How did a first-century Jew called Jesus manage to spark a new religion? Christianity was born nearly two thousand years ago and has won untold millions of followers. Yet, historians still cannot say how it really began. The Sign finally provides the answer. Traditionally, the birth of Christianity has been explained via the miracle of the Resurrection, but historians have been unable to account for Christianity’s remarkable success without the Resurrection to spark it. If no one really saw the Risen Jesus, how were people convinced that he was their immortal Messiah? Art historian Thomas de Wesselow has spent the last seven years deducing the answer to this puzzle. Reassessing a much-misunderstood historical source and reinterpreting critical biblical passages, de Wesselow shows that the solution has been staring us in the face for more than a century. The Shroud of Turin, widely thought to be a fake, is, in fact, authentic. And it holds the key to the greatest mystery in human history.
How did a first-century Jew called Jesus manage to spark a new religion? Christianity was born nearly two thousand years ago and has won untold millions of followers. Yet, historians still cannot say how it really began. The Sign finally provides the answer. Traditionally, the birth of Christianity has been explained via the miracle of the Resurrection, but historians have been unable to account for Christianity’s remarkable success without the Resurrection to spark it. If no one really saw the Risen Jesus, how were people convinced that he was their immortal Messiah? Art historian Thomas de Wesselow has spent the last seven years deducing the answer to this puzzle. Reassessing a much-misunderstood historical source and reinterpreting critical biblical passages, de Wesselow shows that the solution has been staring us in the face for more than a century. The Shroud of Turin, widely thought to be a fake, is, in fact, authentic. And it holds the key to the greatest mystery in human history.
In a dramatically different tale of espionage and conspiracy in World War II, Shadow Warriors of World War II unveils the history of the courageous women who volunteered to work behind enemy lines. Sent into Nazi-occupied Europe by the United States' Office of Strategic Services (OSS) and Britain's Special Operations Executive (SOE), these women helped establish a web of resistance groups across the continent. Their heroism, initiative, and resourcefulness contributed to the Allied breakout of the Normandy beachheads and even infiltrated Nazi Germany at the height of the war, into the very heart of Hitler's citadel—Berlin. Young and daring, the female agents accepted that they could be captured, tortured, or killed, but others were always readied to take their place. Women of enormous cunning and strength of will, the Shadow Warriors' stories have remained largely untold until now.
The whole problem of our time is the problem of love. How are we going to recover the ability to love ourselves and to love one another? We cannot be at peace with others because we are not at peace with ourselves, and we cannot be at peace with ourselves because we are not at peace with God. There is a distinction between a contrite sense of sin and a feeling of guilt. The former is a true and healthy thing, the latter tends to be false and pathological. The man who suffers from a sense of guilt does not want to feel guilty, but at the same time he does not want to be innocent. He wants to do what he thinks he must not do, without the pain of worrying about the consequences. The history of our time has been made by dictators whose characters, often transparently easy to read, have been full of repressed guilt. They have managed to enlist the support of masses of men moved by the same repressed drives as themselves. Modern dictatorships display everywhere a deliberate and calculated hatred for human nature as such. The technique of degradation used in concentration camps and in staged trials are all too familiar in our time. They have one purpose: to defile the human person.
This is the story of Thomas Lancashire who joined the RAF in 1936 and became one of the famous 'Trenchard Brats' at RAF Halton to be educated and learn the trade of fitter. He was first posted to 7 Squadron in 1939, at that time flying Whitley bombers but decided to advance himself to become a flight engineer on the new Stirling heavy bomber. He was posted to 15 Squadron at Wyton and completed a full tour that included the famous Lbeck raid, the Thousand Bomber assault on Cologne and the follow up on Essen during which he was almost shot down over Antwerp. In July 1942 he was rested and became an instructor until being posted to 97 Squadron flying Lancasters. On his ninth raid of this tour, 11 August 1943, the aircraft was attacked by a night fighter over Belgium but he successfully baled out and was eventually picked up by the Resistance and handed to an escape line. Eventually the group of evaders was betrayed by a German agent and placed in captivity, ending up in Stalag Luft IV at Mhlberg. During this time he escaped but was eventually recaptured and he was forced to share the growing despair and hardships in late 1944, enduring overcrowding, hunger and cold, until the Russian Army liberated the camp and he was airlifted back to the UK. His post-war career took him to Canada where he was employed on the Avro Arrow project until it was abandoned and he was forced to seek work in the USA. He worked with Boeing until his retirement .
Seeking a broad reexamination of visual culture through the lenses of ecocriticism, environmental justice, and animal studies, this compendium offers a diverse range of art-historical criticism formulated within an ecological context. Picture Ecology brings together scholars whose contributions extend chronologically and geographically from 11th-century Chinese painting to contemporary photography of California wildfires. The book's 17 interdisciplinary essays provide a dynamic, cross-cultural approach to an increasingly vital area of study, emphasizing the environmental dimensions inherent in the content and materials of aesthetic objects. Picture Ecology provides valuable new approaches for considering works of art, in ways that are timely, intellectually stimulating, and universally significant.
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