John Bunyan portrays one man’s lifelong journey to hell and what we can do to avoid the same fate. In this fascinating allegory, the wickedness, depravity, and carnality in the life and death of Mr. Badman are contrasted with biblical standards of living and the path that leads to heaven. On the Day of Judgment, will you inherit the kingdom that has been prepared for you? You can live a successful life now and be ready to enter the eternal City of God. Millions have read The Pilgrim’s Progress and received inspiration for their Christian walk. Now, you can follow another man, Mr. Badman, on his life journey, which leads him ultimately to hell. In this allegory, the wickedness, depravity, and carnality in the life and death of Mr. Badman are contrasted with biblical standards of living and the path that leads to heaven. The wisdom of Mr. Wiseman will strike you as he explains a godly life in all situations, including home, business, and relationships.
A Journey to Hell, Heaven, and Back In 1978, Ivan Tuttle was living a carefree life, going from one party to the next, from one high to anotherwhen his fun, free life was interrupted by a pain in his leg. Doctors told him he had a dangerous blood clot in his legbut Ivan didnt pay much attention to that. He was 26 and felt fine; blood clots were a problem for his grandfather, not him. Until the clock ran out. Ivan Tuttle suddenly found himself dragged down to hell for a horrifying lesson in the reality of eternity. He was spared and even saw Heaven before being sent back to earth with quite a story to tell.
This is the first direct literary adaptation of Vergil's Aeneid. The present study demonstrates how, in less than one thousand lines, Ovid revisits the epic world of Aeneas and subjects it to a reading that is a paradigm of critical analysis, a statement of originality, and a powerful claim to the epic heritage and Vergilian succession.
By far one of the most important objects of worship in the Buddhist traditions, the bodhisattva Avalokitesvara is regarded as the embodiment of compassion. He has been widely revered throughout the Buddhist countries of Asia since the early centuries of the Common Era. While he was closely identified with the royalty in South and Southeast Asia, and the Tibetans continue to this day to view the Dalai Lamas as his incarnations, in China he became a she—Kuan-yin, the "Goddess of Mercy"—and has a very different history. The causes and processes of this metamorphosis have perplexed Buddhist scholars for centuries. In this groundbreaking, comprehensive study, Chün-fang Yü discusses this dramatic transformation of the (male) Indian bodhisattva Avalokitesvara into the (female) Chinese Kuan-yin—from a relatively minor figure in the Buddha's retinue to a universal savior and one of the most popular deities in Chinese religion. Focusing on the various media through which the feminine Kuan-yin became constructed and domesticated in China, Yü thoroughly examines Buddhist scriptures, miracle stories, pilgrimages, popular literature, and monastic and local gazetteers—as well as the changing iconography reflected in Kuan-yin's images and artistic representations—to determine the role this material played in this amazing transformation. The book eloquently depicts the domestication of Kuan-yin as a case study of the indigenization of Buddhism in China and illuminates the ways this beloved deity has affected the lives of all Chinese people down the ages.
From Paul Verhoeven’s The Cold Heart in 1950 to Konrad Petzold’s The Story of the Goose Princess and Her Loyal Horse Falada in 1989, East Germany’s state-sponsored film company, DEFA (Deutsche Film-Aktiengesellschaft), produced over forty feature-length, live-action fairy-tale films based on nineteenth-century folk and literary tales. While many of these films were popular successes and paved the way for the studio’s other films to enter the global market, DEFA’s fairy-tale corpus has not been studied in its entirety. In The Politics of Magic: DEFA Fairy-Tale Films, Qinna Shen fills this gap by analyzing the films on thematic and formal levels and examining their embedded agendas in relation to the cultural politics of the German Democratic Republic. In five chapters, Shen compares the films with earlier print versions of the same stories and analyzes revisions made in DEFA’s film adaptations. She also distinguishes the DEFA fairy-tale films from National Socialist, West German, and Disney adaptations of the same tales. Her archival work reconstitutes the cultural-historical context in which films were produced and received, and incorporates the films into the larger narrative of DEFA. For the first time, the banned DEFA fairy-tale comedy, The Robe (1961/1991), is discussed in depth. The book’s title The Politics of Magic is not intended to suggest that DEFA fairy-tale films were merely mouthpieces of official ideology and propaganda. On the contrary, Shen shows that the films run the gamut from politically dogmatic to implicitly subversive, from kitschy to experimental. She argues that the fairy-tale cloak permitted them to convey ideology in a subtle, indirect manner that allowed viewers to forget Cold War politics for a while and to delve into a world of magic where politics took on an allegorical form. The fact that some DEFA fairy-tale films developed an international audience (particularly The Story of Little Mook and Three Hazelnuts for Cinderella) not only attests to these films’ universal appeal but also to the surprising marketability of this branch of GDR cinema and its impact beyond the GDR’s own narrow temporal and geographic boundaries. Shen’s study will be significant reading for teachers and students of folklore studies and for scholars of German, Eastern European, cultural, film, media, and gender studies.
