The Middle East conflict and terrorism are issues we hear about almost daily in the news. This lesson will use video clips from WIDE ANGLE's 'Suicide Bombers' (2004), Internet sites, and primary sources to examine the roots of the Middle East conflict. The video contains interviews with young Palestinians who participated -- or intended to participate -- in suicide bombings. These young Palestinians share the personal, religious, political and emotional reasons behind their participation in these suicide operations. This lesson could be used to review information about the three major monotheistic religions and their connections to Israel, to relate post-World War II policies to the current political state of the Middle East, and/or to get students to understand the roots of the terrorism that threatens the world we live in.
This course provides a historical study of the origins of Christianity by analyzing the literature of the earliest Christian movements in historical context, concentrating on the New Testament. Although theological themes will occupy much of our attention, the course does not attempt a theological appropriation of the New Testament as scripture. Rather, the importance of the New Testament and other early Christian documents as ancient literature and as sources for historical study will be emphasized. A central organizing theme of the course will focus on the differences within early Christianity (-ies).
This course examines the Old Testament (Hebrew Bible) as an expression of the religious life and thought of ancient Israel, and a foundational document of Western civilization. A wide range of methodologies, including source criticism and the historical-critical school, tradition criticism, redaction criticism, and literary and canonical approaches are applied to the study and interpretation of the Bible. Special emphasis is placed on the Bible against the backdrop of its historical and cultural setting in the Ancient Near East.
What is sacred? How do we extract meaning from sacred texts? Where do religious stories come from? How are these stories relevant to people today? Explore the scriptures of 6 different religions through these 3 interactives and develop a greater understanding of these questions. All interactives have been animated using images from the British Library's collection.
A short documentary about the filming of 'Tzaddik' at WGBH precedes the completed work. This was filmed in black and white and shows the behind-the-scenes happenings in the studio. Voiceover commentary is provided by director Rick Hauser and Dance Workshop Coordinator Nancy Mason, by Eliot Feld, and by members of his company. In the completed color work, Feld dances the role of the Tzaddik, a Jewish holy man. Two young male dancers perform with him. The movements range from spirited partnering work to more serious and contemplative gestures. A scroll-like banner is unfurled and the three slowly roll themselves into its folds at the completion of the work. Hebrew text is projected onto the floor and backdrop of the studio through lighting. Music is by Aaron Copland and is performed by Gladys Celeste Mercader (Piano), Marc Ginsberg (Violin), and Ruth Glasser (Cello). The piece featured is 'Vitebsk.' The voice of Cantor Gregor Shelkan is incorporated. This piece was created with the Dance Workshop at WGBH and broadcast as part of the 'Dance for Camera' series. Multiple WGBH and Workshop personnel, including Rick Hauser and Nancy Mason, are credited with its production. "Dance for Camera' was the earliest series created by the Dance Workshop, which was coordinated at the time by Nancy Mason. The series was broadcast in 1976. Carmen De Lavallade, a former dancer with Lester Horton, John Butler and others, recorded introductions for the shows. The series appears to have been broadcast nationally. Some of the works were rebroadcast as part of the 'Frames of Reference' series.
No restrictions on your remixing, redistributing, or making derivative works.
Give credit to the author, as required.
Your remixing, redistributing, or making derivatives works comes with some
restrictions, including how it is shared.
Your redistributing comes with some restrictions. Do not remix or make
derivative works.
Copyrighted materials, available under Fair Use and the TEACH Act for US-based
educators, or other custom arrangements. Go to the resource provider to see
their individual restrictions.
