les Effets Speciaux which is a walkthrough attraction to demonstrate special effects.
There is also Moteurs…Action! Stunt Show Spectacular which is identical to the Lights, Motors, Action show that used to be at Walt Disney World. Lastly, there is a version of the Rock 'n' Roller Coaster, however it does not incorporate the story that Hollywood Studios does.
Today, Chairman and CEO of The Walt Disney Company Robert A. Iger announced plans for a 2 billion euro, multi-year expansion for Disneyland Paris alongside French President Emmanuel Macron at the Palais de l'Elysée in Paris. This is the first expansion to Walt Disney Studios since its opening in 2002.
Originally, the park was meant to have more lands, attractions, and space, but due to major budget issues this never came to fruition.
There are few details released about the new lands today. However, we do have some facts that were previously announced, as well as some concept art. Rock 'n' Rollercoaster will be redone completely reimagined as a high-speed, hyper-kinetic adventure, in which guests will team up with Iron Man and their favorite Avengers.
In addition to the three new areas, the expansion includes a new lake, which will be the focal point for entertainment experiences and will also connect each of the new park areas. The first phase of the expansion will be completed in 2021.
Here's a closeup of Star Wars Land from Jedi News. It looks like it will be similar to the land coming to Hollywood Studios.
The new Frozen land looks like it will be amazing, and the first of its kind. You can see the Frozen village and castle in the image below, and we are beyond excited to visit it!
The Marvel Land is going to be as elaborately themed as the other two, and is sure to get Marvel fans excited. The following image is from Hong Kong Disney promo art, but it can be expected the two lands will compliment each other.
We are beyond excited for these new lands coming to Walt Disney Studios. Disneyland Paris is an amazing park, and completely different from the parks in the USA. It gets a bad rep, but we had one of the best trips of our lives there! Have you been to Disneyland Paris? Are you excited for these changes? Let us know in the comments!


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The idea that we should each pick one colour and stick with it is both outdated and boring. Lately, we have seen how people are changing it up everyday, combining two or three distant colours to create a new look. Indeed, it's called the mixing and matching game. It allows you to wear different and exciting looks when you have a limited wardrobe.
Well, that's the case of Aso ebi and gele styles we are seeing lately. While the colours may seem intimidating at first, it really is easy to use and super helpful for putting together flattering and unlikely color combinations. These are just the beginning of all the possibilities that colours can hold for your Aso ebi and gele style choices.
Thus, it allows you the most optimum use of your Aso ebi and gele while still letting you express your individuality and your style in an emphatic way. However, this can be tricky to get the hang of at first, but trust you can pull it off in a way that makes you look fashion-forward yet effortless.
Remember, it's a challenge if you feel a bit out of your comfort zone, pat yourself on the back for daring to try something new and broadening your wardrobe horizons.


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Pizza Hut has become one of the most engaged brands in the digital sphere, using social platforms to connect with customers and reinvent the way people think about ordering pizza. Attendees will learn how the world's largest pizza company uses branded and co-created content across a range of emerging channels to shift the conversation, boost brand affinity and build a powerful relationship with a new generation. Jenna Bromberg (@jennabrom) Head of Social Media and Digital Engagement for Pizza Hut (@PizzaHut) will be presenting.


NEWAYGO COUNTY, Mich. – The Hardy Dam Pond is known for its boating recreation and fishing and is now home to its second record catch of the summer.
The Michigan Department of Natural Resources says that Blake Wilson of Lake Ann, Michigan caught a 9.42lbs, 25-inch quillback carpsucker with a bow on July 16. That is a record for the species in Michigan. It breaks the record set just last month, also on Hardy Dam Pond. That fish was 8.52lbs. and was caught by Garrett Reid of Nashville, Michigan.
This is the fifth state-record fish caught in Michigan in 2015. For a list of all the state fishing records, click here: michigan.gov/fishing.


