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GUEST STARRING TELLOS' SERRA! Even as her friends have been turned to stone, The 10th Muse has found herself transported to another dimension. This is the high-fantasy realm of the acclaimed Image Comic Series - TELLOS, and it is filled with dangers unlike any the Muse has ever faced. But, more important to the Muse is that Tellos holds a vital secret to the Muse's hidden past.
GUEST STARRING TELLOS' SERRA! Even as her friends have been turned to stone, The 10th Muse has found herself transported to another dimension. This is the high-fantasy realm of the acclaimed Image Comic Series - TELLOS, and it is filled with dangers unlike any the Muse has ever faced. But, more important to the Muse is that Tellos holds a vital secret to the Muse's hidden past.
Highly respected New Testament scholar Craig Keener is known for his meticulous and comprehensive research. This commentary on Acts, his magnum opus, may be the largest and most thoroughly documented Acts commentary available. Useful not only for the study of Acts but also early Christianity, this work sets Acts in its first-century context. In this volume, the first of four, Keener introduces the book of Acts, particularly historical questions related to it, and provides detailed exegesis of its opening chapters. He utilizes an unparalleled range of ancient sources and offers a wealth of fresh insights. This magisterial commentary will be a valuable resource for New Testament professors and students, pastors, Acts scholars, and libraries.
The Tenth Muse explores writings on the cinema in the first decades of the twentieth century. Laura Marcus examines the impact of cinema on early twentieth-century literary and, more broadly, aesthetic and cultural consciousness, by bringing together the study of the terms and strategies of early writings about film with literary engagement with cinema in the same period. She gives a new understanding of the ways in which early writers about film - reviewers, critics, theorists - developed aesthetic categories to define and accommodate what was called 'the seventh art' or 'the tenth muse' and found discursive strategies adequate to the representation of the new art and technology of cinema, with its unprecedented powers of movement. In examining the writings of early film critics and commentators in tandem with those of more specifically literary figures, including H.G.Wells and Virginia Woolf, and in bringing literary texts into this field, Laura Marcus provides a new account of relationships between cinema and literature. Intertwining two major strands of research - the exploration of early film criticism and theory and cinema's presence in literary texts - The Tenth Muse shows how issues central to an understanding of cinema (including questions of time, repetition, movement, vision, sound and silence) are threaded through both kinds of writing, and the ways in which discursive and fictional writings overlapped. The movement that defined cinema was also perceived as a more fragile and unstable ephemerality that inhered at every level, from the fleeting nature of the projected images to the vagaries of cinematic exhibition. It was the anxiety over the mutability of the medium and its exhibition which, from the 1920s onwards, led to the establishment of such institutional spaces for cinema as the London-based Film Society, the new film journals, and, in the 1930s, the first film archives. The Tenth Muse explores the continuities between these sites of cinematic culture and the conceptual, literary and philosophical understandings of the filmic medium.
Old Rappahannock County, originally embracing lands lying on both sides of the Rappahannock River, was organized in 1656 and was formerly a part of Lancaster County. In 1692 Old Rappahannock was abolished. The portion lying south of the river was taken to form Essex County, and the area north of the river formed the county of Richmond. Records of Old Rappahannock and Essex counties, on which this work is founded, date from 1655 and are on file at the courthouse in Tappahannock, Essex County. Some marriage bonds of the period 1804 to 1853 were previously copied into the marriage register, instituted as the official catalogue of marriages. In compiling this work, Mrs. Wilkerson used not only the marriage bonds found in the register and the marriage register itself, but also inferential marriage proofs derived from wills, deeds, and court order books. The result is a work of astonishing magnitude; the period covered runs to nearly 250 years and the number of persons namedΓ including brides, grooms, parents, and guardiansΓ touches 10,000. The text is arranged alphabetically throughout and includes the date of the marriage record and the source.
A collection of Pollmann's previously-published essays on early Christian poetry, most newly-translated from German and all updated and corrected. It is a genre that has tended to be overlooked by both Classicists and Patristics scholars and this collection will rectify that.