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Set in an otherworld, Talia is just one of many young girls in a small village. Talia is sweet and innocent, so when an evil unknown to her enters her home, she, and the other villagers, don't know what to do. They assign blame, and their fingers are pointed at Talia. Her home and family destroyed by monsters, Talia sets out to avenge their deaths. Secluding herself from the world, she never considers that with six years of hate filling her heart, she may not stay the innocent little girl she once was. During her journey's, Talia finds a new home, with a new family. This time, when life threatens to strip her away from those she loves once again, she refuses to go down without a fight. Plunged headfirst into a world of murderers, charmers, and demons in disguise, Talia will do whatever it takes to stay with the ones she loves, no matter how much blood she has to spill to do it.
In his deeply penetrating and educational book,Bloodshed Before Birth—America's ChoiceMallard E. Guy, Jr., sets out to prove to the world that a fetus is a life, and taking that life through abortion is murder. Though abortion has always been a controversial topic, Mallard's extensive research brings a new viewpoint to the table. With faith-based reasoning, biblical references, an examination of the infamous Roe v. Wade case, and hard science, Mallard's writing will truly make even the most hard and fast pro-choice advocate think about the injustice involved in this issue. By persuading the misinformed and uninformed with his logical reasoning, millions of Americans can soon call themselves pro-life. And once all the evidence has been presented, Mallard calls those who haven't spoken on this issue to come to action. Without a voice against abortion, it can never be stopped.'Unless those who are silent join with those already actively opposing abortion, we will be outnumbered. Further, our acceptance of legalized abortion has placed us on a downward path toward more legalized murders. Now is the time to take a stand for the sanctity of all human life, especially the lives of unborn children. Are you going to stand up?'
The story of Adam, Eve, "God" and "the Serpent" in the Garden of Eden is the true story of the miserable life we live as human beings on this earth. But our understanding of the fateful events in Eden had been solidly formed by the falsified mind-bending "Bible stories" we were told as children by parents and church ministers. And even as adults, organized religion still tells us the same illogical fables and somehow most of us have continued to reason and understand these crucial events that totally control our lives as children, despite the fact that they do not agree with common sense. So, "What is the Truth?" Jesus Christ came specifically to bear witness to the truth; Yahweh the god of Eden had him killed through his religious agents, who continue to muffle the truth and to mislead humanity. But The Final Testaments offers the true definition of the events in Eden. The Fall of the Human Souls; the Actual Original Sin; the Actual Genesis of this World; the Diabolic Nature of Yahweh the God of Eden; the Actual Antichrist or the Expected "Immanuel"; Who really Killed Jesus Christ-all these and more are authoritatively revealed.
25th ANNIVERSARY EDITION • From the bestselling author of The Passenger and the Pulitzer Prize–winning novel The Road: an epic novel of the violence and depravity that attended America's westward expansion, brilliantly subverting the conventions of the Western novel and the mythology of the Wild West. Based on historical events that took place on the Texas-Mexico border in the 1850s, Blood Meridian traces the fortunes of the Kid, a fourteen-year-old Tennesseean who stumbles into the nightmarish world where Indians are being murdered and the market for their scalps is thriving. Look for Cormac McCarthy's latest bestselling novels, The Passenger and Stella Maris.
King Manasseh of Judah is one of the most intriguing characters in the Bible. 2 Kings presents him as the wickedest of monarchs. In 2Kgs 24:3–4, he is accused of having provoked God to destroy Judah on account of the innocent blood he had shed in Jerusalem (cf. 2Kgs 21:16). In his study Krzysztof Kinowski investigates this accusation, viewing it against the biblical and ancient Near East backgrounds, and casts a new light upon Manasseh's role in the fall of Jerusalem. The mention of bloodshed in this affair appears to be the outcome of a process of scapegoating of Manasseh, ongoing in 2 Kings and reflecting both the legal and the cultic paradigms governing the biblical historiography. The link between Manasseh's bloodshed and the destruction of Judah on account of the cultic land's blood-defilement points towards a group of priestly scribes involved in the production of the 2Kgs 21 and 24 narratives. This assumption lies behind the scholarly discussion about the Priestly-like strata and priestly touches in the Books of Kings.
