text:
Who Wants to Be a Millionaire – Play It!
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Who Wants to Be a Millionaire – Play It!
Disney's Hollywood Studios
Status
Closed
Opening date
April 7, 2001
Closing date
August 19, 2006
Replaced by
Toy Story Midway Mania!
Disney California Adventure
Area
Hollywood Pictures Backlot
Status
Closed
Opening date
September 14, 2001
Closing date
August 20, 2004
Replaced by
Dancin' With Disney (2012)
Olaf's Snow Fest (2014-2015)
Disneyland AP Days (2016-present)
General statistics
Attraction type
Interactive theater
Designer
Walt Disney Entertainment
Theme
Who Wants to Be a Millionaire TV game show
Duration
25 minutes
Disney's Fastpass available
Who Wants To Be A Millionaire - Play It! was an attraction at Disney's Hollywood Studios (formerly Disney-MGM Studios) theme park at Walt Disney World Resort in Orlando, Florida and Disney California Adventure in Anaheim, California. The attraction was a modified version of the Who Wants to Be a Millionaire television game show.
Contents
[hide]
1 Game information
2 Prizes
2.1 Special events
3 History
3.1 TV broadcasts
4 References
5 See also
Game information[edit]
The attraction's theater was a replica of the television show. Sessions of the game ran several times a day; each session was 25 minutes long (but did wait until the current contestant vacated the hot seat to stop) and seated 647 park guests.
The Disney park version of the game differed from the television version in several ways:
Contestants competed for points, not dollars. A contestant won a Disney collector's pin for each point level he passed (minus any down to the previous milestone if he or she got a question wrong). A prize table can be found below.
Every audience member had his or her own A/B/C/D keypad. The ten contestant row seats were not special in any way (other than a video display of the camera work). Access to these seats were chosen in a number of different ways before the show, including random selection, quizzing of guests waiting in queue, and special "Magic Moment" coupons dispensed from the attraction's "Fast Pass" dispensers telling the bearer to present their Fast Pass to an attraction cast member for special seating. There were several times where just asking before the show began would grant access to one of these seats if they were still available for the next show.
To begin a session, a fastest finger question was asked. The audience member who got the correct answer in the shortest time got the hot seat.
The hot seat contestant had only fifteen seconds to answer each of the first five questions (100-1,000 points), thirty seconds per question for the next five questions (2,000-32,000 points), forty-five seconds for the next four questions (64,000-500,000 points), and fifty-five seconds for the final million-point question; the real show internationally carried a variation of this format from 2008-2010.
Each audience member could answer a question on his or her keypad at the same time as the hot seat contestant did. Contestants won points by pressing the correct button quickly; at the 1,000 and 32,000-point levels the game was paused briefly to show the top ten scores. If the hot seat contestant got a question wrong or decided to walk away, instead of additional fastest finger questions, the top scorer in the audience took his place, as long as there was time remaining. (Usually, only two full games were played.) The player with the highest score on the last game only won congratulations from the host, if that.
The three lifelines were 50:50, Ask the Audience, or Phone a Complete Stranger. Ask the Audience is immediate; the audience's answers can be instantly polled, because the audience already had a chance to enter their answers. Phone a Complete Stranger connected the contestant to a Cast Member outside the theater who found a guest to help.
Disney Cast Members were not permitted to participate.
Park guests playing as hot-seat contestants were required to sign a waiver after completing their game. This waiver declared the "Fair Market Value" of all prizes received (in Walt Disney World by regulations set by the Florida Gaming Commission) and an agreement that the guest would be ineligible to participate as a hot seat game player for a pre-determined amount of time. (100-500,000 point winners had a 30-day blackout. 1,000,000 point winners also had the 30-day blackout, but were also prohibited from winning the million-point prize again for 365 days) [1][2][3]
Questions based on Disney parks and films often appeared at any point during the game.
Usually, because the Fastest Finger First could be won by a younger audience member randomly selecting the correct one of the 24 possible orders and inputting it in a ridiculously small amount of time, the first five questions were usually easy enough that anyone in the audience could answer them correctly.
Prizes[edit]
Upon correctly answering each question, the player received a collectible lapel pin with the attraction's logo and question point value. Various other prizes were awarded at milestone questions. The chart below references all the prizes obtained by achieving each milestone. No cash prize was awarded.
Question No.
Milestone
Prize(s)
5 1,000 Points "Play It!" lanyard
100-1,000 point pins
1,000 point baseball cap
10 32,000 Points "Play It!" lanyard
100-32,000 point pins
1,000 point baseball cap
32,000 point embroidered shirt
15 1,000,000 Points "Play It!" lanyard
100-1,000,000 point pins
1,000 point baseball cap
32,000 point embroidered shirt
1 million point leather jacket
1,000,000 point medallion
Disney Cruise Line vacation for four
In the early days of the attractions, contestants would also receive a copy of the "Who Wants to Be a Millionaire" CD-ROM game upon correctly answering the 32,000 point question.
During the original television run of "Who Wants to Be a Millionaire", contestants would receive a trip for two to New York City to see a taping of the television game when correctly answering the Million point question, in lieu of a Disney Cruise vacation.
Special events[edit]
During Disney's Hollywood Studios' Star Wars Weekends, the first two games of the day featured questions based on the Star Wars films and universe and began with Greedo in the hot seat, answering questions in the alien language Rodanese. The lifelines in the "Star Wars Weekends" version of the game worked exactly like the regular game but were named 50:50, Ask the Jedi Council, and Phone a Stormtrooper.
During ESPN The Weekend, also based at Disney's Hollywood Studios, Play It! consisted of sports trivia questions; contestants got to "team up" with ESPN personalities and sports figures, according to the official ESPN The Weekend website. For this edition of the game, the "Phone A Complete Stranger" lifeline was replaced with a chance to ask an ESPN expert (either Howie Schwab or the Sklar Twins) for assistance.[4]
History[edit]
Both versions of the attraction at Disney's Hollywood Studios and Disney California Adventure offered FASTPASS on these attractions. FASTPASS at Disney California Adventure was available for the whole run, while the version at Disney's Hollywood Studios was taken out when the Lights, Motors, Action! Extreme Stunt Show opened in 2005.
The attraction's former sound stages at Disney's Hollywood Studios are now the site of the interactive Toy Story Midway Mania! attraction.
The sound stage and Millionaire attraction at Disney California Adventure were built in an effort to improve the park after it faced criticism and low attendance upon its opening in February 2001.
When the Millionaire attraction in Disney's Hollywood Studios (Orlando, FL) closed, most of the props from the studio were removed and given to a 3rd party company who sold them online. Such items include all of the audience member keypads, fastest-finger chairs, monitor covers and more. Jeff Gross (former $500,000 winner on the U.S. syndicated version of the show, and also a contestant on the British version of the show where he witnessed the coughing antics of Tecwen Whittock) announced in November 2008 during an appearance as an 'expert' for Millionaire's new "Ask The Expert" lifeline, that he was the successful bidder for the auction of Play It!'s contestant hot seat. The hot seat reportedly sold on eBay for more than $400.
TV broadcasts[edit]
On several occasions over three years, the attraction at Disney's Hollywood Studios hosted tapings of the syndicated television show for later broadcast.
References[edit]
Jump up ^ "PassPorter.com -- Tips for "Who Wants To Be A Millionaire--Play It!"".
