Proposal for a Animation Dissertation Essays

Proposal for a Animation Dissertation Essays Proposal for a Animation Dissertation Essay Proposal for a Animation Dissertation Essay Three initial ideas for dissertation. 1. Analogue film and its imprint on the digital era. This thesis for a dissertation would have set about to analyse the relationship between analogue and digital filmmaking and the differences in these practices since the rise of the latter’s popularity and usability. The paper would have evaluated digital filmmaking practices and the new range of techniques that modern technology has brought about, giving reference to the rise of importance in editing since the development of red-one and the response to this of various filmmakers, Lars Von Trier etc. New aesthetics would have also been explored, looking at films such as Inland Empire (Lynch, 2006) and Trash Humpers (Kornine, 2009) and the ways in which contemporary films utilise imperfections of the digital medium to create new aesthetics in opposition to that of the cultured visuals of Hollywood cinematics. The essay would also have devoted a chapter to Marshall McLuhan’s theories of the postmodern effect of globalisation through the Internet and how new media has changed the face of film and the way practitioners can operate within visual culture. . Auteurism – career momentum that outlasts the diminishment of practitioner’s talents. This dissertation would have explored the effect on a director that being branded an auteur can have. The paper would have formed a discussion on how being branded an auteur early in a filmmakers career can end up inadvertently damaging their product. The dissertation would have utilised case studies on directors such as Michel Gondry, Wes Anderson and M. Night Shyamalan to form the basis for an argument on the view that the directors films are so highly praised for aspects of cinematography and narrative that, in later projects, revert to conforming to what they believe audiences expect of them and begin to display a distinct impression of ‘style over substance’. It would go on to suggest, backed up by aforementioned case studies, that directors can have the tendency to become lost within their own visuals and thematic traits and loose sight of what got them branded as n auteur in the first instance. This idea was formed through watching M. Night Shyamalan in chronological order and forming an opinion that he has utilised the ‘twist’ ending to such an extent that it no longer shocks an audience and creates the effect that garnered him so much critical acclaim after the release of The Sixth Sense (1999). Stemming from this realisation the paper would study other auteur branded director’s films and form ed an opinion on whether the tag of an auteur can damage a practitioners brand. . Hasta la vista†¦ movie – the effect of ‘geek culture’ on the modern day movie experience This paper would have studied the effect of geek culture on the modern day viewing experience when anticipating and watching an upcoming film. The paper would have drawn on statements made by Marshall McLuhan about the rise in usability of the internet and new media and how this has affected the way in which modern day audiences participate in the movie going experience. The dissertation would have utilised examples such as the modern trailer, blogs, the film website, critics reviews and events such as film and comic book conventions to introduce the thesis that curiosity and commentary on films through these mediums destroy the feeling of ambiguity experienced by cinema goers who previously could enter a film not knowing a thing about the film they were about to watch, and how this is an era that now lies well within the past. It would analyse the modern day climate in which a person can read a magazine and scour the Internet for 30 minutes and have already found out the main events, listened to the soundtrack and know every stylistic trait of a film before viewing it. The paper would have presented this view but also attempted to present an unbiased argument by stating that it is because of this ‘geek culture’ and its positive promotion on the Internet that many modern day films are produced and received so successfully. As reference for this argument a case study would be conducted into the promotion of film through viral videos, and a further case study would be conducted into the forthcoming film Tron: Legacy (2010) and how the internet may have facilitated its production. Word Count: 701 Abstract This study addresses the viability of auteurism in the contemporary moving image industries and the significance of this in relation to whether or not an animator can be considered a genuine auteur within the wider context of general artistic practice. The purpose is to provide an up to date and comprehensive, analytical framing of auteur theory and enhance the arguments laid down by critics, thinkers and theorists on both the psychoanalysis concerned with the consideration of the ‘original’ self in a postmodern society and whether the collaborative, creative