The primary characters of this novel: the vicar, churchwarden, and Thomson, took life within my wonderings on the death of my bishop, and do not represent any persons, living or dead, that I have known in my life. Some of the other characters in the novel do reflect specific people (though never from confession, of course), and I offer their words, experiences and wisdom as a tribute to them and to the integrity and struggles of their own journey. This novel makes use of fiction to investigate questions raised by males - young, middle-aged and older - as they undergo the difficult, lifelong metamorphosis into manhood, engaging one primary issue as a paradigm for the many, unique - and deeply personal - issues which confront each man along his journey.
This book reveals and counteracts the misuse of biblical texts and figures in political theology, in an attempt to decolonialize the reading of the Old Testament. In the framework of Critical Theory, the book questions readings that inform the State of Israel's military apparatus. It embraces Martin Buber’s pacifist vision and Edward Said’s perspective on Orientalism, influenced by critical authors such as Amnon Raz Krakotzkin, Ilan Pappé, Shlomo Sand, Idith Zertal, and Enrique Dussel’s.
Given to the temple of Atargatis as a child, Delilah is raised to be a priestess to the Five Cities that rule Canaan. With her beloved friend Aylah, Delilah grows up under the watchful eyes of high priestess Derceto, who sees the devout young priestesses as valuable playing pieces in her political schemes. In the hills of Canaan, the Israelites chafe under the rule of the Five Cities, and choose Samson to lead them to victory. A reluctant warrior, Samson is a man of great heart who prefers peace to war. But fearing a rebellion, those who rule the Five Cities will do anything to capture Samson. When Samson catches a glimpse of Delilah, he is ready to risk his freedom to marry her, and Derceto seizes the chance to have Samson at her mercy. The Temple's intrigues against Samson force Aylah and Delilah apart, lead Delilah to question her own heart, and change her future forever. A glorious and inventive retelling of an ancient story, Delilah is a soaring tale of political turmoil, searing betrayal, passionate friendship, and forbidden love.
The Chaos has risen and now The Living Circle is in crisis. The only way to stop The Chaos is for planets Xerox and Earth to form an alliance: "Mortals and Xeroxians have to unite!" for the greater good of The Living Circle's survival. Samson, the Chosen Warrior of Xerox must bring the two races together against a common enemy: The Chaos. The Chaos is rising on every planet in The Living Circle, so every planet and every race must fight The Chaos. The Chosen Warrior of Xerox must work to prevent dissension from dividing both Earthlings and Xeroxians against each other, in time before The Chaos rises completely. They only have seven days to stop him...or do they?
When friendly giant mammoth Samson falls asleep and wakes up in the middle of a blizzard, he finds and shelters a little red bird and a flower-loving mouse, beginning new friendships for all.
'Julia And Her Romeo: A Chronicle Of Castle Barfield' is a romance novel by David Christie Murray. The story unfolds in the year eighteen hundred and twenty, where for many years before and after, Abel Reddy farmed his own land at Perry Hall End, on the western boundaries of Castle Barfield. He lived at Perry Hall, a ripe-coloured old tenement of Elizabethan design, which crowned a gentle eminence and looked out picturesquely on all sides from amongst its neighboring trees. It had a sturdier aspect in its age than it could have worn when younger, for its strength had the sign-manual of time upon it, and even its hoary lichens looked as much like a prophecy as a record. A mile away, but also within the boundaries of Castle Barfield parish, there stood another house upon another eminence: a house of older date than Perry Hall, though of less pleasing and picturesque an air. The long low building was of a darkish stone, and had been altered and added to so often that it had at last arrived at a complex ugliness which was not altogether displeasing. The materials for its structure had all been drawn at different periods from the same stone quarry, and the checkered look of new bits and old bits had a hint of the chess-board. Here Samson Mountain dwelt on his own land in the midst of his own people.
