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15 Melanchthon on Luther 2 Melanchthon on Luther Luther’s lives Philip Melanchthon’s History of the Life and Acts of Dr Martin Luther translated by Thomas D. Frazel and annotated by Ralph Keen HISTORY OF THE LIFE AND ACTS OF THE MOST REVEREND DR MARTIN Luther, Dr of true Theology, written in good faith by Philip Melanchthon Certain poems have been added by John Policarius 1 on the blessings which God through Luther bestowed upon the whole world. Including several distichs on the Acts of Luther, which were recounted in this same year. 1548. Reverend Martin
4 Luther’s lives Translator’s note The deeds and writings of Martin Luther from the year of the Lord 1517 to the year 1546 related chronologically to all posterity by Johannes Cochlaeus for the first time translated into English by Elizabeth Vandiver and annotated by Ralph Keen 55 56 Luther’s lives The Year of the Lord 1517 Cochlaeus on Luther, 1517 Martin Luther, who was born in the year of the Lord 1483 in Eisleben in Saxony, under the Counts of Mansfeld, had plebeian parents from the Luder family.1 His father was named Johannes, his mother Margarita. He
Artists, scholars, and popular media often describe James Baldwin as revolutionary, either for his written work or for his role in the civil rights movement. But what does it mean to be revolutionary? This article contends that thoughtlessly calling James Baldwin revolutionary obscures and erases the non-revolutionary strategies and approaches he employed in his contributions to the civil rights movement and to race relations as a whole. Frequent use of revolutionary as a synonym for “great” or “important” creates an association suggesting that all good things must be revolutionary, and that anything not revolutionary is insufficient, effectively erasing an entire spectrum of social and political engagement from view. Baldwin’s increasing relevance to our contemporary moment suggests that his non-revolutionary tactics are just as important as the revolutionary approaches employed by civil rights leaders such as Malcolm X or Martin Luther King, Jr.
This article is about how one approaches images that are both disjunctive and disjointed. It studies a set of nineteen images by the Flemish printmaker Gaspard Bouttats, focusing on four specific examples. The nineteen prints are now in the Whitworth Gallery but come without any provenance beyond the signature of their maker. Hitherto, they have not been studied in detail, but were in fact made for a book, Prudencio de Sandoval’s Historia de la vida y hechos del Emperador Carlos V, published in Antwerp in 1681 by Hieronymus Verdussen III. However, the prints now take the form of a set of loose sheets. Accordingly, the core argument rests on the fact that it is not helpful to study Bouttats’s prints in the context of de Sandoval’s book because this fails to account properly for their composite nature, their current state and their virtually limitless potential for circulation. The main contention is that such prints are best understood as collages. Therefore, they are viewed here through the lens of emerging scholarly literature on medieval and early modern texts and images that also fall into this category.
This article delves into James Baldwin’s work and experience in the pivotal year 1968. Working with archival materials and granular contexts that are still not a full part of our understanding of Baldwin’s story, this article paints a fuller and more nuanced portrait of Baldwin’s position astraddle cultural cross-currents that were in volatile and often violent relationship to each other and at times to themselves. The “sixties” were ending in flames as Baldwin had forecast at the outset of the decade. Baldwin was based in California, often in transit to New York and London, working in ways that were at once high-profile and underground—to the extent that we’re only now seeing real evidence of some of these conversations. The result is a fuller account of how Baldwin developed and deployed his gifts with risk-taking generosity and intergenerational brilliance during one of the most volatile years of the twentieth century in the United States and beyond.
This book presents a contemporary, eyewitness account of the life of Martin Luther translated into English. Johannes Cochlaeus (1479–1552) was present in the great hall at the Diet of Worms on April 18, 1521 when Luther made his famous declaration before Emperor Charles V: ‘Here I stand. I can do no other. God help me. Amen’. Afterward, Cochlaeus sought Luther out, met him at his inn, and privately debated with him. Luther wrote of Cochlaeus, ‘may God long preserve this most pious man, born to guard and teach the Gospel of His church, together with His word, Amen’. However, the confrontation left Cochlaeus convinced that Luther was an impious and malevolent man. Over the next twnety-five years, Cochlaeus barely escaped the Peasant's War with his life. He debated with Melanchthon and the reformers of Augsburg. It was Cochlaeus who conducted the authorities to the clandestine printing press in Cologne, where William Tyndale was preparing the first English translation of the New Testament (1525). For an eyewitness account of the Reformation—and the beginnings of the Catholic Counter-Reformation—no other historical document matches the first-hand experience of Cochlaeus. After Luther's death, it was rumoured that demons seized the reformer on his death-bed and dragged him off to Hell. In response to these rumours, Luther's friend and colleague Philip Melanchthon wrote and published a brief encomium of the reformer in 1548. Cochlaeus consequently completed and published his monumental life of Luther in 1549.
