American And Dutch Missionaries During The 19th Century

In late 19th Century, American and Dutch missionaries started to getting in to Korea to share a gospel. Some of them just got killed without sharing any good news. Among many of the missionaries, there was one missionary who got killed as soon as he got landed. This missionary is very special in Korean church’s history. Because right before he got executed, he gave small bible to the executioner. On that time, excutioner’s were the ones who were poor and illiterate. However, since the quality of the paper was really good, he tore up the each of the papers to use as a wallpaper. And that house became the first church in Korea. Anyways, in the earlier history of Korean Christianity, there was a funny story. It was also happeened to the Jewish christians also, however, as we do every first Sunday of the month, all the christians around the globe share a communion at least once a month. As Christ said, â€Å"For my flesh is true food and my blood is true drink,† (v.5 5) non-christians accused christians as cannibalists. Non-christians did not know what it means to have a flesh and blood of Christ. So I like to ask you all that, do you know what it means? Do you know what the church means? Moreover, do you know what is the church? Some of you might wonder how can I talk about church, even though today’s scripture talk about Holy Communion. So this is how United Methodist stated on Holy Communion, â€Å". .We believe the Lord s Supper is a representation of our redemption, a memorial ofShow MoreRelatedIntegration of Spanish Empire2531 Words   |  11 PagesPortuguese, who desired to maintain their monopoly on East Asian trade.  The Philippines  was administered as a province of New Spain (Mexico) until Mexican independence (1821). Manila revolted the attack of the Chinese pirate Limahong in 1574. 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Six Characters In Search Of Author Essay Example For Students

Six Characters In Search Of Author Essay Pirandellos masterpiece, Six Characters in Search of an Author iswell known for its innovative techniques of characterization, especially in thefullness of character as exhibited by the Stepdaughter and the Father, but it isespecially renowned, and rightfully so, for the brilliant staging techniquesemployed by its author. Pirandello uses his innovative staging techniquesspecifically to symbolize, within the confines of the theater, the blending ofthe theater and real life. Chief among these, of course, is the way in which theauthor involves the audience in his production, to the point which, like amedieval audience, they become part of the action, and indeed, a character inits own right. The use of lines provided in the playbill was the first of itskind; never before had an author dared to ask the members of the audience toperform, even though unpaid, and indeed, paying for the experience themselves. But without those lines, how much less impressive would that moment be when theDirector, understandably at the end of his rope with the greedy characters (whohave been from the start trying to coerce him into writing a script fornon-union wages), shouts Reality! Fantasy! Who needs this! What does thismean? and the audience, in unison, shouts back, Its us! Werehere! The moment immediately after that, when the whole cast laughsdirectly at the audience, pointing at them in glee, is nearly unbearable for anaudience, as shown by the riot after the first performance, when the audiencenot only ripped the seats out of the theater, but stole the popcorn. Pirandelloalso used a technique he inherited from the Cirque de Soleil,involving a trapeze hung from the catwalk. But though the trapeze was not initself his own invention, its use during the intermission as a means to annoythe audience was absolutely innovative. He had gotten the idea from watching theinhabitants at the mental institution in Switzerland where his wife wasrecuperating from a Venetian holiday. The Swiss hospital, renowned for itsexperimentation, had started a program of gymnastics, meant to boost thepatients self-esteem. The Stepdaughters foray above the audiences heads,during the intermission, is a direct reflection of that Swisstechnique; no one before Pirandello had dared to use it in the theater before,but it not only symbolized neatly the problems with defining reality inherent inthe text, but kept the audience from actually getting a rest during theintermission, since they couldnt tell when it started and began. Last, thoughstill important, would be Pirandellos nod to Brecht, with his medieval circularstaging. With the voices of the Actors, the Director, and the Characters comingat them from all sides, and with the members of the cast actually clamberingover the audience members as if they (or indeed their seats) were not there,Pirandello masterfully tied the audience members inextricably in to the action,bringing home the meaning. For the main truth of Pirandellos play is that notonly is there no difference between art and reality, there is no reality, orperhaps more specifically, no art, at all, and indeed, no members of the castanymore than there are members of the audience. In the final analysis, the onlydifference between the cast members in Pirandellos play and the members of hisaudience is that one paid to get in and the other got hired.