nature of the animation industry lends itself to the term auteur. The dissertation will provide a social, historical and theoretical study of a number of discourses concerned with the animation industry, examining distinguishable personalities within the medium and formulating a thesis on arguments limiting auteur theory to the status of â€Å"high art† whilst questioning the genealogical construction of understanding surrounding the bourgeois construct of authorship. The paper sets about to provide an unbiased argument on the authentic nature of auteurism within contemporary perceptions of animated cinema, it attempts to present two sides to arguments that concern the author and audiences of a ‘text’ and their role within a process of cognitive perception. It will instigate discussion on aspects of auteurism by presenting case studies on Pixar and they ways in which the corporation operates in contrast to non-western animators such as Hayao Miyazaki and The Brothers Quay. The central argument is concentrated on an animator’s ability to experiment and diversify, create new perspectives on the interrelations between the highbrow and the popular, aesthetics and ideology. Word Count: 263 Methodologies Report This paper is a theoretical and historical study of the animation industry, how it has grown and blossomed from the advent of Joseph Plateau’s Phenakistoscope in 1832 and the early animated films of Reynaud And Melies in the late 1800’s, through to the modern day industry dominated by the market conditioning animation studios such a Pixar and Disney. Alongside this contextual background the relativity of auteur theory will be discussed in relation to its possible existence in a contemporary business that competes against contemporaries often seen to exist on a plane artistically above that of the mainstream animation industry. This question of authorship within the animation practice has been widely disputed and contended by a range of commentators throughout its short history and this study will serve to provide a conclusive framing of the topic. The first problem with thinking about animation and its broad stable of directors as a base for authorship can be traced back to its association with ‘high art’ and the origin of the word auteur in conjunction with media studies, Cahiers du Cinema. During the 1950’s, a period in which French film enjoyed widespread artistic acclaim, this influential film journal, written by, among others, Jean Luc Goddard, Francois Truffaut and Jacques Rivette, attempted to emphasise the role which a filmmaker assumes in the direction of their film and the significant way in which they acquired a distinguishable signature style from production to production. This became further associated with terms such as camera-stylo or metteur en scene. The Cahiers du Cinema insisted that if a director was to become recognised as displaying the traits of an auteur he must be recognised as contributing a signatory licence across a series of films, that clearly defined both aesthetic and thematic trends and offered a conclusive view of the elementary principles of an ‘art form’. Problems arose with the theories concerning auterist film practice in the late 1960’s almost a decade after the Cahiers had coined the phrase during the French renaissance. The collaborative and procedure orientated nature of making a film was called into question and â€Å"became subordinate to the critical parameters that determined film as a directors medium and as the significant voice of the film† (Wells, 2002 p. 72). Notable screenwriters such as Nicholas Kazan and Ernest Lehman have voiced their discontent with the notion of the director as the singular contributor to the stylistic and thematic contents of a film. Supporting this, since the late 60’s, few film historians have onoured the notion of a director as a singular contributing factor within a film and note other practitioners – the screenwriter, cinematographer and producer – to having mounted a substantial challenge to the directors claim to the romantic concept of the author. It is obviously true that the animation director’s influence can have a large effect upon the films artistic direction but it is interesting to consider whether or not they alone hold the pen or camera-stylo, as it were. Inevitably because of the range of opinions that exist within the subject of auteur theory especially considering the spectator and the sociological connotations that are implied by the author and audience existing alongside the text and inhabiting it (Barthes, 1982) it is hard to provide a definitive account of authorship in animation practise and the discussion of this theory remains challenging within media studies. The addition of thinking about the animation director as an auteur further complicates the debate of authorship. It can be said that in one frame of mind the animation industry perfectly echoes that of filmmaking practice in relation to production process and artistic conditioning implied through this range of processes. On the other, it further complicates the argument