From Faust (1926) to The Babadook (2014), books have been featured in horror films as warnings, gateways, prisons and manifestations of the monstrous. Ancient grimoires such as the Necronomicon serve as timeless vessels of knowledge beyond human comprehension, while runes, summoning diaries, and spell books offer their readers access to the powers of the supernatural--but at what cost? This collection of new essays examines nearly a century of genre horror in which on-screen texts drive and shape their narratives, sometimes unnoticed. The contributors explore American films like The Evil Dead (1981), The Prophecy (1995) and It Follows (2014), as well as such international films as Eric Valette's Malefique (2002), Paco Cabeza's The Appeared (2007) and Lucio Fulci's The Beyond (1981).

Welcome, brave souls, to a realm where shadows dance with the unseen, and whispers of the past linger in the air like an icy breath. Within these pages lie 101 terrifying ghost stories, each a haunting melody from the other side, waiting to ensnare your senses and send shivers down your spine. From forgotten graveyards to desolate mansions, prepare to embark on a journey through the unknown, where the veil between the living and the dead grows thin. But beware, for once you delve into these ghostly whispers, there may be no returning to the safety of the light. In '101 Ghostl Stories,' prepare to embark on a spine-tingling journey through the ethereal world of the supernatural. From abandoned mansions cloaked in mist to ancient graveyards under the moonlit sky, this collection brings together a diverse array of ghost stories to captivate and terrify readers. Within these pages, you'll encounter vengeful specters seeking justice from beyond the grave, lost souls wandering the earth in search of closure, and malevolent entities lurking in the shadows, hungry for unsuspecting prey. Each tale is crafted to evoke a sense of dread and wonder, drawing you deeper into the mysteries of the unknown. Whether you're a skeptic or a true believer, '101 Ghost Stories' promises to leave you breathless with anticipation and lingering unease. So gather around the flickering firelight, but beware – for in the darkness, anything is possible, and the spirits may be closer than you think..."

Contemporary American horror literature for children and young adults has two bold messages for readers: adults are untrustworthy, unreliable and often dangerous; and the monster always wins (as it must if there is to be a sequel). Examining the young adult horror series and the religious horror series for children (Left Behind: The Kids) for the first time, and tracing the unstoppable monster to Seuss's Cat in the Hat, this book sheds new light on the problematic message produced by the combination of marketing and books for contemporary American young readers.

In Now That’s a Good Question, R.C. Sproul answers more than 300 challenging questions about life and faith. Addressing doctrinal points and contemporary issues such as euthanasia, evolution, and abortion, Sproul covers more than three hundred topics in a personable, easy-to-read style that’s perfect for the lay person. New believers as well as those mature in the faith will find this book a solid resource for those challenging questions of life and faith.

Since ancient times, explorers and adventurers have captured popular imagination with their frightening narratives of travels gone wrong. Usually, these stories heavily feature the exotic or unknown, and can transform any journey into a nightmare. Stories of such horrific happenings have a long and rich history that stretches from folktales to contemporary media narratives. This work presents eighteen essays that explore the ways in which these texts reflect and shape our fear and fascination surrounding travel, posing new questions about the "geographies of evil" and how our notions of "terrible places" and their inhabitants change over time. The volume's five thematic sections offer new insights into how power, privilege, uncanny landscapes, misbegotten quests, hellish commutes and deadly vacations can turn our travels into terror.

Among the many strategies of persuasive speech, biblical prophets often employ a rhetoric of horror. Prophets use verbal threats and graphic images of destruction to terrify their audience. Contemporary horror theory provides insight into the rhetoric of horror employed by the prophets. In this book, Amy Kalmanofsky applies horror theory to the book of Jeremiah and considers the nature of biblical horror and the objects that provoke horror, as well as the ways texts like Jeremiah work to elicit horror from their audience. Kalmanofsky begins by analyzing the emotional response of horror as reflected in characters' reactions to terrifying entities in the book of Jeremiah. Horror, she concludes, is a composite emotion consisting of fear in response to a threatening entity and a corresponding response of shame either directed toward one's self or felt on behalf of another. Having considered the nature of horror, she turns to the objects that elicit horror and consider their ontological qualities and the nature of the threat they pose. There are two central monstrous figures in the book of Jeremiah-aggressor God and defeated Israel. Both of these monsters refuse to be integrated into and threaten to disintegrate the expected order of the universe. She then presents a close, rhetorical reading of Jeremiah 6 and consider the way this text works to horrify its audience. The book concludes by considering fear's place within religious experience and the theological implications of a rhetoric that portrays God and Israel as monsters.

A stimulating account of the wide range of approaches towards conceptualising emotions in classical Indian philosophical–religious traditions, such as those of the Upanishads, Vaishnava Tantrism, Bhakti movement, Jainism, Buddhism, Yoga, Shaivism, and aesthetics, this volume analyses the definition and validity of emotions in the construction of

A key figure during the Great Awakening, Jonathan Edwards wrote this important discourse, The Distinguishing Marks of a Work of the Spirit of God, in 1741, just after the revival had reached its peak. In his thorough exploration of the true and false signs of revival, drawn from 1 John 4, Edwards concludes that while a movement may be accompanied by excesses and questionable actions, these signs do not necessarily disqualify it as authentic. In a refreshing way Edwards embraces a genuine enthusiasm in these manifestations while stressing the need for biblical discernment. His critique is kind and gentle as he points to the true marks of revival: love and humility. In The Spirit of Revival, Parrish makes Edwards's entire work more accessible by modernizing the text and adding explanatory notes. R. C. Sproul's extended introduction compares the great theologian's time to our own, and the preface by Edwards's contemporary William Cooper rings resoundingly to the people of God today. Edwards's message provides more than just insight into the Great Awakening. It is a map to follow for all revivals in all times.

Einojuhani Rautavaara (1928–2016) has been called Finland’s most notable musical export after Sibelius. His prolific output includes eleven operas; eight symphonies; eleven concertos; choral works for the Orthodox, Lutheran, and Roman Catholic churches; secular choral works; chamber music; vocal solos; and keyboard works. Many of these works were commissioned by internationally known performers and ensembles including Vladimir Ashkenazy, Richard Stoltzman, Hilary Hahn, Anne Akiko Meiers, Gerald Finley, the Philadelphia Orchestra, and the Juilliard School of Music Orchestra. Perhaps most frequently performed are his Cantus Arcticus, a concerto for recorded arctic birds and orchestra, Angel of Light, his seventh symphony, and the Lorca choral suite depicting Death as a stalker in a Spanish village. Rautavaara’s Journey in Music is divided into two sections; the first a biography and discussion of works that show his various style changes, from neoclassical, to twelve-tone, to neoromantic, and finally to a personal expressive style combining elements of twelve-tone and tonality. The second part divides his works by genre and gives more detailed information of stylistic analysis, libretto, provenance, and, often, reception.