Flesh Inferno

A visceral account of the Grand Inquisitor Tomas Torquemada, and this method of torture during the murder of thousands of heretics throughout the Spanish Inquisition.

Arguing that the consecrated body in the Eucharist is one of the central metaphors structuring The Divine Comedy, this book is the first comprehensive exploration of the theme of transubstantiation across Dante's epic poem. Drawing attention first to the historical and theological tensions inherent in ideas of transubstantiation that rippled through Western culture up to the early fourteenth century, Sheila Nayar engages in a Eucharistic reading of both the "flesh" allusions and "metamorphosis" motifs that thread through the entirety of Dante's poem. From the cannibalistic resonances of the Ugolino episode in the Inferno to the Corpus Christi-like procession seminal to Purgatory, Nayar demonstrates how these sacrifice- and Host-related metaphors, allusions, and tropes lead directly and intentionally to the Comedy's final vision, that of the Eucharist itself. Arguing that the final revelation in Paradise is analogically "the Bread of Life," Nayar brings to the fore Christ's centrality (as sacrament) to The Divine Comedy-a reading that is certain to alter current-day thinking about Dante's poem.

Sam Raimi’s The Evil Dead (1981) is one of the most inventive and energetic horror movies of the last 40 years. Released during a period in which the stalk-and-slash cycle had blunted the horror genre of much of its creative edge, Raimi’s debut feature transcends its small budget and limited resources to deliver a phantasmagoric roller-coaster ride, a wildly absurd and surreal assault on the senses. Still original enough to stand on its own and be considered as a genre classic, this book will explain its long-lasting appeal and impact. After detailing the unique circumstances of its origin, Lloyd Haynes goes on to analyse key aspects of the film’s abiding success. The Evil Dead is one of a number of horror films which locate their terrors in a single setting and limited time frame. Haynes argues that it creates a ‘bad dream’ effect in which the nightmare is never-ending and increasingly horrific, and how the cabin-in-the-woods location is also a fine example of the ‘bad place’ motif which stretches back to the Gothic novels of the 18th century. The book goes on to consider what character traits Ash Williams, The Evil Dead’s ‘macho’ male hero, shares with Carol Clover’s ‘Final Girl’ model and how effective he is as a ‘Final Guy’. Finally, it explores the critical approaches to the film, in particular its notorious reputation in Britain as a ‘video nasty’.

Marvin Vincent was a 19-century Presbyterian minister and professor of New Testament at Union Theological Seminary in New York City. He is best known for his classic Word Studies in the New Testament. Vincent opened his Word Studies by remarking, "New Testament commentaries are so numerous, and, many of them, so good, that a new essay requires some explanation. The present work is an attempt in a field which, so far as I am aware, is not covered by any one book, though it has been carefully and ably worked by many scholars. Taking a position midway between the exegetical commentary and the lexicon and grammar, it aims to put the reader of the English Bible nearer to the stand-point of the Greek scholar, by opening to him the native force of the separate words of the New Testament in their lexical sense, their etymology, their history, their inflection, and the peculiarities of their usage by different evangelists and apostles."

Reviews of The Gorehound’s Guide to Splatter Films of the 1960s and 1970s: “recommended”—Booklist; “exhaustive...useful”—ARBA; “a solid reference work”—Video Watchdog; “bursting with information, opinion and trivia...impeccably researched”—Film Review; “interesting and informative”—Rue Morgue; “detailed credits...entertaining”—Classic Images. Author Scott Aaron Stine is back again, this time with an exhaustive study of splatter films of the 1980s. Following a brief overview of the genre, the main part of the book is a filmography. Each entry includes extensive technical information; cast and production credits; release date; running time; alternate and foreign release titles; comments on the availability of the film on videocassette and DVD; a plot synopsis; commentary from the author; and reviews. Extensive cross-referencing is also included. Heavily illustrated.

In Poetry and Apocalypse, Franke seeks to find the premises for dialogue between cultures, especially religious fundamentalisms—including Islamic fundamentalism—and modern Western secularism. He argues that in order to be genuinely open, dialogue needs to accept possibilities such as religious apocalypse in ways that can be best understood through the experience of poetry. Franke reads Christian epic and prophetic tradition as a secularization of religious revelation that preserves an understanding of the essentially apocalyptic character of truth and its disclosure in history. The usually neglected negative theology that undergirds this apocalyptic tradition provides the key to a radically new view of apocalypse as at once religious and poetic.

This collection – to be issued in three volumes – offers an unprecedented repertoire of vertical readings for the whole poem. As the first volume exemplifies, vertical reading not only articulates unexamined connections between the three canticles but also unlocks engaging new ways to enter into core concerns of the poem. The three volumes thereby provide an indispensable resource for scholars, students and enthusiasts of Dante. The volume has its origin in a series of thirty-three public lectures held in Trinity College, the University of Cambridge (2012-2016) which can be accessed at the Cambridge Vertical Readings in Dante’s Comedy website.