concerning the ability of the filmmaker to work within an arguably even larger creative environment or completely alone. It has been argued (Wells, 2002 p. 73-74) that this allows animation to be seen as one of the most auteurist of art forms and that’s its methods of production, especially when considered to be at its most collaborative, insist upon the strict intervention of a singular voice that acts as an authorial presence. Frustratingly few animation directors have been praised as auteurs within the medium, with their identities often becoming swallowed up by corporate image, in the case of animation houses such as Pixar and Disney, being debased with the appeal of consigning it simply to a petty form of narrative or, again, falling victim to the acceptance of the mutually reliant process of production. Connected to this is the concept that animation has been, and will always be, produced for a predominantly immature audience and that auteur theory cannot be applied to a film practice that concerns itself with providing articles for such a demographic. This has become a tired argument as there a huge variety of ways in which a director can be described to be an auteur. Drawing arguments from a wide variety of sources and assisted by specific case studies it is this dissertations aim to provide a vocabulary for how the animation auteur can be addressed. It is this papers intention to, utilising a variety of modes and methods, signal the opinions of scholars that have campaigned for the existence of a recognisable auteur within the media industries and then go on to transplant these theories into that of the modern day animation industry. The essay will touch on contemporary titans of the animation world such as Disney and Pixar whilst also giving special consideration for the foundations that have been laid by the historical forbearers in crafting a profitable industry in which today’s practitioners of mainstream animation operate. Alongside the mainstream, consideration will be given to the independent or ‘experimental’ animator, working outside the confines of an industry that, it has been suggested, limits they way in which a director can remain in control of the artistic and thematic outputs of their film. Special consideration will be given to the eastern European animators such as Jan Svankmajer, The Brothers Quay and Yuiry Norstein and the ways in which we can regard them as auteurs through the methods of production in which they practice their ‘art’. It will also analyse how the work of Hayao Miyazaki is differentiated from that of its western counterparts not only through its visual and thematic styles but also through the sociological boundaries in which it is released. Thought will be given to a society, and the pschoanalysis that accompanies it, in which audiences flock to the cinemas to see the newest releases from a highly recognised and respected animation house, but also, a director that is considered to be a genuine auteur and one of the artistic powerhouses of contemporary Asian cinema. Following this, my final chapter will concern itself with the major discourses in animation today. It will utilise a case study instigating investigation into the way in which the modern animation houses conduct their modes of production and whether or not this can be seen as adding to or detracting from the auteur model laid down by Cahiers du Cinema. The theoretical background for this paper will cover many areas of film history and criticism and point to key areas in which the auteur theory has come under contention, drawing on key sources it will analyse their relevance within the contemporary animation industry and provide current case studies of animation auteurs and production houses to provide a coherent context for the theories that it attains to underpin. The dissertation will cover well-known critics ranging from Cahiers du Cinema to modern day articles from film journals such as Sight Sound and The Online Animation Journal. The writings of these authors will be used to give context for some of the statements that are made concerning auteur theory and to assist in cultural references to animated movies and cinematic movements from the last 130 years. The paper will also reference the work of cultural theorists such as Roland Barthes and Michel Foucault, whose work has been invaluable in the affirmation of what constitutes a genuine author and the ways in which we can view them in a modern day society. The dissertation aims to provide a spread of criticism from a wide range of historical periods during the 20th century, and, as the essay is concerned with the shift within the understanding of an auteur and its place in the industry of today, it was considered to be important to include opinions from more than the contemporary to demonstrate the shift that has occurred in our understanding of the director as an author. Alongside a wide range of scholarly sources directly concerned with film criticism that have been implemented the essay attempts to utilise areas of psychoanalysis and cognitive deconstructions