Jump up ^ "PassPorter Community - Boards & Forums on Walt Disney World, Disneyland, Disney Cruise Line, and General Travel".
Jump up ^ "Hot seat?". WDWMAGIC - Unofficial Walt Disney World discussion forums.
Jump up ^ http://espntw.secondthought.com/?CMP=BAC-ESPNTW1001
See also[edit]
Disney's Hollywood Studios
Disney's Hollywood Studios attraction and entertainment history
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Adversarial system
From Wikipedia, the free encyclopedia
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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2009) (Learn how and when to remove this template message)
The adversarial system or adversary system is a legal system used in the common law countries where two advocates represent their parties' case or position before an impartial person or group of people, usually a jury or judge, who attempt to determine the truth and pass judgment accordingly.[1][2][3] It is in contrast to the inquisitorial system used in some civil law systems (i.e. those deriving from Roman law or the Napoleonic code) where a judge investigates the case.
The adversarial system is the two-sided structure under which criminal trial courts operate that puts the prosecution against the defense.
Contents
[hide]
1 History
2 Basic features
3 Comparisons with the inquisitorial approach
4 See also
5 References
6 Further reading
History[edit]
Some writers[who?] trace the process to the medieval mode of trial by combat,[4][5] in which some litigants, notably women, were allowed a champion to represent them. The use of the jury in the common law system seems to have fostered the adversarial system and provides the opportunity for both sides to argue their point of view.
Basic features[edit]
As an accused is not compelled to give evidence in a criminal adversarial proceeding, they may not be questioned by a prosecutor or judge unless they choose to do so. However, should they decide to testify, they are subject to cross-examination and could be found guilty of perjury. As the election to maintain an accused person's right to silence prevents any examination or cross-examination of that person's position, it follows that the decision of counsel as to what evidence will be called is a crucial tactic in any case in the adversarial system and hence it might be said that it is a lawyer's manipulation of the truth. Certainly, it requires the skills of counsel on both sides to be fairly equally pitted and subjected to an impartial judge.
By contrast, while defendants in most civil law systems can be compelled to give a statement, this statement is not subject to cross-examination by the prosecutor and not given under oath. This allows the defendant to explain his side of the case without being subject to cross-examination by a skilled opposition. However, this is mainly because it is not the prosecutor but the judges who question the defendant. The concept of "cross"-examination is entirely due to adversarial structure of the common law.
Judges in an adversarial system are impartial in ensuring the fair play of due process, or fundamental justice. Such judges decide, often when called upon by counsel rather than of their own motion, what evidence is to be admitted when there is a dispute; though in some common law jurisdictions judges play more of a role in deciding what evidence to admit into the record or reject. At worst, abusing judicial discretion would actually pave the way to a biased decision, rendering obsolete the judicial process in question—rule of law being illicitly subordinated by rule of man under such discriminating circumstances.
The rules of evidence are also developed based upon the system of objections of adversaries and on what basis it may tend to prejudice the trier of fact which may be the judge or the jury. In a way the rules of evidence can function to give a judge limited inquisitorial powers as the judge may exclude evidence he/she believes is not trustworthy or irrelevant to the legal issue at hand.
All evidence must be relevant and not hearsay evidence.
Peter Murphy in his Practical Guide to Evidence recounts an instructive example. A frustrated judge in an English (adversarial) court finally asked a barrister after witnesses had produced conflicting accounts, 'Am I never to hear the truth?' 'No, my lord, merely the evidence', replied counsel.
The name "adversarial system" may be misleading in that it implies it is only within this type of system in which there are opposing prosecution and defense. This is not the case, and both modern adversarial and inquisitorial systems have the powers of the state separated between a prosecutor and the judge and allow the defendant the right to counsel. Indeed, the European Convention on Human Rights and Fundamental Freedoms in Article 6 requires these features in the legal systems of its signatory states.
The right to counsel in criminal trials was initially not accepted in some adversarial systems. It was believed that the facts should speak for themselves, and that lawyers would just blur the matters. As a consequence, it was only in 1836 that England gave suspects of felonies the formal right to have legal counsel (the Prisoners' Counsel Act 1836), although in practise English courts routinely allowed defendants to be represented by counsel from the mid-18th century. During the second half of the 18th century advocates like Sir William Garrow and Thomas Erskine, 1st Baron Erskine helped usher in the adversarial court system used in most common law countries today. In the United States, however, personally retained counsel have had a right to appear in all federal criminal cases since the adoption of the Constitution and in state cases at least since the end of the Civil War, although nearly all provided this right in their state constitutions or laws much earlier. Appointment of counsel for indigent defendants was nearly universal in federal felony cases, though it varied considerably in state cases.[6] It was not until 1963 that the U.S. Supreme Court declared that legal counsel must be provided at the expense of the state for indigent felony defendants, under the federal Sixth Amendment, in state courts. See Gideon v. Wainwright, 372 U.S. 335 (1963).
One of the most significant differences between the adversarial system and the inquisitorial system occurs when a criminal defendant admits to the crime. In an adversarial system, there is no more controversy and the case proceeds to sentencing; though in many jurisdictions the defendant must have allocution of her or his crime; an obviously false confession will not be accepted even in common law courts. By contrast, in an inquisitiorial system, the fact that the defendant has confessed is merely one more fact that is entered into evidence, and a confession by the defendant does not remove the requirement that the prosecution present a full case. This allows for plea bargaining in adversarial systems in a way that is difficult or impossible in inquisitional system, and many felony cases in the United States are handled without trial through such plea bargains.
In some adversarial legislative systems, the court is permitted to make inferences on an accused's failure to face cross-examination or to answer a particular question. This obviously limits the usefulness of silence as a tactic by the defense. In England the Criminal Justice and Public Order Act 1994 allowed such inferences to be made for the first time in England and Wales (it was already possible in Scotland under the rule of criminative circumstances). This change was disparaged by critics as an end to the 'right to silence', though in fact an accused still has the right to remain silent and cannot be compelled to take the stand. The criticism reflects the idea that if the accused can be inferred to be guilty by exercising their right to silence, it no longer confers the protection intended by such a right. In the United States, the Fifth Amendment has been interpreted to prohibit a jury from drawing a negative inference based on the defendant's invocation of his right not to testify, and the jury must be so instructed if the defendant requests.
Lord Devlin in The Judge said: "It can also be argued that two prejudiced searchers starting from opposite ends of the field will between them be less likely to miss anything than the impartial searcher starting at the middle."[7]
Comparisons with the inquisitorial approach[edit]
There are many differences in the way cases are reviewed. It is questionable that the results would be different if cases were conducted under the differing approaches; in fact no statistics exist that can show whether or not these systems would come to the same results. However, these approaches are often a matter of national pride and there are opinions amongst jurists about the merits of the differing approaches and their drawbacks as well.
Proponents of the adversarial system often argue that the system is more fair and less prone to abuse than the inquisitional approach, because it allows less room for the state to be biased against the defendant. It also allows most private litigants to settle their disputes in an amicable manner through discovery and pre-trial settlements in which non-contested facts are agreed upon and not dealt with during the trial process.
In addition, adversarial procedure defenders argue that the inquisitorial court systems are overly institutionalized and removed from the average citizen. The common law trial lawyer has ample opportunity to uncover the truth in the courtroom. Most cases that go to trial are carefully prepared through a discovery process that aids in the review of evidence and testimony before it is presented to judge or jury. The lawyers involved have a very good idea of the scope of agreement and disagreement of the issues to present at trial which develops much in the same way as the role of investigative judges.
