Zionism was not only a political and ideological program but also a sexual one. The liberation of Jews and creation of a new nation were closely intertwined with a longing for the redemption and normalization of the Jewish male body. That body had to be rescued from anti-Semitic, scientific-medical discourse associating it with disease, madness, degeneracy, sexual perversity, and femininityeven with homosexuality. The Zionist movement was intent on transforming the very nature of European Jewish masculinity as it had existed in the diaspora. Zionist/Israeli films expressed this desire through visual and narrative tropes, enforcing the image of the hypermasculine, colonialist-explorer and militaristic nation-builder, an image dependent on the homophobic repudiation of the "feminine" within men. The creation of a new heterosexual Jewish man was further intertwined with attitudes on the breeding of children, bodily hygiene, racial improvement, and Orientalist perspectiveswhich associated the East, and especially Eastern bodies, with unsanitary practices, plagues, disease, and sexual perversity. By stigmatizing Israels Eastern populations as agents of death and degeneration, Zionism created internal biologized enemies, against whom the Zionist society had to defend itself. In the name of securing the life and reproduction of the new Ashkenazi Jewry, Israeli society discriminated against both its internal enemies, the Palestinians, and its own citizens, the Mizrahim (Oriental Jews). Yosefs critique of the construction of masculinities and queerness in Israeli cinema and culture also serves as a model for the investigation of the role of male sexuality within national culture in general.

Consider the possibilities when the mind and body are things of the past. These cutting-edge techno-tales by Poul Anderson, Greg Egan, Michael Swanwick, and other masters explore the infinite ways that new technology will free humankind from the boundaries of the flesh. "Call Me Joe" by Poul Anderson "Learning to Be Me" by Greg Egan "Pretty Boy Crossover" by Pat Cadigan "Ancient Engines" by Michael Swanwick "Winemaster" by Robert Reed "More Adventures on Other Planets" by Michael Cassutt "Nevermore" by Ian R. MacLeod "Approaching Perimelasma" by Geoffrey A. Landis "The Gravity Mine" by Stephen Baxter "Reef" by Paul J. McAuley At the publisher's request, this title is sold without DRM (Digital Rights Management).