to attain some idea of how sociological boundaries have been built up concerning the idea of the individual self, especially situated within a creative industry and within the confines of a post modern society. The study borrows and reconstitutes ideas and theories from such well-known thinkers as Sigmund Freud, Jacques Derrida and Richard Harland. Although not directly connected with the world of cinema the ideas put forth by these thinkers have greatly influenced the way in which proportions of society think of the ‘unified self’ and the case for ‘original thought’. It was important to consider dialogue provided by theorists working outside of the filmic world as it has allowed the paper to gain a more conclusive view of aspects that can affect auteur theory more concerned with the workings of an audiences conscious thought, rather than that of cinematography and narrative alone. During the course of this essay the proposed theories will be analysed through a variety of method and, as mentioned, the sources come from a wide range of authors to provide many different opinions on auteur theory. These include; cultural theorists, directors, film critics and psychologists. In addition to the wide spread of authors that have been used the material has been drawn from a variety of qualitative and quantitative ources that comprise of scholarly books, newspaper articles, film journals, blogs, online critics circles, websites providing information on box office receipts, films and other visual resources. These methods have been undertaken to avoid the time consuming necessity of providing a source of self-produced data such as interviews or focus groups conducted with individual interviewees and focus groups. The data provided through this wide range of sources should compensate for a lack of self produced data and give a clear indication of the criticism and ideas that exist across a wide range of society. The main critical ideas that are analysed and enforced within this essay is an affirmative opinion that auteur theory is alive and well within the modern day film industry and that this also translates through into the contemporary animation industry. The essay sets about to deconstruct misconceptions concerning the negative reception that auteur theory receives from both cinematic and cultural theorists, and whilst the focus of the essay is very much on the promotion of the auteur director and the analysis of the cultural surroundings in which he operates the paper is careful to provide a balanced view of the topic by framing the question with both positive and negative responses. In summary, the main critical ideas to be analysed will be animation aesthetic and message as well as the existence of the auteur within the film analysing both his, or her, impact on the messages, narrative and aesthetic of the their work from film to film. It reviews the sociological structures that we are surrounded with and brought up through that allow, or disallow us, to consider the director as a true author, taking into consideration industry, modes of production, aesthetics, messages, fluency, consistency and cultural impact and finally the shift in style of animation throughout the years and how it should be considered an equally important and valuable cultural artefact as that of the live action cinema. Word Count: 1980

Analyzing Pro forma Statements Essay Example for Free

Analyzing Pro forma Statements Essay This financial analysis will define an initiative of what to implement, that would increase sales over the next five years. It can either be, another market, product, or a corporate expansion. A pro forma will be created and used for the XYZ Manufacturing Company of a five year projections. Assumptions will be made to support each line item, to increase or decrease the forecasted statements. There will also be interpretation of the financials, in relation to the initiative. Recommendations are to made on the potential discretionary financing needs. This word analysis is the company’s short term and long term financing needs, and strategies to help the company manage their working capital (University of Phoenix, 2014). Pro forma statements are created by, forecasting and combining the income and balance into a financial statement format. This will determine how the account balances are forecasted by acquiring forces that will influence and project how the accounts will be influenced. These forces are recognizable as restrictive debt agreements, sales, and company policies The following illustrations below is the Pro forma’s process for a five-year projection. This information is based on historical data collected from the sample provide (UOPX, 2014)..There is acquired information of a increase in sales new product as the result of a new product introduction also an increase in the production capacity. The increase in sales will acquire fixed assets with the excess cash (Parrino, Kidwell, & Bates, 2012) Pro forma Balance Sheet for XYZ Company, INC. Total Liabilities and Stockholders’ Equity-$559,608 $649,251 $848,766 $1,,037,172 $1,183,541 In the above balance sheet the current assets and current liabilities has increased in the ratio of sales (Parrino,Kidwell, & Bates, 2012, p90,91. 