This work is a study of the themes that have found prominence on the Chilean stage from the military coup of 1973 until 1985. The author looks at how theater has become an important medium of expression, partly as a result of its relative freedom from repression. Censorship is largely economic in nature, and few plays have been expressly banned, although there are sporadic attempts to prohibit plays that are deemed to be politically dangerous. This work poses and seeks to answer the question of how dramatists have used this space for self-expression. As a means of setting the study in a wider perspective, the first chapter is dedicated to a study of the development of Chilean theater since the founding of the first university theater in 1941. The themes treated are found to be expressions of the dominant preoccupations of each period, dealt with through social realism, psychological drama, folkloric theater, and the absurd. The late 1960s, a period of radical social and political change, saw themes of political commitment and social reform come to the fore, when amateur and grassroots theater was flourishing and the individual dramatist found him- or herself in the wings. These are important factors in the understanding of the development of theater since the coup, for it is based in a sense of rupture and continuity. In the initial stages after 1973, theater, like the other arts, suffered a period of silence, a result of censorship and self-censorship, the so-called "cultural blackout." Yet, by 1976, theater began to prove its resilience when new works appeared dealing primarily with the most salient social problem of the period: the social cost of the regime's economic policies to the lowest sector of the community. In the primary chapters of the book the themes, language, and images of the stage are studied: themes of unemployment, and marginality; perceptions of totalitarian rule, which emerge as images of a limbo-like society, stagnating behind a facade of perfection and prosperity; the "forgotten people" who populate the work of a new dramatist, Juan Radigan; and the new theme of political exile and return. Alongside themes of contemporary relevance, there has been a constant exploration of the state of the individual in dictatorship. There is an overwhelming impression of a society in a state of impasse, with a mass of people who feel socially, economically, or culturally marginalized. The dramatic space has been used to voice dissent, to explore the meanings of power, and to explore the inner self in what is commonly portrayed as a prolonged period of impasse in Chilean history.
There is no cinema with such effect as that of the hallucinatory Italian horror film. From Riccardo Freda’s I Vampiri in 1956 to Il Cartaio in 2004, this work recounts the origins of the genre, celebrates at length ten of its auteurs, and discusses the noteworthy films of many others associated with the genre. The directors discussed in detail are Dario Argento, Lamberto Bava, Mario Bava, Ruggero Deodato, Lucio Fulci, Umberto Lenzi, Antonio Margheriti, Aristide Massaccesi, Bruno Mattei, and Michele Soavi. Each chapter includes a biography, a detailed career account, discussion of influences both literary and cinematic, commentary on the films, with plots and production details, and an exhaustive filmography. A second section contains short discussions and selected filmographies of other important horror directors. The work concludes with a chapter on the future of Italian horror and an appendix of important horror films by directors other than the 50 profiled. Stills, posters, and behind-the-scenes shots illustrate the book.
This is about Psychic Medium Brian Warriner's life and coming out of both the sexual closet and spiritual closet. He writes his story and through his story you can experience his journey and take away the results of his lessons.
A Times Literary Supplement Book of the Year A Marginal Revolution Best Non-Fiction Book of the Year A Seminary Co-op Notable Book of the Year A Times Higher Education Book of the Week A Choice Outstanding Academic Title of the Year Marco Santagata’s Dante: The Story of His Life illuminates one of the world’s supreme poets from many angles—writer, philosopher, father, courtier, political partisan. Santagata brings together a vast body of Italian scholarship on Dante’s medieval world, untangles a complex web of family and political relationships for English readers, and shows how the composition of the Commedia was influenced by local and regional politics. “Reading Marco Santagata’s fascinating new biography, the reader is soon forced to acknowledge that one of the cornerstones of Western literature [The Divine Comedy], a poem considered sublime and universal, is the product of vicious factionalism and packed with local scandal.” —Tim Parks, London Review of Books “This is a wonderful book. Even if you have not read Dante you will be gripped by its account of one of the most extraordinary figures in the history of literature, and one of the most dramatic periods of European history. If you are a Dantean, it will be your invaluable companion forever.” —A. N. Wilson, The Spectator