Proponents of inquisitorial justice dispute these points. They point out that many cases in adversarial systems, and most cases in the United States, are actually resolved by plea bargain or settlement. Plea bargain as a system does not exist in an inquisitorial system. Many legal cases in adversarial systems, and most in the United States, do not go to trial, which may lead to injustice when the defendant has an unskilled or overworked attorney, which is likely to be the case when the defendant is poor. In addition, proponents of inquisitorial systems argue that the plea bargain system causes the participants in the system to act in perverse ways, in that it encourages prosecutors to bring charges far in excess of what is warranted and defendants to plead guilty even when they believe that they are not.
See also[edit]
Law portal
Exclusionary rule
Parallel thinking - described as a systemic alternative
References[edit]
Jump up ^ Hale, Sandra Beatriz (July 2004). The Discourse of Court Interpreting: Discourse Practices of the Law, the Witness and the Interpreter. John Benjamins. p. 31. ISBN 978-1-58811-517-1.
Jump up ^ Richards, Edward P.; Katharine C. Rathbun (1999-08-15). Medical Care Law. Jones & Bartlett. p. 6. ISBN 978-0-8342-1603-7.
Jump up ^ Care, Jennifer Corrin (2004-01-12). Civil Procedure and Courts in the South Pacific. Routledge Cavendish. p. 3. ISBN 978-1-85941-719-5.
Jump up ^ Kirsten DeBarba (2002). "Maintaining the adversarial system: The practice of allowing jurors to question witnesses during trial". Vanderbilt Law Review. p. 55 no. 5 (October 1): 1521–1548. Archived from the original on 15 August 2007. Retrieved August 15, 2007.
Jump up ^ Anne Strick, Injustice for All (New York: G. P. Putnam's Sons, 1977): 21.
Jump up ^ "CRS/LII Annotated Constitution Sixth Amendment".
Jump up ^ P Devlin, The Judge (Oxford University Press, 1970) 60-1
Further reading[edit]
Kagan, Robert A. (September 2003). Adversarial Legalism: The American Way of Law. Cambridge, MA: Harvard University Press. ISBN 9780674012417.
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Lady Windermere's Fan
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Lady Windermere's Fan, A Play About a Good Woman is a four-act comedy by Oscar Wilde, first produced on Saturday, 20 February 1892, at the St James's Theatre in London.[1]
The story concerns Lady Windermere, who suspects that her husband is having an affair with another woman. She confronts him with it but although he denies it, he invites the other woman, Mrs Erlynne, to his wife's birthday ball. Angered by her husband's supposed unfaithfulness, Lady Windermere decides to leave her husband for another lover. After discovering what has transpired, Mrs Erlynne follows Lady Windermere and attempts to persuade her to return to her husband and in the course of this, Mrs Erlynne is discovered in a compromising position. It is then revealed Mrs Erlynne is Lady Windermere's mother, who abandoned her family twenty years before the time the play is set. Mrs Erlynne sacrifices herself and her reputation to save her daughter's marriage. The best-known line of the play sums up the central theme:
We are all in the gutter, but some of us are looking at the stars.
—  Lord Darlington
Contents
[hide]
1 Composition
2 Characters
3 Plot
3.1 Act I
3.2 Act II
3.3 Act III
3.4 Act IV
4 Productions
4.1 Premiere
5 Themes
6 Media
7 Adaptations
8 In music
9 Editions
10 See also
11 References
12 External links
Composition[edit]
By the summer of 1891 Wilde had already written three plays: Vera; or, The Nihilists and The Duchess of Padua had found little success, and Salome had been censored. Unperturbed, he decided to write another play but turned from tragedy to comedy.[2] He went to the Lake District in the north of England, where he stayed with a friend and later met Robert Ross. Numerous characters in the play appear to draw their names from the north of England: Lady Windermere from the lake and nearby town Windermere (though Wilde had used "Windermere" earlier in Lord Arthur Savile's Crime), the Duchess of Berwick from Berwick-upon-Tweed, Lord Darlington from Darlington.[3] Wilde began writing the play at the prodding of Sir George Alexander, the actor manager of St James's Theatre.[4] The play was finished by October.[5] Alexander liked the play, and offered him an advance of £1,000 for it. Wilde, impressed by his confidence, opted to take a percentage instead, from which he would earn £7,000 in the first year alone (worth £698,600 today).[6][7]
Alexander was a meticulous manager and he and Wilde began exhaustive revisions and rehearsals of the play. Both were talented artists with strong ideas about their art. Wilde, for instance, emphasised attention to aesthetic minutiae rather than realism; he resisted Alexander's suggested broad stage movements, quipping that "Details are of no importance in life, but in art details are vital".[8] These continued after the opening night, when at the suggestion of both friends and Alexander, Wilde made changes to reveal Mrs Erylnne's relationship with Lady Windermere gradually throughout the play, rather than reserving the secret for the final act.[9] Despite these artistic differences, both were professional and their collaboration was a fruitful one.
There is an extant manuscript of the play held in the William Andrews Clark Memorial Library at the University of California in Los Angeles.[10]
Characters[edit]
Lord Windermere
Lord Darlington
Lord Augustus Lorton
Mr. Dumby
Mr. Cecil Graham
Mr. Hopper
Parker, Butler
Lady Windermere
The Duchess of Berwick
Lady Agatha Carlisle
Lady Plymdale
Lady Stutfield
Lady Jedburgh
Mrs. Cowper-Cowper
Mrs. Erlynne
Rosalie, maid
Plot[edit]
Act I[edit]
The play opens in the morning room of the Windermeres' residence in London. It is tea time and Lady Windermere—who is preparing for her coming of age birthday ball that evening—has a visit from a friend, Lord Darlington. She shows off her new fan: a present from her husband. She explains to Lord Darlington that she is upset over the compliments he continues to pay to her, revealing that she is a Puritan and has very particular views about what is acceptable in society.
The Duchess of Berwick calls and Lord Darlington leaves shortly thereafter. The Duchess informs Lady Windermere that her husband may be betraying her marriage by making repeated visits to another woman, a Mrs Erlynne, and possibly giving her large sums of money. These rumours have been gossip among London society for quite a while, though seemingly this is the first Lady Windermere has heard about it.
Following the departure of the Duchess, Lady Windermere decides to check her husband's bank book. She finds the book in a desk and sees that nothing appears amiss, though on returning she discovers a second bank book: one with a lock. After prying the lock open, she finds it lists large sums of money given to Mrs Erlynne.
At this point, Lord Windermere enters and she confronts him. Though he cannot deny that he has had dealings with Mrs Erlynne, he states that he is not betraying Lady Windermere. He requests that she send Mrs Erlynne an invitation to her birthday ball that evening to help her back into society. When Lady Windermere refuses, he writes out an invitation himself. Lady Windermere makes clear her intention to cause a scene if Mrs Erlynne appears, to which Lord Windermere responds that it would be in her best interest not to do so.
Lady Windermere leaves in disgust to prepare for the party, and Lord Windermere reveals in soliloquy that he is protecting Mrs Erlynne's true identity to save his wife extreme humiliation.
What shall I do? I dare not tell her who this woman really is. The shame would kill her.