92) There is also an additional increase in the fixed assets. The company to take out an additional loan to meet the capital expansion, and the working capital needs (Parrino, Kidwell, & Bates, 2012) I would recommend that the company The first step in this pro forma financial statements is the forecasting of sales. Sales always influence the current asset and current liability account balances. For example: the account receivable balances would need to become larger increased if the firm needs to carry more inventory. Through the profit margin, and the dividend payout ratio. There is much difficult in forecasting sales, but it is an essential, it only depend on the season of the year, economy and the industry There could also be many other factors as well. Reference Parrino, R., Kidwell, D. S., & Bates, T. W. (2012). Fundamentals of corporate finance (2nd ed.). Hoboken, N. J.: John Wiley & Sons. University of Phoenix material, (2013) â€Å"Analyzing Pro Forma Statements†

Comparative International Reporting (Accounting) Essay

Comparative International Reporting (Accounting) - Essay Example Financial reports should be understandable, relevant, comparable and reliable (New Zealand International Financial Reporting Standards.2008). Financial reporting as said earlier is mandatory in all countries irrespective of laws prevailing. Accounting reports are prepared according to laws or standards framed for this purpose. In New Zealand the Financial reporting standards board or the FRSB is responsible for developing, implementing and ensuring accounting standards in the country (New Zealand Equivalents to International Financial Reporting Standards. 2011). The FRSB forwards new accounting standards to the Accounting Standards Review board or the ASRB for approval. It also works along with the International accounting standards board. In New Zealand issuers of securities and large profit making reporting entities are required to fully comply with the international financial reporting standards. According to the financial reporting act of 1993, reporting entities includes busines s which issues securities under the securities act and companies and other entities whose legislation requires them to comply with the act of 1993. The financial reporting act of 1993, places obligations to all such organizations to prepare financial statements in compliance with the generally accepted accounting practice within five months of their financial year. Smaller companies except issuers of securities and overseas companies can comply with less stringent requirements up to the limit of justification on their costs. It is also mandatory for companies to audit their financial statements and to file them with the registrar of companies in the public register. Meanwhile small overseas companies are exempted from this condition. The 1993 act has established the ASRB with the prime purpose to approve financial reporting standards. The Institute of chartered accountants of New Zealand, a professional body is responsible for developing and submitting financial reporting standards to the board (Financial reporting law. 2010). Since the introduction of New Zealand eqvallent to the IFRS, all the entities have to work through ever changing and more complex requirements of reporting. These challenges have reached the point of height when the entities are required to prepare and submit their annual report to share holders and other stake holders. With regard to presentation of the income statement, the companies have two options. The financial statements are approved for the purpose of issue within a period for 65 days average for listed entities and 100 days for non listed entities. Financial statements make up nearly 60% of the annual report. According to NZ IAS 1 , a minimum and separate disclosure on the face of the income statement of revenue, finance costs, profit and loss share of associates and joint ventures accounted for using equity method, profit or loss and tax expenses. Even though there is no specific requirement to show operating expense on the sta tements, the NZ IAS1 gives a choice for companies to select presentation of services by function or by nature. The NZ IAS1 also requires inclusion of primary statements that show changes in equity. This can be due to changes arising other than from transactions with equity shareholders acting in their capacity and all changes in equity or SOCIE. With regard

Position Statement (outline) Essay Example | Topics and Well Written Essays - 500 words - 1

