Charles Erdman ( 1866 – 1960 ) advocated apostolic authorship and wrote that only the Apostle John fits the image of the author derived from the text.

Her father, John Piney Erdman, a doctor of divinity and missionary from New England, settled in Honolulu as a minister at the non-denominational Protestant Church of the Crossroads where he preached, in both English and Japanese, to a multi-ethnic congregation.

From Hawaii, Erdman went to Miss Hall's School for Girls in Pittsfield, Massachusetts from which she graduated in 1934.

Speaking of her experiences on this trip and of her later study of world dance cultures inspired by it Erdman said, " by studying and analyzing the traditional dance styles of the world, I discovered that the particular dance of each culture is the perfect expression of that culture's world view and is achieved by deliberate choices drawn from the unlimited possibilities of movement.

Working with Graham, Erdman had re-shaped the role, originally played by actress Margaret Meredith, from that of a static seated figure to a moving, integrated element in the groundbreaking dance-theater work.

From 1955 through 1960 Erdman toured extensively as a solo artist throughout the U. S. Notable works from her repertory of that period include Changingwoman ( 1951 ) with a commissioned score by Henry Cowell including vocalizations by Erdman as she moved through a multi-colored abstract projected environment, Portrait of a Lady created to jazz recordings that were layered by John Cage into his eight track commissioned score, Dawn Song, a lyrical solo with commissioned score by Alan Hovhaness, Fearful Symmetry ( 1956 ) an allegory in six visions inspired by William Blake's poem, The Tyger to Ezra Laderman's Sonata for Violincello in which Erdman emerged from and interacted with a metal sculpture by Carlus Dyer, and Four Portraits from Duke Ellington's Shakespeare Album ( 1958 ), a suite of comic portrayals of Shakespearean heroines.

In 1962 with the aid of a grant from the Ingram Merrill Foundation, Erdman began what was to become her best-known work, The Coach with the Six Insides, an adaptation of James Joyce's, Finnegans Wake.

Erdman danced all the aspects of Anna Livia from young woman, to old crone, to the rain itself that becomes the River Liffey flowing through the heart of Dublin.

In 1972 Erdman and Campbell, recently retired from teaching at Sarah Lawrence College, founded the Theater of The Open Eye.

Another study in 1944 examined the idea of a bridge with limited-access approach roads running from US 1 in Elkridge to the Patapsco River crossing and from the bridge to US 40 near Erdman Avenue in east Baltimore.

In 1954, the SRC decided to construct a tunnel between Canton and Fairfield, with three approach highways: a west approach from US 1 in Elkridge, a south approach from MD 2 in Glen Burnie to connect with the west approach in Brooklyn Park, and a north approach from US 40 and Erdman Avenue in east Baltimore.

* Howard L. Erdman, India ’ s Swatantra Party ( from Public Affairs Vol 36, Issue 4, Winter 1963-1964, pp. 394 – 410 )

Erdman died from cancer at his ranch in Healdsburg, California, on 23 April 2007.

A musical play, The Coach with the Six Insides by Jean Erdman, based on the character Anna Livia Plurabelle, was performed in New York in 1962.

" Shortly after Erdman returned to New York she married Campbell on May 5, 1938 and following a brief honeymoon began rehearsal as a member of the Martha Graham Dance Company.

In 1944 she formed the Jean Erdman Dance Group and for the next six years presented annual concerts of her solo and group works in New York City.

At the New Dance Group Erdman also taught " fundamentals of modern movement ," hula, and Spanish dance and along with Pearl Primus and Hadassah, was head of the Ethnic Dance Division.

Of The Perilous Chapel which featured a moving sculptural set by Carlus Dyer and was selected as one of the Best New Works of the Season by Dance Magazine, Doris Hering wrote, " When the dance was over one realized that by means of purely physical and visual elements, Miss Erdman had succeeded in giving a moving picture of the experience of an artist through phases of isolation and realization.

" Reporting on a group concert at the 92nd St YM / YWHA in which Erdman participated Edwin Denby wrote in the New York Herald Tribune, " Miss Erdman's ( approach ) is a more original and refreshing one to encounter.

In the theater Erdman had choreographed a production of Jean-Paul Sartre's The Flies ( 1947 ) for the Vassar Experimental Theatre, the Broadway production of Jean Giraudoux's The Enchanted ( 1950 ) and collaborating with writer William Saroyan and composer Alan Hovhaness, she directed and choreographed Otherman or The Beginning of a New Nation ( 1954 ) at Bard College.

The newly named Jean Erdman Theater of Dance toured the U. S. and gave concerts in New York City.

Other theater productions Erdman choreographed during this period include the Helen Hayes Repertory production of Shakespeare's Hamlet ( 1964 ), the Lincoln Center Repertory production of García Lorca's Yerma ( 1962 ) and the New York Shakespeare Festival production of the rock-opera Two Gentleman of Verona ( 1971 ) which ran on Broadway for two years and for which Erdman received the Drama Desk Award and a Tony nomination.