—  Lord Windermere
Act II[edit]
Act II opens in the Windermeres' drawing room during the birthday ball that evening. Various guests enter, and make small-talk. Lord Windermere enters and asks Lady Windermere to speak with him, but she brushes him off.
A friend of Lord Windermere's, Lord Augustus Lorton ("Tuppy"), pulls him aside to inquire about Mrs Erlynne, with whom he is enamoured. Lord Windermere reveals that there is nothing untoward in his relationship with Mrs Erlynne, and that she will be attending the ball, which comes as a great relief to Lord Augustus as he was worried about her social standing.
After an unsuccessful attempt to make peace with his wife, Lord Windermere summons the courage to tell the truth to her, but at that moment Mrs Erlynne arrives at the party, where she is greeted coldly by Lady Windermere, spoiling his plan.
Alone, Lady Windermere and Lord Darlington discuss Mrs Erlynne's attendance. Lady Windermere is enraged and confused and asks Lord Darlington to be her friend. Instead of friendship, Lord Darlington takes advantage of Lady Windermere's tragic state and professes his love to her, offering her his life, and inviting her to risk short-term social humiliation for a new life with him. Lord Darlington sets her an ultimatum to try to convince her to take action immediately, while still in a state of shock. Lady Windermere is shocked by the revelation, and finds she does not have the courage to take the offer. Heartbroken, Lord Darlington announces that he will be leaving the country the next day and that they will never meet again, and leaves.
The guests begin to leave, and say their goodnights to Lady Windermere—some remarking positively about Mrs Erlynne. On the other side of the room Mrs Erlynne is discussing her plans with Lord Windermere; she intends to marry Lord Augustus and will require some money from Lord Windermere.
Later, Lady Windermere, in spite of her earlier reluctance, decides to leave the house at once for Lord Darlington, and leaves a note to that effect for Lord Windermere. Mrs Erlynne discovers the note and that Lady Windermere has gone, and is curiously worried by this. While reading the note, a brief monologue reveals that she is in fact Lady Windermere's mother and made a similar mistake herself twenty years previously. She takes the letter and exits to locate Lady Windermere.
How can I save her? How can I save my child? A moment may ruin a life. Who knows that better than I?
—  Mrs Erlynne
Act III[edit]
Lady Windermere is alone in Lord Darlington's rooms unsure if she has made the right decision. Eventually, she resolves to return to her husband, but then Mrs Erlynne appears. Despite Mrs Erlynne's honest attempts to persuade her to return home to her husband, Lady Windermere is convinced her appearance is part of some plot conceived by her and Lord Windermere. Mrs Erlynne finally breaks Lady Windermere's resistance by imploring her to return for the sake of her young child, but as they begin to exit they hear Lord Darlington entering with friends. The two women hide.
The men—who include Lord Windermere and Lord Augustus—have been evicted from their gentlemen's club at closing time and talk about women: mainly Mrs Erlynne. One of them takes notice of a fan lying on a table (Lady Windermere's) and presumes that Lord Darlington presently has a woman visiting. As Lord Windermere rises to leave, the fan is pointed out to him, which he instantly recognises as his wife's. He demands to know if Lord Darlington has her hidden somewhere. Lord Darlington refuses to co-operate, believing that Lady Windermere has come to him. Just as Lord Windermere is about to discover Lady Windermere's hiding place, Mrs Erlynne reveals herself instead, shocking all the men and allowing Lady Windermere to slip away unnoticed.
I am afraid I took your wife's fan in mistake for my own, when I was leaving your house to-night. I am so sorry.
—  Mrs Erlynne
Act IV[edit]
The next day, Lady Windermere is lying on the couch of the morning room anxious about whether to tell her husband what actually happened, or whether Mrs Erlynne will have already betrayed her secret. Her husband enters. He is sympathetic towards her and suggests that as the London season is almost over that they head to their country estate to forget the recent incident. Lady Windermere apologises for her previous suspicion of her husband and behaviour at the party, and Lord Windermere makes clear his new contempt for Mrs Erlynne—warning his wife to stay away from her.
Mrs Erlynne's arrival is announced along with the return of the fan, and despite her husband's protestations, Lady Windermere insists on seeing her. Mrs Erlynne enters and states that she shall be going abroad, but asks that Lady Windermere give her a photograph of herself and her son.
Whilst Lady Windermere leaves the room to find one, the story is revealed: Mrs Erlynne left her husband for a lover shortly after Lady Windermere's birth. When her new lover abandoned her, Mrs Erlynne was left alone and in disrepute. More recently, using the assumed name of Mrs Erlynne, she has begun blackmailing Lord Windermere to regain her lifestyle and status, by threatening to reveal her true identity as Lady Windermere's shameful mother—not dead, as Lady Windermere believes. Her son-in-law, Lord Windermere laments not having told his wife the whole story at once and resolves to tell her the truth now. Mrs Erlynne forbids him to do so, threatening to spread shame far and wide if he does.
Lady Windermere returns with the photograph which she presents to Mrs Erlynne, and requests that Lord Windermere check for the return of Mrs Erlynne's coach. Now that they are alone, and being owed a favour, Mrs Erlynne demands that Lady Windermere not reveal the truth about the events of the previous night to Lord Windermere, and Lady Windermere promises to keep the secret.
After Lord Windermere's return, Lord Augustus enters. He is shocked to see Mrs Erlynne after the events of the night before, but she requests his company as she heads to her carriage, and he soon returns to the Windermeres with news that she has satisfactorily explained the events of the evening, and that they are to marry and live out of England.
Lady Windermere, taking her husband's hand, to Lord Augustus: "Ah, you're marrying a very good woman!"
Their marriage is restored, but both Lord and Lady Windermere keep their secrets.
Productions[edit]
Premiere[edit]
The premiere at the St James's Theatre was followed by a notorious speech given by Wilde. When Wilde answered the calls of "Author!" and appeared before the curtains after the third act, critics were more offended by the cigarette in his hand than his egotistic speech:
Ladies and Gentlemen. I have enjoyed this evening immensely. The actors have given us a charming rendering of a delightful play, and your appreciation has been most intelligent. I congratulate you on the great success of your performance, which persuades me that you think almost as highly of the play as I do myself.[11]
Mrs. Erlynne was originated by Marion Terry, and Lady Windermere by Winifred Emery. The play's Broadway première on 5 February 1893 at Palmer's Theatre was also the first Broadway performance for stage and screen actress Julia Arthur, who played Lady Windermere in that production.
Themes[edit]
By showing in St. James's, Wilde was targeting a fashionable, upper-middle class audience and Wilde maps out the geography of their world, Grosvenor Square, Curzon Street, the park, with precision.[12] Peter Raby has also highlighted Lady Windermere's Fan as a good example of Wilde's most successful dramatic technique: the juxtaposition of the comic and the serious. "Once the absurd and the patently false have been established, the serious emotions and ideas which are explored have been given a setting which prevents them from ever becoming too serious".[13]
Scholar Paul Fortunato describes Oscar Wilde as a modernist, who used his modern aesthetics so as to direct him into the realm of mass culture. Wilde's huge popularity as a playwright began with his production of Lady Windermere's Fan, his recherché attitude and personal aesthetics reflected in his writing. Fortunato elaborates on the facets of his aestheticism- an aestheticism that distorts and lies on the surface, rejects any notion of an authentic self, and centres on the female aesthete and woman of fashion. As he describes, understanding Wilde as a modernist through his writing of Lady Windermere's Fan can help us understand the disparity between mass culture and high society. Wilde bridges this by theorising his modern aesthetics beneath the ornamental surface of fashion and elite society. The fan that strings together the play's scenes simultaneously evokes a traditional symbol of modesty while revealing a truly modern current of infidelity.[14]
Media[edit]
An audio production by the Recorded Drama Society[permanent dead link] of the University of Cambridge.