Position Statement (outline) - Essay Example II. Another reason for decriminalizing marijuana may be the benefits the government will receive. This is through the amount of capital they might save in terms of the war against drugs. Billions of dollars are used in this expensive battle to catch, prosecute and house those who purchase and sell drugs (Gerber 59). When dealing with marijuana, the costs are soaring high, and it is no more harmful than other regulated drugs. III. There is also the issue of the capital lost in terms of tax collection when it comes to drugs. Revenue lost because the government cannot tax illegal drugs is proving costly in modern day. By decriminalizing marijuana, the government may earn tax revenue from legalizing marijuana than fighting it off the market, losing revenue in the process (Gerber 64). I. The implications of legalizing/decriminalizing marijuana are tremendous. Like anything else legalized in the economy, the government is likely to get involved in the stakes of marijuana production, harvest, and sale. This means that; it would be just like any other drug in the economy at the moment; controlled to profit of a few corporations (Morgan 79). The economy should not be controlled by these few corporations, and neither should the production, harvest, and sale of this drug. II. Just like any other drug, legalizing marijuana may lead to the growth of other trades. Other drugs may make their way into the market, which leads to rise in illegal and illegitimate trade. This implies that, the government might use extra capital annually to fight and combat other drugs off the market (Morgan 98). A. Through decriminalizing marijuana, it is highly likely the revenue a state may receive annually will benefit it tremendously. This is through tax collection, and reduction in costs incurred trying to fight the drug (Gerber 64). B. Decriminalizing marijuana also means the growth of employment opportunities. Many people will get employment through the

Things They Carried Essay: Syntactic and Paratactic Style

Syntactic and Paratactic Style in The Things They Carried Many times, when an author writes a story, he will use different techniques to influence the way that the reader absorbs the work. Writers use both paratactic style and syntactic style. These two styles contrast each other greatly, but on the same term, they greatly compliment one another. In the book The Things They Carried, O'Brien uses both of these styles. In this essay, syntactic and paratactic style will be examined in the story "Sweetheart of the Song Tra Bong". Examples in the story will be examined and described according to the two styles of writing. The syntactic style will be focused on more intensely however, because of the way that it effects the sections of the story that will be discussed. It will also show that the historical context of the story effects the styles of writing. Historically, women have played a subservient role in society. This still proved true when this story was took place. During the years of the war, women began to play a stronger part in society, but were still looked upon as less than men. In the story of the sweetheart, the female character breaks the gender roles. The soldiers make her first introduction into the story by the. They describe her as "This cute blond-just a kid, just barely out of high school- she shows up with a suitcase and one of those plastic cosmetic bags. Comes right out of the boonies. I swear to God, man, she's got on these culottes. White culottes and this sexy pink sweater. There she is." ("Sweetheart of the Song Tra Bong", 102) Without using the most ... ...nbsp; This manner and tone would not have been used to write about other women. Because she succeeded in a male dominant society, she has "earned" the right to have the masculine attention. Syntactic style plays a strong role in writing. Without it, an author can not leave anything for the reader to think about. If the writer strictly wrote using paratactic style and let the words say exactly what the story involved, interpretation would be useless. Both syntactic and paratactic style benefit the work best is they are used in conjunction with one another. In the absence of one style, the other has a hard time standing on its own, and if a piece tries to work that way, it makes for a very dull or confusing piece. Using various styles in one work makes it more dynamic and intriguing.

Only Christian believers can or should be theologians Essay

Using quotations from at least three written texts (ancient and/or modern), argue the case for or against the view that only Christian believers can or should be theologians Before attempting to answer this question, one must define some principles of the nature of Christian theology. It is obvious that anyone may create a theology based purely on ideas from one’s own imagination, with no boundaries or guidelines to it. Such a theology may be creative, intelligent, and reasonable, but could not be classed as Christian theology. Something must act as a rule and a guard, lest the Christian religion break down into nothing more than dispersed, individual, self-made theologies. Theology in a Christian context must and does find its foundation in Scripture, â€Å"the supreme authority to life and thought† (Vanhoozer 1998, p. 380). Now that the thing that is to be interpreted in the building of Christian theology has been identified as Scripture, one may ask the question of who is able and qualified to interpret it. In 1860, Benjamin Jowett published his essay, â€Å"On the Interpretation of Scripture†. He argued that the Bible should be regarded as any other ancient collections of literature, using tools of literary and historical scholarship. He implied that a critic who stands apart from traditional beliefs and practices is in a better position to find the true meaning of the text, as these traditions had obscured their true meaning. In other words, only those with the right scholarly tools and who were willing to suspend any belief in the text that they may have are able to correctly interpret it (Vanhoozer 1998, pp. 378-379). However, Jowett’s view of interpretation omits the spiritual and the ethical dimensions of Biblical interpretation. Vanhoozer writes: To call the Bible Scripture does not make its warnings or its promises something other than warnings or promises, but rather reorients them to the larger purpose of â€Å"making wise unto salvation†¦ â€Å". (Vanhoozer 1998, p. 380). Jowett’s approach to interpretation requires an objective reading of the text. But can one properly interpret the Scriptures from such a standpoint? To answer this, one must examine the relationship between the reader, the text, the author, and the story. Upon reading, the reader reads the text, and in doing so reconstructs the author in his own imagination, creating an ‘implied author’, and bringing the story to life (actualising the text) from the marks on the written page (Voelz 1995, 1997, pp. 218- 219). Voelz goes on to state that the intended recipient of the text is: †¦a reader of whom the author is conscious, one who may also be called â€Å"implied†. And this implied reader stands in the same relationship to the actual reader as the implied author stands to the actual author; he is, again, a construct, not in the real world, and he is detectable (only) in the text. Who then is a valid interpreter of a text? It is he who conforms to the expectations of the author. It is he who conforms himself to the given text’s assumptions. It is he who becomes the implied reader – and only such a one – of a given text. Which means that an â€Å"objective† reading of a text is not only impossible; it is not to be desired! (Voelz 1995, 1997, p. 219) One can see that what is needed for correct interpretation of Scripture, is a subjective, rather than objective reading of the text. Voelz argues a reader interprets within a community, having developed the beliefs and attitudes of the implied reader, through discussion, experience, and training within that community which understands and appreciates the context of the â€Å"implied reader†. Therefore: A valid interpreter of a text†¦ is that person†¦ who assumes the role â€Å"required† as it were, by a given text – who becomes the reader â€Å"implied† or called for by that very text. And such a one is formed to assume that role by a community, a community which has assumed that role itself. (Voelz 1995, 1997, p. 220) This, however, does not make every Christian community’s interpretation infallible, because humans err; thus different Christian communities often disagree on the interpretation of certain parts of Scripture. But, as the Church is a community within which these documents were produced, received, and preserved, Vanhoozer states: [The] Bible is more likely to be misunderstood by an unbelieving and unaffiliated individual than by a believing and practising member of the church. (Vanhoozer 1998, p. 378) In the case of the New Testament, the books were produced, received, and preserved by the Christian community, and following Voelz’s argument, one has to be within a Christian community, and taught to read Scripture by that community, to be able to correctly interpret the New Testament. The issue of the interpretation of the Old Testament is one that is referred to in the New Testament. Speaking of the reading of Scripture by the Jews: Yes, to this day, whenever Moses is read a veil lies over their hearts. But when one turns to the Lord, the veil is removed. (2 Cor. 3:15-16 ESV) According to Paul’s argument, the Jews do not believe, therefore they cannot, in their unbelieving state, be the â€Å"implied reader† of the Old Testament Scriptures. Apparently, simply being within the Jewish community is insufficient to correctly interpret these Scriptures, as more than a simple, straightforward understanding of the Hebrew text is needed. Luke 24:45 ESV reads, concerning Jesus and his disciples, â€Å"Then he opened their minds to understand the Scriptures.