The Icons came from the sky. They belong to an inhuman enemy. They ended our civilization, and they can kill us. Most of us. Dol, Ro, Tima, and Lucas are the four Icon Children, the only humans immune to the Icon's power to stop a human heart. Now that Los Angeles has been saved, things are more complicated - and not just because Dol has to choose between Lucas and Ro, the two great loves of her life. As she flees to a resistance outpost hidden beneath a mountain, Dol makes contact with a fifth Icon Child, if only through her visions. When Dol and the others escape to Southeast Asia in search of this missing child, Dol's dreams, feelings and fears collide in an epic showdown that will change more than just four lives -- and stop one heart forever. In this riveting sequel to Icons, filled with nonstop action and compelling romance, bestselling author Margaret Stohl explores what it means to be human and how our greatest weakness can be humanity's strongest chance at survival.

A collection of revised essays which appeared previously in various journals. Presents the thesis that "Jewhatred" is a philosophic question, founded in idolatry. Modern academic scholarship is historicist rather than philosophic, and "is therefore unprepared to consider the possibility that the hatred of Judaism may be a form of idol worship". Contends that American liberalism is grounded in the ideas of Ralph Waldo Emerson on freedom and that Emerson was an antisemite who understood that Judaism was an obstacle to unbridled freedom. also discusses Hitler's ideas in terms of his aspirations toward absolute freedom (which leads ultimately to self-annihilation), and Nazism as the ultimate form of idolatry, and their antisemitism stemming from Judaism's opposition to these goals.

This historical and exegetical investigation strongly challenges the widely held view that Paul regarded idol food as a matter of indifference, to be avoided only for the sake of the spiritual health of the weak. An exhaustive treatment of early Christian material shows that early authors were deeply influenced by Paul's discussion in 1 Corinthians 8-10, and yet they were totally unaware of the subsequent traditional understanding that Paul regarded idol food as indifferent. Even those who advocated eating idol food did not once appeal to Paul's discussion for support. An alternative understanding is proposed: Paul considers conscious consumption of idol food a denial of one's allegiance to Christ. One must avoid idol food if, and only if, it is identified as such.

Challenging gnositicizing interpretations of the letter, Terry Griffith explores how the polemic against idols was variously used in Jewish and Christian circles to define self-identity and the limits of community. He shows that the rhetoric of 1 John is not polemical, but pastoral, directed at confirming Johannine Christians in their fundamental confession of faith and preventing further defections of Jewish Christians back to Judaism. Griffith argues that the christological focus in 1 John concerns the identification of Jesus as the Messiah, and that the ending of the letter both contributes to the author's overall pastoral strategy and sheds light on the issues of sin and christology that are raised in this letter.

The story of Paul's visit to the city of Athens with its speech delivered before the Areopagus council is one of the best-known and most-celebrated passages of the Acts of the Apostles. Being the only complete example of an apostolic address to "pure pagans" recorded, it has consistently attracted the attention of historians, biblical scholars, theologians, missionaries, apologists, artists, and believers over the centuries. Interpretations of the pericope are many and variegated, with opinions ranging from deeming the speech to be a foreign body in the New Testament to acclaiming it as the ideal model of translation of the Christian kerygma into a foreign idiom. At the heart of the debate is whether the various parts of the speech must be understood as Hellenistic or biblical in nature--or both. Paul Against the Idols defends and develops an integrated contextual study of the episode. Reading the story in its Lukan theological, intertextual, narrative, linguistic, and historical context enables an interpretation that accounts for its apparent ambivalence. This book thus contributes to the ongoing hermeneutical and exegetical scholarly discussions surrounding this locus classicus and suggests ways in which it can contribute to a Christian theology of religions and missiology.

In 1 Cor 8-10, Paul provides instruction about interactions with idols, and his practical instruction is based on his theology, which was adopted from Hellenistic Judaism and adapted radically in the light of Jesus Christ. Trent A. Rogers shows that understanding Paul's ethical reasoning is helped significantly by understanding how he and his predecessors represent God in their arguments. - back of book.

The music industry has been waging some very significant battles in recent years, reacting to numerous inter-related crises provoked by globalization, digitalization and the ever more extensive commercialization of public culture. These struggles are viewed by many as central to the survival of the central mediators in the consumption of popular music. These battles are not just against piracy and the sharing of digital song files on the internet. The music industry is also struggling to find ways to compete or integrate with many other forms of entertainment, including films, television programmes, mobile phones, DVDs and video games in an extremely crowded communications environment. The battles currently being fought by the music industry are about nothing less than its continued ability to create and maintain specific kinds of profitable relationships with consumers. This book presents two inter-related cases of crisis and opportunity: the music industry's epic struggle over piracy and the 'Idol' phenomenon. Both are explicit attempts to control and justify the particular ways in which the music industry makes money from popular music through specific kinds of relationships with consumers. The battles over piracy have been fought with a remarkable collection of campaigns consisting of advice, coercion and argument about what is or is not the best way to consume music. From these complicated and often contradictory campaigns we form an unusually clear picture of what many within the music industry imagine their industry to be. In a complementary way, 'Idol' works to demonstrate the joy and pleasure of consuming popular music the 'right' way. By creating a series of intertwined relationships with consumers around multiple sites of consumption, incorporating television, radio, live performance, traditional print media campaigns, text messaging and all manner of internet-based systems of communication and 'fan management,' the producers of 'Idol' present an ideal relationship between musicians and audiences. