Religious Education Commons^™

Joseph Smith And The Missouri Court Of Inquiry: Austin A. King's Quest For Hostages, Gordon A. Madsen

BYU Studies

On November 1, 1838, the Mormon settlement at Far West, Caldwell County, Missouri, was surrounded by state militia troops commanded by Generals Samuel D. Lucas and Robert Wilson. Mormon leaders Joseph Smith, Hyrum Smith, Sidney Rigdon, Parley P. Pratt, Lyman Wight, George Robinson, and Amasa Lyman were taken prisoner, and a court-martial was promptly conducted. General Lucas pronounced a sentence of death on all the prisoners, to be carried out the following morning, November 2, in the Far West town square. General Lucas contended that the infamous order of Missouri Governor Lilburn W. Boggs, issued to drive the Mormons from …

What Does God Think About America?: Some Challenges For Evangelicals And Mormons, Richard J. Mouw

BYU Studies

I visited an Evangelical church once in my younger years where the sermon of the day featured a straightforward exposition of the teachings associated with dispensationalist premillennialism. The signs of the time are clear, the preacher said. Wars and rumors of wars. Earthquakes and famine. Widespread lawlessness. The prophetic clock is ticking. God's plan for the future of the earth centers on the Jewish people, who will eventually recognize the true Messiah and inherit all the earthly promises given to them of old. All other nations are doomed to pass away. The destiny of Gentile Christians is a spiritual and …

“Every Book…Has Been Read Through” The Brooklyn Saints And Harper's Family Library, Lorin K. Hansen

BYU Studies

On February 4, 1846, two groups of Latter-day Saints in the United States began their emigration out of the United States. The main body of the Church was leaving from Nauvoo, Illinois, under the leadership of Brigham Young, going overland to the West. The same day, also under instructions from Brigham Young. Samuel Brannan led a group from New York aboard the ship Brooklyn, going by sea around Cape Horn to San Francisco Bay.

By The Hand Of Mormon: The American Scripture That Launched A World Religion By Terry L. Givens, Daniel C. Peterson

BYU Studies

Terryl L. Givens. By the Hand of Mormon: The American Scripture That Launched a World Religion. Oxford: Oxford University Press, 2002.

By The Hand Of Mormon: The American Scripture That Launched A World Religion By Terry L. Givens, Edward S. Cutler

BYU Studies

Terryl L. Givens. By the Hand of Mormon: The American Scripture That Launched a World Religion. Oxford: Oxford University Press, 2002.

Book Notices, Byu Studies

BYU Studies

No abstract provided.

Index, Byu Studies, Byu Studies

BYU Studies

No abstract provided.

Full Issue, Byu Studies

BYU Studies

No abstract provided.

End Matter, Byu Studies

BYU Studies

No abstract provided.

Under The Banner Of Heaven: A Story Of Violent Faith By Jon Krakauer, Laurie F. Maffly-Kipp

BYU Studies

Jon Krakauer. Under the Banner of Heaven: A Story of Violent Faith. New York: Doubleday, 2003.

Falling Leaves, Jane D. Brady

BYU Studies

No abstract provided.

Enduring Ties: Poems Of Family Relationships Ed. Grant Hardy, Lance Larsen

BYU Studies

Grant Hardy, ed., Enduring Ties: Poems of Family Relationships. South Royalton, Vermont: Steerforth, 2003.

A Performer's Reflections On Die Zauberflöte, Lawrence P. Vincent

BYU Studies

No abstract provided.

European Views Of Egyptian Magic And Mystery: A Cultural Context For The Magic Flute, Kerry Muhlestein

BYU Studies

Composer Wolfgang Amadeus Mozart and librettist Emanuel Schikaneder lived and created during the height of eighteenth-century interest in and fascination with Egypt. The Magic Flute's Egyptial setting would therefore evoke in their contemporaneous audience notions of a distant land with an exotic and magical culture. The numerous Egyptian elements of the world are representative of its era and are situated near the end of a continuum of European thought about ancient Egypt before the solid foundation of modern day Egyptology had been laid. To Europeans, Egypt was a murky and mysterious landscape, one that easily lent itself to imaginative …

Full Issue, Byu Studies

BYU Studies

No abstract provided.

Introductory Pages, Byu Studies

BYU Studies

No abstract provided.

Die Zauberflöte: What's In A Title?, Harrison Powley

BYU Studies

Scholars have argued over Die Zauberflöte for many years. Is it a fairy-tale opera, a metaphorical discussion of Masonic and Rosicrucian beliefs, or a contemporary political or philosophical commentary on the 1780s and the Enlightenment? It can be all these and more, but for many in the audience during fall 1791 it was entertainment, pure and simple. The audience at the Theater auf der Weiden came from all levels of society. The nobility and educated attended as well as the working and servant classes.

"Initiates Of Isis Now, Come, Enter Into The Temple!": Masonic And Enlightenment Thought In The Magic Flute, Paul E. Kerry

BYU Studies

Habakkuk exclaimed that in the presence of Lord the "sun and moon stood still in their habitation." The Empryean (Canto XXXII) of Dante's Paradiso concludes with the splendid phrase "l'amor che move il sole e l'altre stelle" (the Love which moves the sun and the other stars). And in 1945 when Harry S Truman realized the weight of the office he would inherit upon the death of President Franklin D. Roosevelt, he declared, "I felt like the moon, the stars, and all the planets had fallen on me." It seems that when prophets, poets, and presidents have the need to …

Adaptation, Enactment, And Ingmar Bergman's Magic Flute, Dean W. Duncan

BYU Studies

For all of its manifold musical glories, The Magic Flute was and is a theatrical work, meant for production and performance, and that repeatedly. As such, I will be concentrating on the opera's theatrical and cinematic elements. This article treats Ingmar Bergman's felicitous 1975 film adaptation of opera. Those inclined can find much to complain about in Bergman's cinematic version of Mozart's opera, but I would like to suggest that, with sympathy and openness, this complaining could give way to approval and great gratitude. In this Magic Flute, we have an interpretation worthy of its source, which is saying …

Set Design For The Final Scene In The Magic Flute, Michael P. Lyon

BYU Studies

STAGE DIRECTIONS. The stage is transformed into a sunburst; Sarastro appears on high; Tamino and Pamina are in priestly robes, surrounded on both sides by the Egyptian priests; the Three Boys offer flowers. (2.30)

End Matter, Byu Studies

BYU Studies

No abstract provided.

A Magic Summer With The Magic Flute, Kaye Terry Hanson

BYU Studies

No abstract provided.

Diese Aufnahme Ist Bezaubernd Schön: Deutsche Grammophon's 1964 Recording Of The Magic Flute, Aaron Dalton

BYU Studies

Singing speaks most eloquently for itself in real time and doesn't fall into words on paper very easily," writes a former voice teacher of mine. "It is either beautiful or it isn't. If it's beautiful, words aren't adequate. If it isn't, words about it have to be either false or cruel." Why, then, would I offer the following dissection of what I believe to be the greatest recording of arguably the greatest opera? And how, with a glut of Magic Flute recording on the market (I aborted my tally at over forty casts on dozens of labels), can I presume …

Toward An Anthropology Of Apotheosis In Mozart's Magic Flute: A Demonstration Of The Artistic Universality And Vitality Of Certain "Peculiar" Latter-Day Saint Doctrines, Alan F. Keele

BYU Studies

It seems there are certain notions held by Latter-day Saints, deviating almost diametrically from those promulgated by orthodox Christianity, that have the power to evoke form certain conservative Christian quarters the most vituperative fulminations. One thinks immediately of the idea expounded by Joseph Smith at King Follett's funeral that humans have the potential to become gods through a process of perfection experienced by the gods themselves. The orthodox response to this notion in the form of the Godmakers films and other manifestations of righteous indignation has been extraordinary. The paradox, however, is this: Scratch the orthodox surface of Christianity, explore …

Sarastro's Repentance: One Dramaturg's Advice On The Magic Flute, Michael Evenden

BYU Studies

Traditionally, the scholar of dramatic literature and the director of plays (or the stage director of an opera) are opposed figures. Despite common passions, they have different goals, methods, and materials. In the end, a scholar's polished critical argument and a director's persuasive theatrical performance are held to be two decidedly different things. But a dramaturg (a kind of in-house scholarly advisor to the theater or opera company) attempts to be a scholar of dramatic literature and theatrical history and, at the same time, a canny and practical advisor to the artistic team of an actual stage production. A dramaturg …

The Queen Of The Night: A Mother Betrayed, Victoria A. Webb

BYU Studies

It may be difficult for some to understand how any mother could sincerely sing both arias assigned to the Queen of the Night in The Magic Flute. Indeed, most critics assume she is insincere, at best. In her first aria, the Queen expresses desperate suffering caused by the abduction of her daughter, Pamina. In the second, Pamina has safely returned to her mother's embrace, only to be confronted with her "wrath of hell." I recently gained some insight into this inconsistency when I came face to face with a mother's wrath. On a long train ride, I sat next …

Mann Und Weib, And Baby Makes Two: Gender And Family In Johann Wolfgang Von Goethe's Sequel To The Magic Flute, Robert B. Mcfarland

BYU Studies

Latter-day Saints never grow tired of pointing out that Restoration scriptures and revelations could have not come forth in any other place than America. But the Restoration also came forth in a specific time, a period of important historical movements and cultural developments. It behooves us to deepen our understanding of the profound importance to the Restoration of the historical moment—not only through our study of political, religious, and biographical documents of the time but also through a careful consideration of the literature and art that interact with some of the most profound cultural and historical discourses of the late …

Preface, Paul E. Kerry

BYU Studies

The multidisciplinary appeal and what Goethe called the "generative force" of Mozart's opera The Magic Flute (Die Zauberflöte, 1791) is abundantly evident in the diversity of perspectives represented in this special issue of BYU Studies: anthropology, art history, comparative literature, the classical tradition, Egyptology, English, German, history, management studies, law, music, religion, theater and media studies, and vocal performance.

Mormons, Opera, And Mozart, Gideon O. Burton

BYU Studies

One of the world's great operatic works, The Magic Flute is the subject of this issue of BYU Studies, which presents a variety of perspectives from scholars and performers who have enjoyed and explored Mozart's masterpiece both critically and personally. It may seem unusual for BYU Studies to devote so much attention to a single operatic work, but opera is itself an inclusive art from, inviting the very sort of interdisciplinary study to which this periodical is com(1.15)mitted.

From Arcadia To Elysium In The Magic Flute And Weimar Classicism: The Plan Of Salvation And Eighteenth-Century Views Of Moral Progression, John B. Fowles

BYU Studies

The painful sighs are now past.

Elysium's joyful banquets

Drown the slightest moan—

Elysium's life is

Eternal rapture, eternal flight;

Through laughing meadows a brook pipes its tune.

..........

Here faithful couples embrace each other,

Kiss on the velvet green sward

As the soothing west wind caresses them;

Here love is crowned,

Safe from death's merciless blow

It celebrates an eternal wedding feast.

—Friedrich Schiller