Lady Windermere's Fan – Act One
Lady Windermere receives guests in the morning room.
Lady Windermere's Fan – Act Two
Lady Windermere's coming of age ball.
Lady Windermere's Fan – Act Three
Events unfold in Lord Darlington's rooms.
Lady Windermere's Fan – Act Four
The conclusion.
Problems listening to the files? See media help.
Adaptations[edit]
Ad for the British film Lady Windermere's Fan (1916), for its 1919 release in the United States, on page 1422 of the June 7, 1919 Moving Picture World.
The play has been the subject of numerous film and television adaptations and a musical adaptation.
Films include:
A 1916 British film Lady Windermere's Fan.
In 1924, Hong Shen's (洪深) production of 少奶奶的扇子 (Shàonǎinai de shànzi)(The Young Lady's Fan).[15]
In 1925 silent film, Lady Windermere's Fan, which stars Ronald Colman, May McAvoy, Bert Lytell, Irene Rich and Edward Martindel. It was adapted by Julien Josephson and directed by Ernst Lubitsch. In 2002, this film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
A 1948 Argentine film Story of a Bad Woman directed by Luis Saslavsky and starring Dolores del Rio.
In 1949, Otto Preminger directed an adaptation entitled The Fan starring Jeanne Crain, Madeleine Carroll, and George Sanders.
A 2004 film adaptation, entitled A Good Woman, switched the setting to the Amalfi coast of Italy, made the Windermeres Mr. & Mrs., and updated the time frame to 1930. The film stars Helen Hunt, Mark Umbers, Scarlett Johansson, Stephen Campbell Moore, and Tom Wilkinson.
The BBC produced a television version as part of their Theatre Night series which was first transmitted in the UK during September 1985. This production features Helena Little, Tim Woodward, Stephanie Turner and Kenneth Cranham. It is available on DVD as part of The Oscar Wilde Collection.
A musical theatre version of the play was created by Noël Coward in 1954 under the title After the Ball.
In 2009 Irish television production company Accomplice TV received funding from the Broadcasting Commission of Ireland and TV3 (Ireland) for their contemporary adaptation of the play set in South County Dublin. Laura Windermere's Bag was broadcast by TV3 in 2009.[16]
In 2018, Kathy Burke's production of the play[17] at London's Vaudeville Theatre was recorded and shown "live" in cinemas under the "More2Screen" initiative.
Radio adaptations include:
On 19 June 1989, Joely Richardson starred as Lady Windermere in a BBC Radio 4 Monday Play production directed by David Johnson, with Penelope Keith as Mrs. Erlynne, Gary Bond as Lord Windermere, Janet Burnell as the Duchess of Berwick, Patsy Rowlands as Lady Carlisle, Richard Tate as Lord Augustus Lorton and Edward Fox as Lord Darlington.[18]
In May 1999, L.A. Theatre Works The Play's The Thing series broadcast a reading of the play featuring Joanna Going as Lady Windermere, Judy Geeson as Lady Plymdale, Roger Rees as Lord Windermere, Eric Stoltz as Lord Darlington, Lisa Harrow as Mrs. Erlynne and Miriam Margolyes as the Duchess of Berwick.[19]
On 15 April 2018, BBC Radio 3's Drama on 3 broadcast a production directed by Martin Jarvis with Mira Sorvino as Mrs Erlynne, Susannah Fielding as Lady Windermere, James Callix as Lord Windermere, Jonathan Cake as Lord Darlington, Rosalind Ayres as the Duchess of Berwick, Ian Ogilvy as Lord Augustus Lorton and Peter Woodward as Mr. Dumby.[20]
In music[edit]
Further information: Music based on the works of Oscar Wilde
The British synthpop band Emile's Telegraphic Transmission Device composed and recorded a song, "Lady Windermere", on their album Ambivalence in Motion using the basic plot from the play.
Editions[edit]
Wilde, Oscar. Lady Windermere's Fan. published in The Importance of Being Earnest and Other Plays. London: Penguin, 1940. ISBN 0-14-048209-1.
Wilde, Oscar. Lady Windermere's Fan. London: Nick Hern Books, 2005. ISBN 978-1-85459-771-7
See also[edit]
Oscar Wilde portal
Lady Windermere syndrome
References[edit]
Jump up ^ "Lady Windermere's Fan".
Jump up ^ Ellmann (1988:314)
Jump up ^ Ellmann (1988:314)
Jump up ^ Harris, Frank (1941). Oscar Wilde: His Life & Confessions. New York: Blue Ribbon.
Jump up ^ Ellmann (1988:315)
Jump up ^ Ellmann (1988:315)
Jump up ^ UK Retail Price Index inflation figures are based on data from Clark, Gregory (2017). "The Annual RPI and Average Earnings for Britain, 1209 to Present (New Series)". MeasuringWorth. Retrieved November 6, 2017.
Jump up ^ Raby (1997:146)
Jump up ^ Raby (1997:144)
Jump up ^ "Finding Aid for the Oscar Wilde and his Literary Circle Collection: Manuscripts and Miscellaneous Materials". Online Archive of California.
Jump up ^ Cooper, John. "Anatomy of a Cartoon, the story of Oscar Wilde's Infamous Curtain Call". Oscar Wilde in America Blog. Retrieved 2018-03-24.
Jump up ^ Raby (1997:145)
Jump up ^ Raby (1997:147)
Jump up ^ Fortunato, Paul (2004). ""Lady Windermere's Fan": Modernist Aesthetics Meets the Aesthetics of Fashion". University of Illinois at Chicago.
Jump up ^ Hsiung, Yuwen: Expressionism and its Deformation in Contemporary Chinese Theater, 2007 PhD dissertation, Purdue University
Jump up ^ IFTN.ie
Jump up ^ The cast included Grace Moloney, Samantha Spiro, Kevin Bishop, Jennifer Saunders & Joshua James.
Jump up ^ http://genome.ch.bbc.co.uk/schedules/radio4/fm/1989-06-19
Jump up ^ https://latw.org/title/lady-windermeres-fan
Jump up ^ http://www.bbc.co.uk/programmes/b09z5x2t
Ellmann, Richard (1988). Oscar Wilde. New York: Vintage Books. ISBN 978-0-394-75984-5.
Raby, Peter, ed. (1997). The Cambridge Companion to Oscar Wilde. London: Cambridge University Press. ISBN 0-521-47987-8.
External links[edit]
Wikisource has original text related to this article:
Lady Windermere's Fan
Wikimedia Commons has media related to Lady Windermere's Fan.
IBDB listing of Broadway productions.
Lady Windermere's Fan at Project Gutenberg
Lady Windermere's Fan public domain audiobook at LibriVox
Review of 1925 film by Darragh O'Donoghue.