Archetypal images, Carl Jung believed, when elaborated in tales and ceremonies, shape culture’s imagination and behavior. Unfortunately, such cultural images can become stale and lose their power over the mind. But an artist or mystic can refresh and revive a culture’s imagination by exploring his personal dream-images and connecting them to the past. Dante Alighieri presents his Divine Comedy as a dream-vision, carefully establishing the date at which it came to him (Good Friday, 1300), and maintaining the perspective of that time and place, throughout the work, upon unfolding history. Modern readers will therefore welcome a Jungian psychoanalytical approach, which can trace both instinctual and spiritual impulses in the human psyche. Some of Dante’s innovations (admission of virtuous pagans to Limbo) and individualized scenes (meeting personal friends in the afterlife) more likely spring from unconscious inspiration than conscious didactic intent. For modern readers, a focus on Dante’s personal dream-journey may offer the best way into his poem.

It started as a short story for a friend who does not believe in life after death. But it took on a life of its own and did not stop until it could call itself a novel. At the core a love story between two people one in heaven and one on earth it is about the way heaven might just be like, full of fun, mischief and misunderstanding. Some people might find this book blasphemous, but that was not the intention of the author. This is what one reader had to say: I laughed so often while reading South of Eden that my spouse asked me if I was opening email jokes. South of Eden is a comedy, romance and spiritual adventure rolled into one, as the story compels the reader to root for the reunion of soul mates Gwyddy and Don. As Don tours Heaven, awaiting the arrival of Gwyddy, he meets the Big Guy, who surprisingly has a wonderful sense of humor. He finds a comical and refreshing perspective on what Moses, Noah, and a host of Biblical characters might really be like. South of Eden will forever change your view of life and death, lifting it with laughter, romance and enduring love. Reverend Lorri Coburn, MSW Author/Lecturer on The Spiritual Life Spiritual Mentor

Lincolnshire May 1943. Twenty Lancaster bombers stand poised to fly one of World War 2's most daring and dangerous missions, 617 Squadron's legendary bouncing-bomb attack on Germany's dams. Success could shorten the war, the crews are told, but will inevitably come at a cost. Many of them, hand-picked by their charismatic if volatile leader, Guy Gibson, will not be coming back. After two tours of duty and fifty-nine missions, combat-seasoned pilot Peter Lightfoot and his loyal crew are already on borrowed time. Narrowly escaping death on a disastrous final operation over the Alps, a flight which ends by ditching their wrecked Lancaster into the Atlantic, the seven men are at last relieved from operational flying, job done. But haunted by a face from his past, Lightfoot cannot rest, and unknown to his crew applies to join Gibson's 617 Squadron, and fly the dams mission. A mission many see as certain suicide. Tense, thrilling, and meticulously researched as always, Robert Radcliffe's DAMBUSTER - like his bestselling UNDER AN ENGLISH HEAVEN - is an old-fashioned adventure of the most gripping sort.

Volume Two of Clive Barker's seminal Books of Blood contains the stories: 'Dread', 'Hell's Event', 'Jacqueline Ess: Her Will and Testament', 'The Skins of the Fathers', 'New Murders in the Rue Morgue'. With the 1984 publication of Books of Blood, Clive Barker became an overnight literary sensation. He was hailed by Stephen King as "the future of horror", and won both the British and World Fantasy Awards. Now, with his numerous bestsellers, graphic novels, and hit movies like the Hellraiser, Clive Barker has become an industry unto himself. But it all started here, with this tour de force collection that rivals the dark masterpieces of Edgar Allan Poe. Read him and rediscover the true meaning of fear.

Seit nunmehr fast zwei Jahrzehnten hat sich die Ars Electronica als Festival fA1/4r "Kunst, Technologie und Gesellschafta zu einem international maAgeblichen Forum fA1/4r die Auseinandersetzung mit den sozio-kulturellen Dimensionen der digitalen Revolution etabliert. "FleshFactor a " Informationsmaschine Menscha a " unter diesem Titel wird bei der Ars Electronica 97 der Mensch zum Thema. Angesichts der aktuellen Erkenntnisse, Ideen und Leistungen von Gentechnologie, Neuroscience und Netzwerk-Intelligenz, geht es um den Stellenwert des Individuums in diesen vernetzten kA1/4nstlichen Systemen, um den menschlichen KArper als letztes Original, um Beziehungs- und Orientierungsstrategien der Antipoden Mensch und Maschine im wechselseitigen ProzeA von Adaption und Assimilation. Die Publikation ist geprAgt von einem interdisziplinAren Diskurs zwischen Wissenschaftlern, Philosophen und KA1/4nstlern.

 The birth and rise of popular Italian cinema since the early 1950s can be attributed purely to necessity. The vast number of genres, sub-genres, currents and crossovers and the way they have overlapped, died out or replaced each other has been an attempt, in postwar years, to contain the invasion of U.S. product while satisfying the demands the American industry had created in Italy. The author explores one of the most multi-faceted and contradictory industries cinema has ever known through the careers of those most closely associated with it. His recorded interviews were conducted with directors and actors both well-known and upcoming.

"Edited by Eric Griffiths and Matthew Reynolds, this anthology explores the variety of encounters between Dante and English-speakers across more than six centuries. Its detailed notes enable even readers with little or no Italian to appreciate translations that range from the hilarious to the inspired. Eric Griffiths's introduction explains how intricately Dante's work is tied to his own time, yet still speaks across the ages. This edition also includes on account of Dante's life and a list of further reading."--BOOK JACKET.