Roughness is the sensual quality most often associated with Rembrandt's idiosyncratic style. It best defines the specific structure of his painterly textures, which subtly capture and engage the imagination of the beholder. Rembrandt's Roughness examines how the artist's unconventional technique pushed the possibilities of painting into startling and unexpected realms. Drawing on the phenomenological insights of Edmund Husserl as well as firsthand accounts by Rembrandt's contemporaries, Nicola Suthor provides invaluable new perspectives on many of the painter's best-known masterpieces, including The Anatomy Lesson of Dr. Deyman, The Return of the Prodigal Son, and Aristotle with a Bust of Homer. She focuses on pictorial phenomena such as the thickness of the paint material, the visibility of the colored priming, and the dramatizing element of chiaroscuro, showing how they constitute Rembrandt's most effective tools for extending the representational limits of painting. Suthor explores how Rembrandt developed a visually precise handling of his artistic medium that forced his viewers to confront the paint itself as a source of meaning, its challenging complexity expressed in the subtlest stroke of his brush. A beautifully illustrated meditation on a painter like no other, Rembrandt's Roughness reflects deeply on the intellectual challenge that Rembrandt's unrivaled artistry posed to the art theory of his time and its eminent role in the history of art today.
Since the second half of the last century art historians, realizing that the image of Rembrandt’s work had become blurred with time, have attempted to redefine the artist’s significance both as a source of inspiration to other artists and as a great artist in his own right. In order to carry on the work started by previous generations, a group of leading Dutch art historians from the university and museum world joined forces in the late 1960s in order to study afresh the paintings usually ascribed to the artist. The researchers came together in the Rembrandt Research Project which was established to provide the art world with a new standard reference work which would serve the community of art historians for the nearby and long future. They examined the originals of all works attributed to Rembrandt taking full advantage of today’s sophisticated techniques including radiography, neutron activation autoradiography, dendrochronology and paint sample analysis — thereby gaining valuable insight into the genesis and condition of the paintings. The result of this meticulous research is laid down chronologically in the following Volumes: THIS VOLUME: A Corpus of Rembrandt Paintings, Volume I, which deals with works from Rembrandt’s early years in Leiden(1629-1631), published in 1982. A Corpus of Rembrandt Paintings, Volume II, covering his first years in Amsterdam (1631-1634), published in 1986. A Corpus of Rembrandt Paintings, Volume III, goes into his later years of reputation (1635-1642), published in 1990. Each Volume consists of a number of Introductory Chapters as well as the full Catalogue of all paintings from the given time period attributed to Rembrandt. In this catalogue each painting is discussed and examined in a detailed way, comprising a descriptive, an interpretative and a documentary section. For the authenticity evaluation of the paintings three different categories are used to divide the works in: A. Paintings by Rembrandt, B. Paintings of which Rembrandt’s authorship cannot be positively either accepted or rejected, and C. Paintings of which Rembrandt’s authorship cannot be accepted. This volume (Volume I) contains 730 pages, starting of with four introductory chapters and discussing 93 paintings. In clear and accessible explanatory text all different paintings are discussed, larded with immaculate images of each painting. Details are shown where possible, as well as the results of modern day technical imaging. In this volume the first ever works by Rembrandt are discussed, also using his etchings as comparison.
“I felt hot tears streaming down my cheeks at his words. Spoken so carelessly but with such shameless intent. He knew how I felt. How I had been feeling. How lost and alone and full of grief my days had been. Avery was not a friend. Not even a trusted acquaintance. But, he understood what I was going through. Even if he didn’t have a compassionate bone in his entire buffed body, he knew what I had suffered. I didn’t have to justify my behaviour to him.” Walking out on her life and hiding in the only place she can think of that the Iunctio - the vampire governing body - and in particular, the Champion, can not find her, Lucinda faces eternity alone and on the run. Heartbroken, bereft and quite desolate she hides in amongst the lowest forms of vampire society. Doing what she can to keep the innocents safe, while denying herself the support she desperately needs to recover from such personal losses. A saviour of sorts arrives, but can he be trusted? Avery Rousseau has only ever been interested in himself. But the handsome, arrogant and always so well-put-together vampire does seem to care. At least he offers a distraction from the heartache and loss. Lucinda battles with her inherent mistrust of the one vampire who understands what she is going through. But, should she allow him inside her crumbling walls? More than just vampires stalk Lucinda though. There is a fairy who claims she is his one true love. Lucinda is called to his Light, she can’t help reaching for it, but to do so could have everlasting consequences she may not be prepared to face. As time runs out - first with the Iunctio, then the Ljósálfar - Lucinda must do what she has to do, to survive, before her heartache breaks her in two. But memories plague her, her mind starts to play cruel tricks and slowly reality begins to crumble, taking a once strong and confident Nosferatin down as quickly as a predator catches its prey. And now, there are just so many predators, Lucinda may not stand a chance at all at avoiding being their prey.