Lady Windermere's Fan (1925) on IMDb
The Fan on IMDb
Lady Windermere's Fan (1985) on IMDb
A Good Woman on IMDb
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A Place for Lovers
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A Place for Lovers
Theatrical release poster
Directed by
Vittorio De Sica
Produced by
Arthur Cohn
Herschell Gordon Lewis
Carlo Ponti
Written by
Brunello Rondi
Julian Zimet
Peter Baldwin
Ennio De Concini
Tonino Guerra
Cesare Zavattini
Starring
Faye Dunaway
Marcello Mastroianni
Music by
Manuel De Sica
Lee Konitz
Cinematography
Pasqualino De Santis
Edited by
Adriana Novelli
Production
company
Compagnia Cinematografica Champion
Les Films Concordia
Distributed by
Metro-Goldwyn-Mayer
Release date
19 December 1968 (1968-12-19) (Italy)
17 September 1969 (1969-09-17) (France)
Running time
88 minutes[1]
Country
Italy
France
Language
Italian
English
A Place for Lovers (Italian: Amanti, French: Le Temps des amants) is a 1968 French-Italian romantic drama film directed by Vittorio De Sica, written by Brunello Rondi, Julian Zimet, Peter Baldwin, Ennio De Concini, Tonino Guerra, Cesare Zavattini based on the play Gli Amanti by Brunello Rondi and Renaldo Cabieri, and distributed by Metro-Goldwyn-Mayer.
The film stars Faye Dunaway as a terminally ill American fashion designer in Venice, Italy who has a whirlwind affair with a race car driver (played by Marcello Mastroianni).[2]
Contents
1 Plot summary
2 Cast
3 Soundtrack
4 Reception
5 References
6 External links
Plot summary[edit]
The rich fashion designer Julia is tired of living because she knows she is suffering from a malignant cancer. When the woman leaves for her last holiday in Cortina d'Ampezzo, she meets the young and vital Valerio. The two fall in love instantly, but Julia does not reveal her secret to Valerio. When Valerio finds out that she is sick and dying, he decides to pretend to know nothing, continuing his love affair with Julia to the end.
Cast[edit]
Faye Dunaway as Julia
Marcello Mastroianni as Valerion
Caroline Mortimer as Maggie
Enrico Simonetti as Party Host
Karin Eugh as Griselda
Esmeralda Ruspoli as Attorney's wife
Yvonne Gilbert as Marie
Mirella Pamphili as Party guest
David Archell
Martha Buckman
Soundtrack[edit]
Ella Fitzgerald provides two songs, the title song and Lonely is ("What lonely is, is me!"). Both songs can be heard on the Verve release Jukebox Ella: The Complete Verve Singles, Vol. 1.
Reception[edit]
The film opened to generally negative reviews. Roger Ebert of the Chicago Sun-Times called it the "most godawful piece of pseudo-romantic slop I've ever seen!",[3] and Charles Champlin of the Los Angeles Times referred to it as "the worst movie I have seen all year and possibly since 1926."[4] Rex Reed wrote the film "Looks not so much directed as whittled to death." Time Magazine called the film "Woefully inept... Marcello Mastroianni displays all the zest of a man summoned up for tax evasion. The five scriptwriters who supposedly worked on the film must have spent enough time at the water-cooler to flood a camel." Katherine Caroll's review in The New York Daily News called the film "about as exciting to watch as a game of tiddly-winks."[5]
Mark Deming wrote in the New York Times that Dunaway and Mastroianni were romantically involved during the filming of Amanti but that little of their personal chemistry can be seen in the movie.[2] A Place for Lovers is widely considered to be one of the worst films of all time, and was listed in the 1978 book The Fifty Worst Films of All Time, which called the film "a putrid tearjerker."
References[edit]
Jump up ^ "A Place for Lovers". British Board of Film Classification. Retrieved 30 November 2014.
^ Jump up to: a b New York Times/AllMovie Guide overview
Jump up ^ http://www.rogerebert.com/reviews/a-place-for-lovers-1969
Jump up ^ Medved, Harry. "The Fifty Worst Films of All Time." Fawcett Columbine, 1978.
Jump up ^ [1]
External links[edit]
A Place for Lovers on IMDb
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Films directed by Vittorio De Sica
Red Roses (1940)
Maddalena, Zero for Conduct (1940)
Teresa Venerdì (1941)
Un garibaldino al convento (1942)
The Children Are Watching Us (1944)
The Gates of Heaven (1945)
Shoeshine (1946)
Heart and Soul (1948)
Bicycle Thieves (1948)
Miracle in Milan (1951)
Umberto D. (1952)
It Happened in the Park (1953)
Terminal Station (1953)
The Gold of Naples (1954)
The Roof (1956)
Anna of Brooklyn (1958)
Two Women (1960)
The Last Judgment (1961)
Boccaccio '70 (1962)
The Condemned of Altona (1962)
Il Boom (1963)
Yesterday, Today and Tomorrow (1963)
Marriage Italian Style (1964)
Un monde nouveau (1966)
After the Fox (1966)
Woman Times Seven (1967)
The Witches (1967)
A Place for Lovers (1968)
Sunflower (1970)
The Garden of the Finzi-Continis (1970)
Lo chiameremo Andrea (1972)
A Brief Vacation (1973)
The Voyage (1974)
Retrieved from "https://en.wikipedia.org/w/index.php?title=A_Place_for_Lovers&oldid=840185591"
Categories:
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Tribe of Judah
From Wikipedia, the free encyclopedia
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This article is about the Hebrew tribe. For the musical band, see Tribe of Judah (band).
Tribe of Judah
The territory of Judah appears in orange at the south on this map of the tribes. The text is partially in German.
Geographical range
West Asia
Major sites
Hebron, Bethlehem
Preceded by
New Kingdom of Egypt
Followed by
Kingdom of Israel (united monarchy)
Tribes of Israel
The Tribes
Reuben
Simeon
Levi
Judah
Dan
Naphtali
Gad
Asher
Issachar
Zebulun
Joseph
Manasseh
Ephraim
Benjamin
Related topics
Leaders
Israelites
Ten Lost Tribes
Jews
Samaritans
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According to the Hebrew Bible, the Tribe of Judah (שֵׁבֶט יְהוּדָה, Shevet Yehudah, "Praise") was one of the twelve Tribes of Israel.