The theological energies released by Martin Luther in 1517 created a set of theological insights and problems that eventually led to the development of kenotic Christology (i. e., the view that in order for the Son of God to become incarnate and live a genuinely human life, he emptied himself of his divine prerogatives or attributes). This article traces how kenotic Christology originated in the Eucharistic Controversy between Luther and Zwingli, before receiving its first extensive treatment in the debate between the Lutheran theologians of Tübingen and Giessen in,the early seventeenth century. Attention then turns to the nine-teenth century, when doctrinal tensions resulting from the enforced union of the Prussian Lutheran and Reformed churches created the conditions for a new flowering of kenotic Christology in the theologies of Ernst Sartorius and, subsequently, Gottfried Thomasius. Kenotic Christology ultimately originates with Luther, however, for it owes its existence to the creative theological energies he unleashed and which remain his lasting legacy.
I Am Not Your Negro (2016) takes its direction from the notes for a book entitled “Remember this House” that James Baldwin left unfinished, a book about his three friends—Medgar Evers, Malcolm X, and Martin Luther King Jr.— their murders, and their intertwining legacies. The film examines the prophetic shadow Baldwin’s work casts on twentieth- and twenty-first-century American politics and culture. Peck compiles archival material from Baldwin’s interviews on The Dick Cavett Show, his 1965 Cambridge lecture, and a series of banal images indexing the American dream. Juxtaposed against this mythology is footage of Dorothy Counts walking to school, the assassination of black leaders and activists, KKK rallies, and the different formations of the contemporary carceral state. Our conversation examines Peck’s role as a filmmaker and his relationship with the Baldwin estate. Additionally, we discussed a series of aesthetic choices he fought to include in the film’s final cut, directing Samuel L. Jackson as the voice for the film, the similarities and shifts he wanted to document in American culture since the 1960s, and some of the criticism he has received for not emphasizing more Baldwin’s sexuality.
Often overlooked by James Baldwin criticism or addressed according to its unique relationship to sex and gender, love plays a central role in the writer’s oeuvre. This article, conceived as a contrapuntal reading between A Dialogue (1972)—the transcript of a four-hour conversation between James Baldwin and poet Nikki Giovanni in November 1971—and If Beale Street Could Talk (1974), Baldwin’s fifth novel, will shed light on Baldwin’s “poethics” of love in the 1970s, after Martin Luther King Jr.’s assassination and the author’s engagement with Black Power and feminism. This revision takes its cues from intersectionality and extends them via Hortense Spillers’s bold critique of Baldwin’s politics of intimacy, his writing style, and the American family grammar. His vision of love as moral “energy” not only anticipates what Denise Ferreira da Silva terms a “Black Feminist Poethics,” but is also a potential “key” to end “the racial nightmare” and “save the children,” thereby becoming a poethics of love for the infancy of the world.
The blossoming of interest in black history since the 1950s was directly linked to the rise of Martin Luther King and the post-Second World War Civil Rights Movement. The advances achieved in desegregation and black voting rights since the 1950s suggested that this was a destination that King's children, and African Americans as a whole, would ultimately reach. In the inter-war years there were indications that some scholars were willing to examine the more depressing realities of black life, most notably in a series of academic studies on lynching. The book discusses the approach of Du Bois to the academic studies on black migrants from a sociological perspective. When African American history began to command more serious attention in the mid-1960s, the generation of historians who had had direct personal experience of the Great Depression and the Second World War began to reach the age of retirement. The book also examines the achievements of race leaders like Malcolm X and Stokely Carmichael, the Black Power Movement and Black Nationalism of the 1960s. In a 1996 study, political scientist Robert C. Scholarly debate on the African American experience from the 1890s through to the early 1920s gathered momentum with fresh studies on the spread of racial segregation and black migration to the cities. The rise of feminism and popularity of women's history prompted academic researchers to pay attention to the issue of gender in African American history. Stereotyped depictions of African Americans in US popular culture are also discussed.