These performances culminated in the NEA funded 1985 Jean Erdman Retrospective at Hunter Playhouse in New York City, about which New York Times dance critic Anna Kisslegoff wrote, " anyone wishing to know something about where modern dance is today can find the roots in this retrospective.

Erdman was also captivated by the modern dance technique she learned in Martha Graham's classes at Sarah Lawrence and at the Bennington College Summer School of Dance that she attended during the summers of 1935 and ' 36.

Dance critic Margaret Lloyd of the Christian Science Monitor praised the " felicitous humor " Erdman brought to her role as the Speaking Fate and called her " irreplaceable " in the 1941 revival of Letter to the World.

In The Complete Guide to Modern Dance, historian Don McDonagh writes of the " profound effect " that these speaking roles had on Erdman.

" From 1987 through 1993 Erdman served as artistic director of an NEA funded project to create a three volume video archive of these early dance works, Dance and Myth: The World of Jean Erdman.

Today her dances are presented and staged through Jean Erdman Dance, a company dedicated to promoting Erdman's repertory and aesthetic vision.

* Dance and Myth-The World of Jean Erdman ( 1990 )

The Group was strongly committed to social change through dance whereas Erdman was equally committed to individual transformation through disciplined exploration of the art form.

As artistic director of the theater for fifteen years, Erdman presented over one hundred works of traditional and experimental dance and theater.

Very little is spoken about the continuing belief that Erdman is a leader chosen by God to have authority over them in their lives.

Throughout her career, Erdman pointed to this experience to demonstrate her aesthetic process of exploring the dynamic rhythms inherent in a seed movement idea to create a unique, organic form.

In response Machen remarked that his differences with Charles Erdman related to the importance they attributed to doctrine.

Benjamin West's depiction of Sir William Johnson, 1st Baronet | William Johnson sparing Jean Erdman, Baron Dieskau | Lord Dieskau's life after the Battle of Lake George.

Terry J. Erdman and Paula M. Block, in their Star Trek 101 primer, note that while " cunning, courageous and confident ", Kirk also has a " tendency to ignore Starfleet regulations when he feels the end justifies the means "; he is " the quintessential officer, a man among men and a hero for the ages ".

Congress attempted to correct these shortcomings in the Erdman Act, passed in 1898.

Writers and techniques frequently mentioned in relation to the Theatre of the Absurd include the 19th-century nonsense poets, such as Lewis Carroll or Edward Lear ; Polish playwright Stanisław Ignacy Witkiewicz ; the Russians Daniil Kharms, Nikolai Erdman, and others ; Bertolt Brecht's distancing techniques in his " Epic theatre "; and the " dream plays " of August Strindberg.

The PHIA is governed by an Executive Board that includes Dennis Robinson, President ; Elmer Klein, Vice-President ; William Libercci, Treasurer ; Howard Wille, Secretary ; and Jack Amrhein, Diane Brazil, Christopher Defeo, Lorrie Erdman, and Ann Palrang, at-large members.

* Woody Erdman, sportscaster, television producer, businessman, and white collar criminal.

In response to unrest in the railroad labor industry, Congress passed The Erdman Act of 1898, the overarching goal of which was to regulate railroad labor disputes.

Adair's actions were in direct violation of Section 10 of the Erdman act which made it illegal for employers to " threaten any employee with loss of employment " or to " unjustly discriminate against an employee because of his membership in ... a labor corporation, organization or association.

In a 6-2 decision, the Court held that Section 10 of the Erdman act was unconstitutional.

Most of the leading dispensationalsts of the late 19th and early 20th century attended the conference regularly, including William Eugene Blackstone, Charles Erdman, James H. Brookes, William Moorehead, Adoniram Judson Gordon, Amzi Dixon, C. I.

* " Nobody's Sweetheart " w. Gus Kahn & Ernie Erdman m. Elmer Schoebel & Billy Meyers

* " No, No, Nora " w. Gus Kahn m. Ted Fio Rito & Ernie Erdman

His co-stars on the series included Richard Erdman, Allyn Joslyn, Betty Lynn, Sylvia Lewis, Marjie Millar, Christine Nelson, Verna Felton, Gloria Winters, and Ray Teal.

* Paul E. Erdman – The Billion Dollar Sure Thing

In 1960, architect Louis I. Kahn and Bryn Mawr College president, Katharine McBride, came together to create the Erdman Hall dormitory.

* Open Theism — An Introductory Presentation Jonathan Erdman, not an Open Theism advocate, attempts an objective and very detailed analysis of Open Theism focussed on the biblical, philosophical, and existential arguments of Open Theism as outlined by their leading proponents.

Founded by the late Marshall Erdman and designed by architects Andres Duany and Elizabeth Plater-Zyberk, Middleton Hills is credited as being the first such neighborhood in Wisconsin.