Chris and his older brother Matt go separate ways during the quest to find their familys murderer. On his journey, Chris comes across Amy, a mysterious girl who possesses the power of healing. Just when finally they become friends, Chris finds out that Amy has a blood relation with his familys murderer. Now, Chris has to choose between fulfilling his oath and loosing a friend. When a secret society sends their huntsmen after Amy, while Chris is fallen into a trap that causes him to lose himself to the darkness and becomes evil, the battle begins.

The Bermuda Trianglehas cast a shadow over Sam and Niamh Cutlers' lives since their mother vanished nine years ago. Her whereabouts remains a mystery and every year they return to the Florida Keys with their father, Matt, who is obsessed with solving the haunting puzzle. But Sam is bored with lazing around by the pool while his father hunts for the truth. Craving excitement, he and his friend, Callum, "borrow" Matt's boat. At first it's great fun, but when they find themselves marooned in a terrifying land, the boys realise they too have fallen victim to the Triangle's mysterious effects. Can they find a way home, or will they be lost forever?

This book offers a fresh reading about the purpose for which Hebrews was written. In this book Whitlark argues that Hebrews engages both the negative pressures (persecution) and positive attractions (honor/prosperity) of its audience's Roman imperial context. Consequently, the audience of Hebrews appears to be in danger of defecting to the pagan imperial context. Due to the imperial nature of these pressures, Hebrews obliquely critiques the imperial script according to the rhetorical expectations in the first-century Mediterranean world-namely, through the use of figured speech. This critique is the primary focus of Whitlark's project. Whitlark examines Hebrews's figured response to the imperial hopes boasted by Rome along with Rome's claim to eternal rule, to the power of life and death, and to be led by the true, victorious ruler. Whitlark also makes a case for discerning Hebrews's response to the challenges of Flavian triumph. Whitlark concludes his study by suggesting that Hebrews functions much like Revelation, that is, to resist the draw of the Christians' Roman imperial context. This is done, in part, by providing a covert opposition to Roman imperial discourse. He also offers evaluation of relapse theories for Hebrews, of Hebrews's place among early Christian martyrdom, and of the nature of the resistance that Hebrews promotes.

Sam and Callum are still stranded in the parallel world, having been pulled across by the dangerous energy of the Bermuda Triangle. Now they've found Sam's mum they are desperate to find a way home... at any cost. Meanwhile Niamh is convinced that her brother is alive and not dead as the authorities suspect, but she needs to find out what really happened to the boys before her father is convicted of their murder.

Some of the most compelling and enduring creative work of the late Victorian and Edwardian Era came from committed imperialists and conservatives. Their continuing popularity owes a great deal to the way their guiding ideas resonated with modernism in the arts and psychology. The analogy they perceived between the imperial business of subjugating savage subjects and the civilised ego's struggle to subdue the unruly savage within generated some of their best artistic endeavours. In a series of thematically linked chapters Imperium of the soul explores the work of writers Rudyard Kipling, Joseph Conrad, Rider Haggard and John Buchan along with the composer Edward Elgar and the architect Herbert Baker. It culminates with an analysis of their mutual infatuation with T. E. Lawrence - Lawrence of Arabia - who represented all their dreams for the future British Empire but whose ultimate paralysis of creative imagination exposed the fatal flaw in their psycho-political project. This transdisciplinary study will interest not only scholars of imperialism and the history of ideas but general readers fascinated by bygone ideas of exotic adventure and colonial rule.

Explore how empire is a crucial foreground for reading and interpreting the New Testament In the last three decades, significant attention has been given to the way in which New Testament texts engage and respond to the imperial world in which they were written. The purpose of the present volume is to introduce students and non-specialists to the growing subfield of New Testament studies known as empire studies. Contributors seek to make readers aware of the significant work that has already been produced, while also pointing them to new ways in which this field is moving forward. The contributors are Bruce W. Longenecker, Richard A. Horsley, Warren Carter, Adam Winn, Eric D. Barreto, Beth M. Sheppard, Neil Elliot, James R. Harrison, Harry O. Maier, Deborah Krause, Jason A.Whitlark, Matthew R. Hauge, Kelly D. Liebengood, and Davina C. Lopez. Features: Essays from a diverse group of interpreters who at times have differing presuppositions, methods, and concerns Articles introduce students and non-specialists to the Roman imperial realities regularly encountered by first and second century Christians Contributions explore the strategies employed by early Christians to respond to the Roman empire

A study of the theory of the devil's rights in relation to medieval theology of the redemption, as this is treated in the popular literature of medieval England.