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Politics with Foundation Year
Foundation courses A foundation year can develop your skills and make it easier to get started at university. It is an extra year of study at the start of your course that leads in to a full degree programme. It's a great option if: You don't have the grades for a full degree course You have non-traditional qualifications or experience You're starting university after some time away from education You're looking for more support during the transition into university study. Life as a foundation year student During a foundation year you'll learn about your chosen subject, develop your study skills and get used to university life. On successful completion of your foundation year, you'll be ready to progress to the first year of your degree course. As a foundation year student, you'll be a full student of the University and part of our community. You'll have access to all our campus facilities and support. Why choose this course At a time of growing inequality and increasing social and political unrest, it is important to understand how political institutions can address some of the more deeply rooted problems in society. Our BSc (Hons) Politics and Sociology course will let you discover and understand the interactions between social and political trends. We are ranked 6th for sociology in the UK by the Guardian University Guide 2021 and 2nd in the UK by The Times and The Sunday Times Good University Guide 2021. What you will study On our BSc (Hons) Politics course, you'll get a full grounding in the discipline as a whole, as well as a wide set of transferable skills. You'll be introduced to a range of concepts, approaches and methods to study the public sphere and the political system. You'll be able to explore the meanings of vital and contentious political concepts, including 'justice', 'equality' and 'liberty'. You'll also learn about the way power is exercised, diffused across different groups and how it provides organisational structures in government, as well as how decisions in politics are made.
To see the full range of modules for this course please visit our website – the link is under the Course contact details. You will also find full details of the programme, including programme structure, assessment methods, contact hours and Graduate prospects.
Stag Hill
We are proud to be one of the most culturally diverse universities in the UK, with more than 140 nationalities playing a role in university life. Our International Recruitment team are here to help you throughout the application process – from advising on choosing the right course to applying for a visa and preparing for your first few weeks at Surrey. You can contact them via [email protected] Applicants who require a Student Visa to study in the UK: To apply for a Student Visa, you must have a Confirmation of Acceptance (CAS) for the University you wish to study at. This is a unique number which will enable you to apply for your visa. The University is under no legal obligation to sponsor any individual and exercises caution with respect to issuing a Confirmation of Acceptance for Studies (CAS) to avoid risking its status as a Student sponsor. Confirmation of Acceptance to Study (CAS) will be issued in accordance with the Student Route and CAS Issuing Policy, available at: https://www.surrey.ac.uk/apply/policies
A level - CCC
Overall: CCC We do not include General Studies or Critical Thinking in our offers.
Pearson BTEC Level 3 National Extended Diploma (first teaching from September 2016) - MMM
Overall: MMM
Access to HE Diploma - D: 21 credits M: 3 credits P: 21 credits
Overall: QAA recognised Access to Higher Education Diploma with 45 Level 3 credits overall including 21 at Distinction, 3 at Merit and and 21 at Pass GCSE or Equivalent: Inclusion of GCSE English and Mathematics equivalent within Access programme
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Overall: BBBCC GCSE or Equivalent: English Language: Scottish National 5 - C. Maths : Scottish National 5 - C
Scottish Advanced Higher - CCC
Overall: CCC GCSE or Equivalent: English Language: Scottish National 5 - C. Maths : Scottish National 5 - C
Overall: 29 GCSE or Equivalent: English, HL4/SL4 (including MYP). Maths, HL4/SL4 (including MYP). Maths Studies, SL4.
Welsh Baccalaureate - Advanced Skills Challenge Certificate (first teaching September 2015)
Overall: Pass overall with CCC from a combination of the Advanced Skills Challenge Certificate and two A-levels. Applicants taking an A-level science subject with the Science Practical Endorsement are required to pass the practical element. GCSE or Equivalent: Inclusion of GCSE English and Mathematics equivalent within the Advanced Skills Challenge Certificate
Extended Project - A
Applicants taking the Extended Project Qualification (EPQ) will receive our standard A level offer, plus an alternate offer of one A level grade lower, subject to achieving an A grade in the EPQ. The one grade reduction will not apply to any required subjects.
GCSE/National 4/National 5
GCSE or Equivalent: GCSE English Language at Grade C(4) and Mathematics at Grade C (4) (or equivalent).
Applications are considered on an individual basis, taking into account qualifications achieved, predicted grades, personal statement and academic reference. Conditional offers are specified in terms of required grades; we do not make offers in terms of overall UCAS tariff. We understand that predicted grades are an estimate and will consider applicants who have predicted grades that are a little lower than our published requirement. Any offers we make will align with the grades shown above unless a grade reduction can be offered under our Contextual Admissions policy or our In2Surrey scheme. Details can be found here: https://www.surrey.ac.uk/schools-colleges/contextual-admissions-policy Applicants with a mixed qualification profile (e.g. those taking A-levels and BTEC qualifications) are encouraged to contact [email protected] for guidance on the grades accepted.
IELTS (Academic) 6.5 6.5 overall with 6.0 in Writing and 5.5 in each other element.
View the other English language qualifications that we accept:
https://www.surrey.ac.uk/apply/international/english-language-requirements
Please see the University's website for up-to-date information on our fees for 2023/24: https://www.surrey.ac.uk/fees-and-funding/tuition-fees/undergraduate-2023-entry
The University of Surrey offers a range of scholarships and bursaries to support our students, please visit https://www.surrey.ac.uk/fees-and-funding/scholarships-and-bursaries for more details.
Our COVID-19 information
GU2 7XH
Sandwich including foundation year 5 years 18 September 2023 Available to Apply
Course option 218691dc-9f2a-4d10-8af8-c05d5b391d07
Politics with Foundation Year at University of Surrey - UCAS


In Japan and Great Britian Tonkünstler and conductor Yutaka Sado have left soundful memories a multiple times and were glad to be reinvited often.
In March 2019 they act together in Germany for the first time: The Tonkünstler orchestra, with ther residences in the Vienna Music association, in the Festspielhaus St. Pölten and in Grafenegg, one of the biggest and most important musical embassadors of Austria, and Yutaka Sado, who ranks among the best Japanese conductors in our times. Their guest appearance tour leads them to four first grade german concert halls, among Elbphilharmonie in Hamburg and the modernized Kulturpalast in Dresden.
Beside Pjotr Iljitsch Tschaikowskis famous b-Minor-Concert for Piano with SoRyan as a solo player the Tonkünstler will perform an orchestral work of an Austrian Master of Aural: Gustav Mahler´s "Fifth", one of his famoust and most player symphonies.