Author: John Parker File Type: pdf In Dr. Faustus, Christopher Marlowe wrote a profoundly religious drama despite the theaters newfound secularism and his own reputation for anti-Christian irreverence. The Aesthetics of Antichrist explores this apparent paradox by suggesting that, long before Marlowe, Christian drama and ritual performance had reveled in staging the collapse of Christianity into its historical opponentspaganism, Judaism, worldliness, heresy. By embracing this tradition, Marlowes work would at once demonstrate the theatricality inhering in Christian worship and, unexpectedly, resacralize the commercial theater. The Antichrist myth in particular tells of an impostor turned prophet performing Christs life, he reduces the godhead to a special effect yet in so doing foretells the real second coming. Medieval audiences, as well as Marlowes, could evidently enjoy the constant confusion between true Christianity and its empty look-alikes for that very reason mimetic degradation anticipated some final, as yet deferred revelation. Mere theater was a necessary prelude to redemption. The versions of the myth we find in Marlowe and earlier drama actually approximate, John Parker argues, a premodern theory of the redemptive effect of dramatic representation itself. Crossing the divide between medieval and Renaissance theater while drawing heavily on New Testament scholarship, Patristics, and research into the apocrypha, The Aesthetics of Antichrist proposes a wholesale rereading of pre-Shakespearean drama. **

Author: Pawel Maciejko File Type: pdf In 1756, Jacob Frank, an Ottoman Jew who had returned to the Poland of his birth, was discovered leading a group of fellow travelers in a suspect religious service. At the request of the local rabbis, Polish authorities arrested the participants. Jewish authorities contacted the bishop in whose diocese the service had taken place and argued that since the rites of Franks followers involved the practice of magic and immoral conduct, both Jews and Christians should condemn them and burn them at the stake. The scheme backfired, as the Frankists took the opportunity to ally themselves with the Church, presenting themselves as Contra-Talmudists who believed in a triune God. As a Turkish subject, Frank was released and temporarily expelled to the Ottoman territories, but the others were found guilty of breaking numerous halakhic prohibitions and were subject to a Jewish ban of excommunication. While they professed their adherence to everything that was commanded by God in the Old Testament, they asserted as well that the Rabbis of old had introduced innumerable lies and misconstructions in their interpretations of that holy book.Who were Jacob Frank and his followers? To most Christians, they seemed to be members of a Jewish sect to Jewish reformers, they formed a group making a valiant if misguided attempt to bring an end to the power of the rabbis and to more traditional Jews, they were heretics to be suppressed by the rabbinate. What is undeniable is that by the late eighteenth century, the Frankists numbered in the tens of thousands and had a significant political and ideological influence on non-Jewish communities throughout eastern and central Europe.Based on extensive archival research in Poland, the Czech Republic, Israel, Germany, the United States, and the Vatican, The Mixed Multitude is the first comprehensive study of Frank and Frankism in more than a century and offers an important new perspective on Jewish-Christian relations in the Age of Enlightenment.