The End of the Beginning presents a chapter-by-chapter interpretation of Joshua and Judges, based on the author’s translation. Johanna van Wijk-Bos accompanies the reader through the story of Israel from the entry into Canaan up to the time of Samuel. van Wijk-Bos weaves together the memories of ancient Israel’s past into a story that speaks to the traumatic context of postexilic Judah. The books of Joshua and Judges were written for education, edification, and entertainment. Some of the stories may exhilarate us, some may appall; all will speak to the imagination if we let them. They show a people forging a path forward into an uncertain future in the hope that God will forgive past failures and begin again with them. Christians enter the stories of Israel’s past as outsiders, while at the same time claiming a bond with the same God. We expect more from the text than lessons of the past intended for a different people. These are not our stories, but we too hope for insight and for a guiding word in our own uncertain future. This is the first volume of A People and a Land, a multi-volume work on the historical books of Joshua, Judges, Samuel, and Kings.
Bynum argues that Christ's blood as both object and symbol was central to late medieval art, literature, and religious life. As cult object, blood provided a focus of theological debate about the nature of matter, body, and God and an occasion for Jewish persecution; as motif, blood became a central symbol in popular devotion.
From the center of Imperial Rome to the farthest reaches of ancient Britain, Gaul, and Spain, amphitheaters marked the landscape of the Western Roman Empire. Built to bring Roman institutions and the spectacle of Roman power to conquered peoples, many still remain as witnesses to the extent and control of the empire. In this book, Alison Futrell explores the arena as a key social and political institution for binding Rome and its provinces. She begins with the origins of the gladiatorial contest and shows how it came to play an important role in restructuring Roman authority in the later Republic. She then traces the spread of amphitheaters across the Western Empire as a means of transmitting and maintaining Roman culture and control in the provinces. Futrell also examines the larger implications of the arena as a venue for the ritualized mass slaughter of human beings, showing how the gladiatorial contest took on both religious and political overtones. This wide-ranging study, which draws insights from archaeology and anthropology, as well as Classics, broadens our understanding of the gladiatorial contest and its place within the highly politicized cult practice of the Roman Empire.
In this book, Catherine Sider Hamilton introduces a new lens through which to view the death of Jesus in Matthew. Using the concept of 'innocent blood', she situates the death of Jesus within a paradigm of purity and pollution, one that was central in the Hebrew Scriptures and early Judaism from the Second Temple to the rabbis. Hamilton traces the theme of innocent blood in Matthew's narrative in relation to two Jewish traditions of interpretation, one (in Second Temple literature) reflecting on the story of Cain and Abel; the other (chiefly in rabbinic literature) on the blood of Zechariah. 'Innocent blood' yields a vision that resists the dichotomies (intra muros vs extra muros, rejection vs redemption) that have characterized the debate, a vision in which both judgment and redemption - an end of exile - may be true. 'Innocent blood' offers a new approach not only to the meaning of Jesus' death in Matthew but also to the vexed question of the Gospel's attitude toward contemporary Judaism.
Through studying images of blood in film from the mid-1950s to the end of the 1960s, this path-breaking book explores how blood as an (audio)visual cinematic element went from predominately operating as a signifier, providing audiences with information about a film’s plot and characters, to increasingly operating in terms of affect, potentially evoking visceral and embodied responses in viewers. Using films such as The Return of Dracula, The Tingler, Blood Feast, Two Thousand Maniacs, Color Me Blood Red, Bonnie and Clyde, and The Wild Bunch, Rødje takes a novel approach to film history by following one (audio)visual element through an exploration that traverses established standards for film production and reception. This study does not heed distinctions regarding to genres (horror, western, gangster) or models of film production (exploitation, independent, studio productions) but rather maps the operations of cinematic images across marginal as well as more traditionally esteemed cinematic territories. The result is a book that rethinks and reassembles cinematic practices as well as aesthetics, and as such invites new ways to investigate how cinematic images enter relations with other images as well as with audiences.