Contents
1 Biblical account
2 Territory and main cities
3 Origin
4 Character
5 Fate
6 See also
7 References
8 External links
Biblical account[edit]
The Tribe of Judah, its conquests, and the centrality of its capital in Jerusalem for the worship of the god Yahweh figure prominently in the Deuteronomistic history, encompassing the books of Deuteronomy through II Kings, which most scholars agree was reduced to written form, although subject to exilic and post-exilic alterations and emendations, during the reign of the Judahist reformer Josiah from 641–609 BCE.[1]
According to the account in the Book of Joshua, following a partial conquest of Canaan by the Israelite tribes (the Jebusites still held Jerusalem),[2] Joshua allocated the land among the twelve tribes. Judah's divinely ordained portion is described in Joshua 15 as encompassing most of the southern portion of the Land of Israel, including the Negev, the Wilderness of Zin and Jerusalem. However, the consensus of modern scholars is that it never occurred.[3][4][5] Other scholars point to extra-biblical references to Israel and Canaan as evidence for the potential historicity of the conquest.[6][7]
In the opening words of the Book of Judges, following the death of Joshua, the Israelites "asked the Lord" which tribe should be first to go to occupy its allotted territory, and the tribe of Judah was identified as the first tribe.[8] According to the narrative in the Book of Judges, the tribe of Judah invited the tribe of Simeon to fight with them in alliance to secure each of their allotted territories. As is the case with Joshua, most scholars do not believe that the book of Judges contains reliable history.[9][10][11]
The Book of Samuel describes God's repudiation of a monarchic line arising from the northern Tribe of Benjamin due to the sinfulness of King Saul, which was then bestowed onto the Tribe of Judah for all time in the person of King David. In Samuel's account, after the death of Saul, all the tribes other than Judah remained loyal to the House of Saul, while Judah chose David as its king. However, after the death of Ish-bosheth, Saul's son and successor to the throne of Israel, all the other Israelite tribes made David, who was then the king of Judah, king of a re-united Kingdom of Israel. The Book of Kings follows the expansion and unparalleled glory of the United Monarchy under King Solomon. A majority of scholars believe that the accounts concerning David and Solomon's territory in the "united monarchy" are exaggerated, and a minority believe that the "united monarchy" never existed at all.[12][13][14] Disagreeing with the latter view, Old Testament scholar Walter Dietrich contends that the biblical stories of circa 10th-century BCE monarchs contain a significant historical kernel and are not simply late fictions.[15]
On the accession of Rehoboam, Solomon's son, in c. 930 BCE, the ten northern tribes under the leadership of Jeroboam from the Tribe of Ephraim split from the House of David to create the Northern Kingdom in Samaria. The Book of Kings is uncompromising in its low opinion of its larger and richer neighbor to the north, and understands its conquest by Assyria in 722 BCE as divine retribution for the Kingdom's return to idolatry.[16]
The tribes of Judah and Benjamin remained loyal to the House of David. These tribes formed the Kingdom of Judah, which existed until Judah was conquered by Babylon in c. 586 BCE and the population deported.
When the Jews returned from Babylonian exile, residual tribal affiliations were abandoned, probably because of the impossibility of reestablishing previous tribal land holdings. However, the special religious roles decreed for the Levites and Kohanim were preserved, but Jerusalem became the sole place of worship and sacrifice among the returning exiles, northerners and southerners alike.
Territory and main cities[edit]
The Valley of Elah, near Adullam, in the territorial boundary of Judah
According to the biblical account, at its height, the Tribe of Judah was the leading tribe of the Kingdom of Judah, and occupied most of the territory of the kingdom, except for a small region in the north east occupied by Benjamin, and an enclave towards the south west which was occupied by Simeon. Bethlehem and Hebron were initially the main cities within the territory of the tribe.
The lion is the symbol of the Tribe of Judah. It is often represented in Jewish art, such as this sculpture outside a synagogue
The size of the territory of the tribe of Judah meant that in practice it had four distinct regions:
The Negev (Hebrew: south) – the southern portion of the land, which was highly suitable for pasture[citation needed]
The Shephelah (Hebrew: lowland) – the coastal region, between the highlands and the Mediterranean sea,[dubious – discuss] which was used for agriculture, in particular for grains[citation needed]
The wilderness – the barren region immediately next to the Dead Sea, and below sea level; it was wild, and barely inhabitable, to the extent that animals and people which were made unwelcome elsewhere, such as bears, leopards, and outlaws, made it their home. In biblical times, this region was further subdivided into three sections – the wilderness of En Gedi (1 Samuel 24:1), the wilderness of Judah (Judges 1:16), and the wilderness of Maon (1 Samuel 23:24).[citation needed]
The hill country – the elevated plateau situated between the Shephelah and the wilderness,[dubious – discuss] with rocky slopes but very fertile soil. This region was used for the production of grain, olives, grapes, and other fruit, and hence produced oil and wine.[citation needed]
Origin[edit]
According to the Torah, the tribe consisted of descendants of Judah, the fourth son of Jacob and of Leah. Some Biblical scholars view this as an etiological myth created in hindsight to explain the tribe's name and connect it to the other tribes in the Israelite confederation.[17][18] With Leah as a matriarch, Biblical scholars regard the tribe as having been believed by the text's authors to have been part of the original Israelite confederation.[18]
Like the other tribes of the kingdom of Judah, the tribe of Judah is entirely absent from the ancient Song of Deborah, rather than present but described as unwilling to assist in the battle between Israelites and their enemy. Traditionally, this has been explained as being due to the southern kingdom being too far away to be involved in the battle, but Israel Finkelstein et al. claim the alternative explanation that the southern kingdom was simply an insignificant rural backwater at the time the poem was written.[19]
Character[edit]
As depicted by the Deuteronomists and post-exilic writers, the tribe of Judah was the leading tribe of the Kingdom of Judah. David and the royal line belonged to the tribe, and the line continued even after the fall of the Kingdom of Judah in the Exilarchs. The traditional Jewish belief is that the (Jewish) Messiah will be of the Davidic line, based on the LORD's promise to David of an everlasting throne for his offspring (Isaiah 9:6–7, Jeremiah 33:15-21, 2 Samuel 7:12–16, Psalms 89:35–37).
Indeed, many of the Jewish leaders and prophets of the Hebrew Bible claimed membership in the tribe of Judah. For example, the literary prophets Isaiah, Amos, Habakkuk, Joel, Micah, Obadiah, Zechariah, and Zephaniah, all belonged to the tribe. Later, during the Babylonian Exile, the Exilarchs (officially recognised community leaders) claimed Davidic lineage, and when the Exile ended, Zerubbabel (the leader of the first Jews to return to Yehud province) was also said to be of the Davidic line, as were Shealtiel (a somewhat mysterious figure) and Nehemiah (one of the earliest and most prominent Achamenid-appointed governors of Yehud). In the time of Roman rule, all the holders of the office of Nasi (prince) after Shemaiah, claimed Davidic lineage, through Hillel, who was rumoured to have maternal lineage from the Davidic line.
In Matthew 1:1–6 and Luke 3:31–34 of the New Testament, Jesus is described as a member of the tribe of Judah by lineage. Revelation 5:5 also mentions an apocalyptic vision of the Lion of the tribe of Judah.
Fate[edit]
The Lion of Judah on the municipal emblem of Jerusalem
As part of the kingdom of Judah, the tribe of Judah survived the destruction of Israel by the Assyrians, and instead was subjected to the Babylonian captivity; when the captivity ended, the distinction between the tribes were lost in favour of a common identity. Since Simeon and Benjamin had been very much the junior partners in the Kingdom of Judah, it was Judah that gave its name to the identity—that of the Jews.
After the fall of Jerusalem, Babylonia (modern day Iraq), would become the focus of Jewish life for 1000 years. The first Jewish communities in Babylonia started with the exile of the Tribe of Judah to Babylon by Jehoiachin in 597 BCE as well as after the destruction of the Temple in Jerusalem in 586 BCE.[20] Many more Jews migrated to Babylon in CE 135 after the Bar Kokhba revolt and in the centuries after.[20]
Ethiopia's traditions, recorded and elaborated in a 13th-century treatise, the "Kebre Negest", assert descent from a retinue of Israelites who returned with the Queen of Sheba from her visit to King Solomon in Jerusalem, by whom she had conceived the Solomonic dynasty's founder, Menelik I. Both Christian and Jewish Ethiopian tradition has it that these immigrants were mostly of the Tribes of Dan and Judah;[21] hence the Ge'ez motto Mo`a 'Anbessa Ze'imnegede Yihuda ("The Lion of the Tribe of Judah has conquered"), one of many names for Jesus of Nazareth. The phrase "The Lion of the Tribe of Judah has conquered" is also found in the Book of Revelation.
