Jesus+Golgotha+Medici Alter+Mary Queen of Scots..
by Frank Dougan
My visit to the Holy Sepulchre Basilica, Jerusalem, Israel; February 2012
Jesus+Golgotha+Medici Alter+Mary Queen of Scots..
All pictures presented and directed by; Frank... more
Jesus+Golgotha+Medici Alter+Mary Queen of Scots..
All pictures presented and directed by; Frank Dougan...
Jerusalem
He sat on a donkey on palm strewn paths
Cries of delight arose from the mouths
The First born Son of God Christ Jesus.
To the temple he was led
There the money changers the people were bled
He cast them out of the House of His Father
The Sanhedrin were in a rage
Who is this Man to whom multitudes did gather?
He taught a new ideology of the age.
Secret plans they did form to bring Him down
To rob Him of His holy crown
Pilate and the Roman lords were sought
A price of 30 silver coins His friend was bought
At the Garden of Gethsemane from a kiss He was put in chains
Plans to kill Him for their ill-gotten gains
Pilate washed his hands of the affair he could find no crime
The high priest Caiaphas mind was distorted with grime
On His 6th day in Jerusalem they hung Him on a cross
He called to heaven that none of His sheep were lost
His promise to Peter He would return
The start of a new beginning had begun
Jesus is the Messiah the Chosen One.
He cried out loud before He went away
“Eli, Eli, Lama sabachthani”?
His dead corps was taken down and in a crypt buried
On the 3rd day from His death His word delivered
The Son of Man rose from the dead at the hand of Rome
In Jerusalem the spark of light was born Jesus was in His holy home.
By Frank J Dougan
Inside the Basilica of The Holy Sepulchre....is Golgotha (Calvery) where Jesus Christ was executed.....
The Holy Sepulchre Basilica also contains the tomb where Jesus lay...and rose from the dead!
At the foot of where The Cross stood stands the Medici Alter...
Mary Queen of Scots name is inside the Medici Alter!
The Medici Alter was commissioned a few months after Mary was martyrd!
The Alter is on the exact spot where Jesus lay after He was taken down from the cross and Held in His Mother Mary's arms!
Catherine de Medici was the mother Francis II of France....Mary was married to him!
The 11th Station - the Latin (Catholic) chapel.
The chapel's striking altar marks the 11th Station, the site at which Jesus was nailed to the Cross. A fine example of Renaissance art, the altar was made in Florence in 1588 and given to the church by Cardinal Medici a few decades later.
Look for the Medici name. Six panels of hammered silver (four in font and one on each side) depict scenes from the Passion.
— in Jerusalem, Israel.
Download (.jpg) Postcolonializing Glasgow's Amnesia: Alasdair Gray's Lanark as a Palimpsest of Scottish Imperial History
by Carla Sassi
in G. Collier, M. Delrez, A. Fuchs, B. Ledent (eds.), Engaging with Literature of Commitment, vol.2, Amsterdam: Rodopi, 2012.
'Woe to him who has lost his voice': re-discovering the Gaelic literature of the Lennox and Menteith
Literary Tourism, the Trossachs and Walter Scott, ed. Ian Brown, 98-112. Glasgow: Association for Scottish Literary Studies, 2012.
‘My Name is Norval?’: The Revision of Character Names in John Home's Douglas
Journal for Eighteenth Century Studies 35:1 (2012), 67-83
‘That Every Man May Knaw’: Reformation and Rhetoric in the Works of Sir David Lyndsay
Literature Compass 2:1 (2005)
The First Edinburgh and London Editions of John Home's Douglas and the Play's Early Stage History
Theatre Notebook 60:3 (2006) , 134-146 .
'In brief sermone ane pregnant sentence': Puns and Perspectivism in Robert Henryson's The Testament of Cresseid
In "Joyous Sweit Imaginatioun": Essays on Scottish Literature in Honour of R.D.S. Jack, edited by Sarah Carpenter and Sarah M.
Dunnigan, (Amsterdam: Rodopi, 2007), pp.41-57.
“Sir David Lindsay: Reforming the Nation”
In Alba Literaria: A History of Scottish Literature, ed. Marco Fazzini (Venice: Amos Edizione, 2006), pp. 83-98.
Lyndsay, Sir David (c.1486–1555)
Oxford Dictionary of National Biography (Oxford: Oxford University Press, 2004).
The Feinyit and the Feminine: The Gendering of Poetry in Robert Henryson’ s Orpheus and Eurydice
In Woman and the Feminine in Medieval and Early Modern Scotland (London: Palgrave MacMillan, 2004), pp.74-85
'"To Comfort Me With Nothing": John Burnside's Dissident Poetics'
Agenda 45.4/46.1, Special Issue, 'Dwelling Places: An Appreciation of John Burnside' (Spring/Summer 2011), pp. 91 - 101.
Selling Scottish Literature: The Exhibition of Modern Scottish Literature, 1933
by Liam Connell
This paper explores a ten-day Exhibition of Modern Scottish Literature, organised by the booksellers W. & R.... more
This paper explores a ten-day Exhibition of Modern Scottish Literature, organised by the booksellers W. & R. Holmes of Glasgow and sponsored by the Glasgow daily Evening News from 5 January 1933. It looks chiefly at the accompanying catalogue – an illustrated guide to over 500 authors whose works were included in the Exhibition – which claimed to be the first attempt to assemble the available books in print by ‘a reasonable representation’ of living Scottish authors.
This paper argues that the Exhibition indicates an expanded and popular conception of the idea of a Scottish Renaissance that was active throughout the interwar years in Scotland but which has largely been relegated to the more familiar expression of this idea through the avant garde literary movement of the 1920s and 30s. By analysing the way that the Exhibition was presented and received, this essay will show how a concept of popular efficacy, rather than a criteria of literary value, was used to extend the idea of Scottish cultural revivification to a disparate and numerous group of authors. Although this cultural populism was substantially motivated by financial concerns, brought about by competitive forces within a restructured interwar economy, the Exhibition’s populist agenda did correspond to a shift in thinking about the Scottish Renaissance by its main exponent, Hugh MacDiarmid, during the mid-1930s. In the concluding section this essay considers the extent of this correspondence by focusing on one of the Exhibition’s most remarkable features; the omission of any entry for either MacDiarmid or C. M. Grieve in its encyclopaedic catalogue. In seeking to understand the causes of MacDiarmid’s omission this essay considers what this indicates about the nature of interwar Scottish culture and how far this helps us to understand the continuing use of the Renaissance idea as an explanation of Scottish culture.
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