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Six Million Crucifixions traces the history of antisemitism in Christianity, the role of the Christian churches during the Holocaust, and a legal analysis of what a potential indictment against the Church and clergy who may have been guilty of crimes before and during WWII might have looked like in the post-war years.
Millions of readers have thrilled to bestselling authors Bill O'Reilly and historian Martin Dugard's Killing Kennedy and Killing Lincoln, page-turning works of nonfiction that have changed the way we read history. The basis for the 2015 television film available on streaming. Now the iconic anchor of The O'Reilly Factor details the events leading up to the murder of the most influential man in history: Jesus of Nazareth. Nearly two thousand years after this beloved and controversial young revolutionary was brutally killed by Roman soldiers, more than 2.2 billion human beings attempt to follow his teachings and believe he is God. Killing Jesus will take readers inside Jesus's life, recounting the seismic political and historical events that made his death inevitable - and changed the world forever.
In any event, if there is any division between a Muslim and a Christian on the grounds of dogma, belief, ethics or morality, then the cause of such conflict could be traced to an utterance of Paul found in his books of Corinthians, Phillipians, Galatians, Thessolanians, etc., in the Bible. As against the teaching of the Master (Jesus) that salvation only comes through keeping of the commandments (Mathew 19:16-17), Paul nails the law and the commandments to the cross (Colossians 2:14) and claims that salvation can only be obtained through the death and resurrection of Jesus Christ:- "If Christ be not risen from the dead, then our preaching is vain, and your faith is also vain." (1 Corinthians 15:14)
In 1583 in Vienna, a 16-year-old girl suffered stomach cramps. A team of Jesuits exorcized her for eight weeks. The priests announced that they had expelled 12,652 demons from her, demons that her grandmother had kept as flies in glass jars. The grandmother was tortured into confessing that she was a witch who had engaged in sex with Satan. She was then burned at the stake. This was one of perhaps one million such executions during three centuries of witch-hunts. In 1989 in Moradabad, India, a pig caused hundreds of people to kill one another when the animal walked through a Muslim holy ground. Muslims, who think pigs are an embodiment of Satan, accused Hindus of driving the pig into the sacred spot. Members of both faiths went on a rampage, stabbing and clubbing. The pig riot spread to a dozen cities and left two hundred dead. A squad of armed Islamic zealots raided a Christian church at Behawalpur, Pakistan, on October 28, 2001, killing the minister, fourteen worshipers, and the church's police guard. It is said that there is never enough religion in the world to make people love one another--just enough to make them hate one another. Incendiary blends of fundamentalist religion, politics, nationalism, and ethnic zealotry engender countless examples of atrocity in the name of faith and orthodoxy. If anything, religious persecution is more savage now than everbefore in the history of mankind. HOLY HORRORS chronicles the grim spectrum of religious persecution from ancient times to the present. Fully illustrated with drawings, woodcuts, and photographs, the book recounts such historic religious persecution as the Crusades, the Islamic jihads, the Catholic wars against heretics, the Inquisition, witch-hunts, and the Reformation. It also chronicles modern-day atrocities, including the Holocaust, the seemingly insoluble Catholic-Protestant schism in Northern Ireland, religious tribalism in in Lebanon, and the barbaric cruelty of the theocracy in Iran.
NATIONAL BESTSELLER • In this modern classic from the National Book Award–nominated author of The Chosen, a young religious artist is compulsively driven to render the world he sees and feels, even when it leads him to blasphemy. “A novel of finely articulated tragic power .... Little short of a work of genius.”—The New York Times Book Review Asher Lev is a Ladover Hasid who keeps kosher, prays three times a day and believes in the Ribbono Shel Olom, the Master of the Universe. He grows up in a cloistered Hasidic community in postwar Brooklyn, a world suffused by ritual and revolving around a charismatic Rebbe. He is torn between two identities, the one consecrated to God, the other devoted only to art and his imagination, and in time, his artistic gift threatens to estrange him from that world and the parents he adores. As it follows his struggle, My Name Is Asher Lev becomes a luminous, visionary portrait of the artist, by turns heartbreaking and exultant.