Spotting The Devil/Spotting The Devil From Far and Near. Avoiding The Trap Of Negative Behavior In Order To Fulfill The Purpose Of Ones Life. The word devil in this book is not used in the traditional sense. The word devil conjures up a powerful image of everything that is negative and destructive and it is in this sense that the word is used. We are surrounded by it. In many ways we are consumed by it, yet man is afraid to utter the word, as if by saying the word devil man is somehow admitting that he is accepting of this taboo and is in aggreance with the devil force. This book says that we must and can learn to identify all these negatives as they come at us in order to avoid the dire consequences that come about as a result of our contact with these devils in our society. This book seeks to examine the world in which we live with an analytical approach to why we as the human race make the choices in life that we do. It starts with a simple story about an incident that happens in the authors childhood, with the intention of explaining why the author sees things the way he does and coming to the realization that this was a defining moment in his life, even though he did not know it at the time. This book looks at fear, the fear that is an obstacle to most of us and this fear is something we take for granted, Most of us think that this fear is normal and that there is no way around it. Not true, as the author explains. He goes into the reasons why we must conquer these fears and where most of these fears originate. The author goes on to explain friendship and how we are so easily lulled into different behavior, how easy it is for us to get caught up in the moment and how easily it is to get carried away, usually to our detriment. In using stories from his life experience he takes the reader on a journey and in every step of that journey he unfolds a secret. There is so much that we take for granted and yet so much of this behavior can be prevented if we could only recognize what is coming at us, just like the driver who knows he is about to collide with another car because he sees it coming towards him from the opposite direction. The author looks at popular culture from the inside out and shows us how we are surrounded by so much negativity yet we dont know it because we do not look at society from this angle. We can have a greater appreciation for the images that are fed to us if we see them for what they are, and we can watch and enjoy without becoming consumed by fantasy if we understand the motives behind what is being fed to us. In these times, it is crucial that we learn from the mistakes of the past and we challenge ourselves to be more disciplined and to develop our sense of foresight because we all have the gift. We are born with it, but as we grow we allow societys ills to get the better of us and we just follow rather than lead ourselves into a better life, where we can find the fulfillment that we all seek. This book looks at first, the microcosm, and then the macrocosm, taking a peek at wars and what is the lesson of these wars. The author also looks at religion and mans attitude towards it. Why do we get caught up in imagery and names and not listen to what is truth and what makes sense. We follow, even when two plus two does not make four, we follow blindly and again are led downstream. Finally the author looks at colors that have been in cultures for thousands of years and unravels the associations that many have come to attach to certain colors. This book is an eye opener, written in a simple language that would only serve to enlighten and unravel some of the mysteries that make life so complex. The key is right in front of us. We feel it, therefore we know it, and we are in denial more than we are not. Do we get dressed everyday for the creator, or do we get dressed for ourselves? It is true that man cannot serve two masters, but one can always find th

A classic account of Charles the Great and the heyday of Frankish rule in Europe, evaluating the achievements and failures of the empire which has been called 'the first Europe.' Reprinted from the 1968 edition, translation first published in 1957.

Empire is an evocative, yet little examined, word. It can mean the domination of vast territories, a Christian world order, a corrupt form of government, or a humanitarian endeavour. Historians relegate the concept of empire to the pre-modern world, identifying the state as the characteristic political form of the modern world. This book examines the range of meanings attributed to the concept of empire in the medieval and early modern world, demonstrating how the concepts of empire and state developed in parallel, not sequentially.