Like Volumes One and Two, Volume Three of the Galanor Saga has been written in three parts, or “Books”, of five chapters each. But, unlike its predecessors this novel treats each of the three Books, as a distinct, five chapter novella, with its own cast of characters, plotline and story arc. Of course, each Book helps to develop the storyline of the novel as a whole. I hope you enjoy it... F. M. Viollis BOOK ONE: ALONG THE JOURNEY HOME We begin where Beyond Hope & Despair left off. Galanor and Nitiri have returned to Shuruppak, where they have been crowned monarchs. One morning, while Nitiri is asleep, Galanor rises and, while staring at the sunrise, reflects upon the events that transpired in the dungeons of Alenz Allure and afterwards. As his mind wanders back to that day, the story arc begins. He recalls their first moments together after having been torn apart by the crazed wizard, Malferion. He recalls how Nitiri found herself with an uncomfortable decision to make, and he, with concocting a plan to escape the tower. After discovering the route the wizard used, they make their way, with great trepidation, out of the dungeon, through the heart of the ancient mountain and out into the light of a new dawn. They make their way back to the farmhouse of Huai-Ti, Feng-Chi and Wan-Ye where Galanor and Anubis are reunited, only to discover that while Galanor was away, Lao–Fi’s forces have kidnapped Wan-Ye and Huai-Ti, in a fit of rage, goes after to confront the warlord in his fortress. Galanor vows to rescue them both. Along the way, he joins forces with a garrison of exiled soldiers, who, after much debate, agree to join forces with him, his queen and Anubis in the rescue attempt. At the same time Wan-Ye has become the concubine to the sadistic warlord. In time a rescue plan is conceived and executed, with results that are both joyful and tearful. When all is done, the three wanderers set out on a two year journey by land and sea, which bring them to Shuruppak and their ascension to the throne. The Book ends with Galanor receiving some startling news. BOOK TWO: WHAT THE GOD’S BRING FORTH Book two moves the storyline forward eighteen years. There are now three heirs to the throne: Tyr, Amara and Rama. Galanor and Nitiri, to no one's surprise, are wise and just rulers, but their reign is not without objection from some of the nobility. One morning, a rider is seen approaching from the west. He is intercepted and escorted into Shuruppak by a young, novice warrior. It is Mustir. He arrives with news of the most dire and consequential nature: Pharon has been struck down by mystical forces wielded by four, powerful and deadly riders, each determined to wreak havoc upon the world, in his own unique way. Mushtir presents his Captain with a token, handed to him by Pharon. Galanor recognizes the token, and the message behind it. He, Nitiri and Anubis prepare to journey to Pharon’s kingdom of Zeptepi, to help. As they prepare to leave, they are confronted by a conundrum for which they were not prepared and about which, they find themselves ill prepared to act. In time, as is the way with such things, matters resolve themselves, but not to everyone’s liking. Tearful moments transpire as their three children ride off in three different directions to battle one rider each, while Galanor, Nitiri and Anubis ride off to battle the fourth, and arguably the most powerful. While they are doing this, Pharon’s vampiric physician, a man driven by a powerful obsession to acquire knowledge at all costs, struggles to help his king. Meanwhile, while the monarchs of both kingdoms are busy, sinister forces, driven by greed and an ideology not their own, seek to rest control for themselves. With the aid of a potent talisman Galanor and Anubis confront the architect of the riders’ assault, beyond the edge of the universe and Nitiri battles the forces of death. BOOK THREE: BEYOND FLESH AND SPIRIT Book Three begins a few weeks after their return from Zeptepi. Nitiri has succumbed to wounds inflicted by the rider of death. Galanor abandons the throne and with Anubis by his side walks away from everything. Now, for the first time in decades, he is free of all obligations and ties. He and Anubis find themselves on a dusty road that rapidly becomes a hellscape. They are drawn to rift in time and space, where an entity of such power that it is impossible to measure, reaches out to consume them and through them, gain access to this universe. They are rescued by an entity that exists beyond imagination. Once free, they drift on until they find, and gain employment in a caravan journeying to a busy port city. Along the way, they are attacked by a massive army of bandit cutthroats. Finally, they make it to their destination where Galanor makes the acquaintance of an old flame. Their affair is reignited and he agrees to journey with her on her pirate vessel, one of the twelve original Atlantean Capital Ship used in the rescue of their people and the demise of their homeland. But, as fate would have it, they are attacked by mercenaries’ intent on slaughtering her crew and absconding with her. After yet another bloody battle, Galanor, weary beyond belief considers leaving his new found love and returning to the road. Events intercede and he agrees to stay and help her find the man responsible for the attack. In time, they do. With great cunning and much hard work, they discover his hiding place. It is an ancient island kingdom in an uncharted eastern sea. They journey there and find not only him, but a determined enemy from days long past.

Beyond Flesh and Blood: The Ultimate Guide To Angels and Demons goes far beyond the average Sunday School teaching on spiritual warfare. Minister Fortson takes an in depth look at the origin of both angels and demons, and attempts to answer the tough questions on the minds of many Christians. 1) When were angels created? 2) When did Lucifer rebel against God? 3) Where do angels fit into human history? 4) Are fallen angels and demons the same thing? 5) Were the gods of mythology really fallen angels? 6) What do angels have to do with modern UFO sightings? 7) Is our current scientific pursuit of transhumanism a spiritual issue? These questions are just the beginning of the journey. As the book progresses, Minister Fortson tackles many other areas of the supernatural, such as the origin of ghosts, vampires, and our modern obsession with UFOs and aliens. You will also discover what our modern pursuit of creating hybrids has in common with various ancient mythologies from around the world, and the possible origin of these pursuits. Throughout the book, Minister Fortson explores historical text from many different cultures and belief systems in order to find out if the Hebrews were the only culture to encounter both angels and demons. The Bible tells us that our war is not with flesh and blood, but what does that statement really mean? Is the spiritual war crossing over into the physical realm? One thing is for sure, after you read this book, you will never look at the world we live in the same again.

The so-called extra Calvinisticum-the doctrine that the incarnate Son of God continued to exist beyond the flesh-was not invented by John Calvin or Reformed theologians. If this is true, as is almost universally acknowledged today, then why do scholars continue to fixate almost exclusively on Calvin when they discuss this doctrine? The answer to the “why” of this scholarly trend, however, is not as important as correcting the trend. This volume expands our vision of the historical functions and christological significance of this doctrine by expounding its uses in Cyril of Alexandria, Thomas Aquinas, Zacharias Ursinus, and in theologians from the Reformation to the present. Despite its relative obscurity, the doctrine that came to be known as the “Calvinist extra” is a possession of the church catholic and a feature of Christology that ought to be carefully appropriated in contemporary reflection on the Incarnation.