† Minds must be opened, veils taken away. The Christian community must teach readers to interpret even the Old Testament books. Only within the Christian community can one’s mind be changed in the proper way (Voelz 1995, 1997, p. 226). The reason for this is clear from the New Testament’s claims regarding the Christocentricity of all Scripture, Old and New Testaments: You search the Scriptures because you think that in them you have eternal life; and it is they that bear witness about me†¦ (Jn. 5:39 ESV. Cf. Mt. 2:4-6, 14-15; 1 Cor. 10:11, 15:3-4; 2 Cor. 1:20; Heb. 9:11-12; 1 Pet. 1:10-12) In order to be within the Christian community, one must adhere to and confess its creeds. Voelz writes: Therefore, to adhere to the creeds gives one an orientation to the books of the NT†¦. which is â€Å"congenial† to them and which†¦ allows/enables one to interpret them in accordance with their intention†¦ [Adherence] to the creeds enables one to â€Å"matrix† the signifiers and meanings of a text for interpretation and then to interpret that matrix in a way which is â€Å"congenial† to the text, for the creeds are of one piece with that text and provide, as it were, the interpretive â€Å"key,†Ã¢â‚¬ ¦Ã¢â‚¬ determinative for the meaning of the complex signifiers under construction†Ã¢â‚¬ ¦ [The] creeds help to determine which readings of Scripture are the apostolic/Christian readings which may legitimately be drawn from them. (Voelz 1995, 1997, p. 222) It was precisely the misuse of Scripture by heretics, which caused the early Church father, Tertullian, to write regarding them: [We] oppose to them this step above all others, of not admitting them to any discussion of the Scriptures. If in these lie their resources, before they can use them, it ought to be clearly seen to whom belongs the possession of the Scriptures, that none may be admitted to the use thereof who has no title at all to the privilege. (Roberts & Donaldson 1994, 1995, Vol. 1 p.250 -Chapter XV of On Prescription Against Heretics. See also: chapters XVI, XVII, XVIII, XIX pp. 250-252) Tertullian’s belief was that the Scriptures were the property of the Christian Church alone, and not to be handled by those outside of it. Irenaeus, Bishop of Lyons, against the Valentinians, wrote: [They] endeavour to adapt with an air of probability to their own peculiar assertions the parables of the Lord, the sayings of the prophets, and the words of the apostles, in order that their scheme may not seem altogether without support. In doing so, however, they disregard the order and the connection of the Scriptures, and so far as in them lies, dismember and destroy the truth. By transferring passages, and dressing them up anew, and making one thing out of another, they succeed in deluding many through their wicked art in adapting the oracles of the Lord to their opinions. (Roberts & Donaldson 1994, 1995, Vol. 3. p. 326 -Chapter VIII of Against Heresies) In conclusion, there seem to be many problems opposing the idea of those outside of the Christian Church being theologians, not least the question of motive, as the early Church fathers addressed. For these reasons, I believe that theology is a matter only for those within the Church. Bibliography * Roberts, A. & Donaldson J. (Editors); 1994, 1995; Ante-Nicene Fathers; Peabody, Massachusetts; Hendrickson Publishers, Inc. * Vanhoozer, K. 1998; Is There a Meaning in This Text?; Leicester; Apollos/IVP. * Voelz, J. 1995, 1997; What Does This Mean?: Principles of Biblical Interpretation in the Post-Modern World; St. Louis, Missouri; Concordia Publishing House. * The Holy Bible – English Standard Version; 2001, 2002; Wheaton, Illinois; Crossway Bibles

Reflection Essay Rent s Due Art Boy - 915 Words

Reflection journal Essay Sculpture, the thing I never knew I was good at. Two semesters ago I met a very strong woman, and she opened up a part of me that I had mostly given up on. The part of me I had given up on over a decade ago was my artistic side. I simply felt that it was a waste of time to spend hours perfecting something that would most likely never make me money. Also, I would look at the multitude of staving artists online, and consider how much better they were than myself, and how even the most talented artist starves from time to time. Have you ever heard the phrase â€Å"rent’s due art boy†. Well I got tired of hearing it, and went to drafting school. It wasn’t until this last semester, in my 19th century art history course, that I learned that most of my favorite artists started out as draftsmen, but we will talk about that later. Until recently, I had forgotten that i actually enjoyed the peacefulness of the artistic process. I had forgotten that during this proc ess I tended to become very focussed and all of my life’s daily problems seemed to fade away. I met my art teacher Alicja Mannix in my sculpture class, and wasn’t sure how well I would do. She was from Poland, and still had her European accent intact. Her accent reminded me of my Grandmother Tesse, on my step mother’s side. She was also from poland. Anyways, the closest thing I had done to sculpture in my life was a few pottery items at my local Boys Club in Portland, Oregon. I had made aShow MoreRelatedGlee Essay9324 Words   |  38 PagesRachel Cohen Is Rachel’s assessment of the musical performances on Glee correct? Discuss the interplay of melodrama, irony and intertextuality in Glee. Your essay should contain detailed analysis of at least two scenes from Glee’s 1st season. Your essay should also make reference to your core course readings on television and postmodernism. 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