The simple step of a courageous individual is not to take part in the lie. One word of truth outweighs the world. Alexander Solzhenitsyn In this penetrating and provocative work, Jonas E. Alexis challenges common assumptions about the relationship between Christianity and Rabbinic Judaism and provides compelling evidence from history and theology that demonstrates the extent to which modern Judaism has been defined by the Pharisaic and Rabbinic schools of thought. As Alexis meticulously documents, there has been a constant struggle between Christianity and Rabbinic Judaism since the time of Christ, a struggle that will define the destiny of the West. Islam, according to Christianity, is a historically and theologically false religion, since it denies both Jesus's deity and His work of salvation at the Cross. But Rabbinic Judaism, Alexis argues, is equally false and in many respects more dangerous to Christianity and the West than Islam, since at its root Rabbinic Judaism wages war against the Logos, the system of order in the world embodied by Christ. In this painstakingly scholarly yet readable work, Alexis maintains that Rabbinic Judaism, defined by the Pharisaic teachings (now codified in the Talmud) that Jesus sought to correct, is a categorical and metaphysical rejection of Christianity, a rejection that has had and will continue to have severe implications for Western culture, intellectual history, and theological exegesis.
Child and Cross from the beginning puts children in the center, listening to how they perceive the man on the cross. Three initial chapters trace the life of this Jesus bar Abbas according to highly respected sources, in a very human, down-to-earth way from mother's womb to rebels' cross. How the picture of the rabbi's deadly torture became the obsessive icon of the West and in an "automatic and preconscious" way (Melvin Lerner) continues working as the learning tool for Jew-hate is explained thanks to the sensitivity of psychologists like Søren Kierkegaard, Jean Piaget and Helena Antipoff, exposed in 73 pictures. The return of Passion details in Christian views of Jews, the reenactment of those scaring details in thousand years of "just punishment", racism as product of inquisition, the still solid cross taboo in Germany, the complex of cross and Zionism and the kafkaesque cross judgement of the European Court for Human Rights in Strasbourg are examined while the human obsession with sacrifice itself gets analyzed in "The Lamb on Cross" whose pegged legs shaped western use of animals more than this Nazarene who in his last action fought precisely animal sacrifice. The final exam "Why Johanna fed him vanilla cake and other child's play questions" intends to sensitize the reader once again concerning the child & cross issue, well in accordance with the Galilean who "called a child and set him in their midst ..." Thus Child and Cross is mainly a) an exemplary study about the power of visual images and for respecting children's empathic ways of viewing this world; b) a consistent, comprising and explaining analysis of anti-Judaism by taking serious those human beings that academic research of "anti-Semitism" deems too small and childish to deal with; c) a contribution to Christian-Muslim-Jewish dialogue by detailed elaboration of not only the Christian symbol's role in the anti-Judaism that led to Zionism and thus to Gaza, but also of the connecting potential of this man from Galilee whom Matthew (27:16-17 in original Greek wording) calls Jesus bar Abbas; and d) a human rehabilitation of this Bar Abbas ("Son of Father") and his relatives, especially his brother Judas.
In this updated edition, author Joseph Keysor addresses the growing trend among secularists to label Hitler as a Christian and therefore attribute the atrocities of the second world war to the Christian religion. Keysor does not settle for simply contrasting the Nazis' behavior with the Biblical record. He also examines the true sources of Nazi ideology which are anything but Christian: Wagner, Chamberlain, Haeckel, and Nietzsche, to name a few. Keysor does not shy away from discussing Christian anti-semitism (alleged and real) throughout history and discusses Martin Luther, medieval anti-semitism, and the behavior of the Roman Catholic church and other Christian denominations during the Holocaust in Germany. Joseph Keysor's well reasoned, well researched, and comprehensive defense of the Christian faith against modern accusations is a useful tool for scholars, pastors, and educators who are interested in the truth. "Hitler and Christianity" is a necessity in one's apologetics library, and secularists, skeptics, and atheists will be obliged to respond.
At the beginning of the 20th century, Judas was characterised in film as the epitome of evil: the villainous Jew. Film-makers cast Judas in this way because this was the Judas that audiences had come to recognize and even expect. But in the following three decades, film-makers - as a result of critical biblical study - were more circumspect about accepting the alleged historicity of the Gospel accounts. Carol A. Hebron examines the figure of Judas across film history to show how the portrayal becomes more nuanced and more significant, even to the point where Judas becomes the protagonist with a role in the film equal in importance to that of Jesus'. Hebron examines how, in these films, we begin to see a rehabilitation of the Judas character and a restoration of Judaism. Hebron reveals two distinct theologies: 'rejection' and 'acceptance'. The Nazi Holocaust and the exposure of the horrors of genocide at the end of World War II influenced how Judaism, Jews, and Judas, were to be portrayed in film. Rehabilitating the Judas character and the Jews was necessary, and film was deemed an appropriate medium in which to begin that process.