The fragrance of life is within us. We have to make ourselves available to feel and flow in the amazing fragrance of the Divine Grace and Blessings. One has to honor, appreciate and design life as we are the most powerful entities of life on mother earth. Every bit of life is to be felt and acknowledged. When one candle is lighted, it spreads the light to one and all. Be the light and shine like a star in the open sky.

In a "return" to Edmund Husserl and Sigmund Freud, Intimacy and the Anxieties of Cinematic Flesh explores how we can engage these foundational thinkers of phenomenology and psychoanalysis in an original approach to film. The idea of the intimate spectator caught up in anxiety is developed to investigate a range of topics central to these critical approaches and cinema, including: flesh as a disruptive state formed in the relationships of intimacy and anxiety; time and the formation of cinema's enduring objects; space and things; the sensual, the "real" and the unconscious; wildness, disruption, and resistance; and the nightmare, reading "phantasy" across the critical fields. Along with Husserl and Freud, other key thinkers discussed include Edith Stein, Roman Ingarden, Maurice Merleau-Ponty, Mikel Dufrenne in phenomenology; Melanie Klein, Ernest Jones, Julia Kristeva, and Rosine Lefort in psychoanalysis. Framing these issues and critical approaches is the question: how might Husserlian phenomenology and Freudian/Lacanian psychoanalysis, so often seen as contradistinctive, be explored through their potential commonalities rather than differences? In addressing such a question, this book postulates a new approach to film through this phenomenological/psychoanalytic reconceptualization. A wide range of films are examined not simply as exemplars, but to test the idea that cinema itself can be a version of critical thinking.

Apocalyptic voices grow louder as we enter the new Millennium, promising dire consequences for the fate of humanity, our planet and our civilization. But theirs are not the only voices around. There are voices that are equally strong and full of hope, courage and conviction. Gerard Vanderhaar's voice is not apocalyptic, but prophetic and full of passion. He proposes a new direction, one that will lead to a more workable world - that of the Nonviolent Christ. Vanderhaar shows how figures like Mahatma Gandhi, Martin Luther King, Dorothy Day and others have taken the example of the Nonviolent Christ as their guide for living and working justly and courageously in the world. He then offers suggestions for incorporating gestures of peace and words of compassion and justice into our daily dealings at home, at work, with difficult people, and as part of the political process. He also shows how our attitudes toward money, time and people can deeply influence our effectiveness in working for a better future.

"That science-fiction future in which technology would make everything very good—or very bad—has not yet arrived. From our vantage point at least, no age appears to have had a deeper faith in the inevitability and imminence of such a total technological transformation than the early twentieth century. Russia was no exception."—from the introduction In the Soviet Union, it seems, armoring oneself against the world did not suffice—it was best to become metal itself. In his engaging and accessible book, Rolf Hellebust explores the aesthetic and ideological function of the metallization of the revolutionary body as revealed in Soviet literature, art, and politics. His book shows how the significance of this modern myth goes far beyond the immediate issue of the enthusiasm with which the Bolsheviks welcomed such a symbolic transfiguration and that of our own uneasy attraction to the images of metal flesh and machine-men. Hellebust's literary examples range from the famous (Pasternak's Doctor Zhivago) to the forgotten (early Soviet proletarian poets). To these he adds a mix of non-Russian references, from creation myths to comic book superheroes, medieval alchemy to Moby-Dick. He includes readings of posters, sculpture, and political discourse as well as cross-cultural comparisons to revolutionary France, industrial-age America, and Nazi Germany. The result is a fascinating portrait of the ultimate symbols of dehumanizing modernity, as refracted through the prism of utopian humanism.

Working at the local processing plant, Marcos is in the business of slaughtering humans—though no one calls them that anymore. His wife has left him, his father is sinking into dementia, and Marcos tries not to think too hard about how he makes a living. After all, it happened so quickly. First, it was reported that an infectious virus has made all animal meat poisonous to humans. Then governments initiated the “Transition.” Now, eating human meat—“special meat”—is legal. Marcos tries to stick to numbers, consignments, processing. Then one day he’s given a gift: a live specimen of the finest quality. Though he’s aware that any form of personal contact is forbidden on pain of death, little by little he starts to treat her like a human being. And soon, he becomes tortured by what has been lost—and what might still be saved.