See also[edit]
History of ancient Israel and Judah
References[edit]
Jump up ^ Finkelstein, Israel (2002). The Bible Unearthed: Archaeology's New Vision of Ancient Israel and the Origin of Sacred Texts. Simon & Schuster. pp. 369–373.
Jump up ^ Kitchen, Kenneth A. (2003), On the Reliability of the Old Testament (Grand Rapids, Michigan. William B. Eerdmans Publishing Company) (ISBN 0-8028-4960-1)
Jump up ^ "Besides the rejection of the Albrightian 'conquest' model, the general consensus among OT scholars is that the Book of Joshua has no value in the historical reconstruction. They see the book as an ideological retrojection from a later period—either as early as the reign of Josiah or as late as the Hasmonean period." K. Lawson Younger, Jr. (1 October 2004). "Early Israel in Recent Biblical Scholarship". In David W. Baker; Bill T. Arnold. The Face of Old Testament Studies: A Survey of Contemporary Approaches. Baker Academic. p. 200. ISBN 978-0-8010-2871-7.
Jump up ^ "It behooves us to ask, in spite of the fact that the overwhelming consensus of modern scholarship is that Joshua is a pious fiction composed by the deuteronomistic school, how does and how has the Jewish community dealt with these foundational narratives, saturated as they are with acts of violence against others?" Carl S. Ehrlich (1999). "Joshua, Judaism and Genocide". Jewish Studies at the Turn of the Twentieth Century, Volume 1: Biblical, Rabbinical, and Medieval Studies. Brill. p. 117. ISBN 90-04-11554-4.
Jump up ^ "Recent decades, for example, have seen a remarkable reevaluation of evidence concerning the conquest of the land of Canaan by Joshua. As more sites have been excavated, there has been a growing consensus that the main story of Joshua, that of a speedy and complete conquest (e.g. Josh. 11.23: 'Thus Joshua conquered the whole country, just as the LORD had promised Moses') is contradicted by the archaeological record, though there are indications of some destruction and conquest at the appropriate time. Adele Berlin; Marc Zvi Brettler (17 October 2014). The Jewish Study Bible: Second Edition. Oxford University Press. p. 951. ISBN 978-0-19-939387-9.
Jump up ^ Görg, Görg. "Israel in Hieroglyphen". Biblischen Notizen. 106: 21–27. "
Jump up ^ Frendo, Anthony. "Two Long-Lost Phoenician Inscriptions and the Emergence of Ancient Israel". Palestine Exploration Quarterly. 134: 37–43.
Jump up ^ Judges 1:1–2
Jump up ^ “In any case, it is now widely agreed that the so-called ‘patriarchal/ancestral period’ is a later ‘’literary’’ construct, not a period in the actual history of the ancient world. The same is the case for the ‘exodus’ and the ‘wilderness period,’ and more and more widely for the ‘period of the Judges.’" Paula M. McNutt (1 January 1999). Reconstructing the Society of Ancient Israel. Westminster John Knox Press. p. 42. ISBN 978-0-664-22265-9.
Jump up ^ “The biblical text does not shed light on the history of the highlands in the early Iron I. The conquest and part of the period of the judges narratives should be seen, first and foremost, as a Deuteronomist construct that used myths, tales, and etiological traditions in order to convey the theology and territorial ideology of the late monarchic author(s) (e.g., Nelson 1981; Van Seters 1990; Finkelstein and Silberman 2001, 72–79, Römer 2007, 83–90).” Israel Finkelstein (2013). The Forgotten Kingdom: The Archaeology and History of Northern Israel (PDF). Society of Biblical Literature. p. 24. ISBN 978-1-58983-912-0.
Jump up ^ ”In short, the so-called ‘period of the judges’ was probably the creation of a person or persons known as the deuteronomistic historian." J. Clinton McCann (2002). Judges. Westminster John Knox Press. p. 5. ISBN 978-0-8042-3107-7.
Jump up ^ "Although most scholars accept the historicity of the united monarchy (although not in the scale and form described in the Bible; see Dever 1996; Na'aman 1996; Fritz 1996, and bibliography there), its existence has been questioned by other scholars (see Whitelam 1996b; see also Grabbe 1997, and bibliography there). The scenario described below suggests that some important changes did take place at the time." Avraham Faust (1 April 2016). Israel's Ethnogenesis: Settlement, Interaction, Expansion and Resistance. Routledge. p. 172. ISBN 978-1-134-94215-2.
Jump up ^ "In some sense most scholars today agree on a 'minimalist' point of view in this regard. It does not seem reasonable any longer to claim that the united monarchy ruled over most of Palestine and Syria." Gunnar Lebmann (2003). Andrew G. Vaughn; Ann E. Killebrew, eds. Jerusalem in Bible and Archaeology: The First Temple Period. Society of Biblical Lit. p. 156. ISBN 978-1-58983-066-0.
Jump up ^ "There seems to be a consensus that the power and size of the kingdom of Solomon, if it ever existed, has been hugely exaggerated." Philip R. Davies (18 December 2014). "Why do we Know about Amos?". In Diana Vikander Edelman; Ehud Ben Zvi. The Production of Prophecy: Constructing Prophecy and Prophets in Yehud. Routledge. p. 71. ISBN 978-1-317-49031-9.
Jump up ^ "Tracing the development of the Bible’s stories about kings from the earliest sources (now embedded in 1–2 Samuel) to the biblical books themselves, Dietrich argues that some of the stories are dated close to the time of the events they describe. His approach identifies a series of ideologies within the text, providing evidence for the development of Israelite ideas rather than grounds for dismissing the stories as fiction." Dietrich, Walter (2007). The Early Monarchy in Israel: The Tenth Century B.C.E. Translated by Joachim Vette. Leiden, The Netherlands: Brill.
Jump up ^ Finkelstein, Israel (2002). The Bible Unearthed: Archaeology's New Vision of Ancient Israel and the Origin of Sacred Texts. Simon & Schuster. pp. 261–265.
Jump up ^ Peake's Commentary on the Bible
^ Jump up to: a b Jewish Encyclopedia
Jump up ^ Finkelstein, Israel (2002). The Bible Unearthed: Archaeology's New Vision of Ancient Israel and the Origin of Sacred Texts. Simon & Schuster. pp. 138–140.
^ Jump up to: a b [מרדכי וורמברנד ובצלאל ס רותת "עם ישראל - תולדות 4000 שנה - מימי האבות ועד חוזה השלום", ע"מ 95. (Translation: Mordechai Vermebrand and Betzalel S. Ruth. "The People of Israel – the history of 4000 years – from the days of the Forefathers to the Peace Treaty", 1981, p. 95)
Jump up ^ Amos 9:7: לוא כבני כשיים אתם לי בני ישראל נאם־יהוה הלוא את־ישראל העליתי מארץ מצרים ופלשתיים מכפתור וארם מקר׃ "Are ye not as children of the Ethiopians unto me, O children of Israel? saith the LORD. Have not I brought up Israel out of the land of Egypt? and the Philistines from Caphtor, and the Syrians from Kir?"
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Tribe of Judah (Jewish Encyclopedia)
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VIAF: 3283354
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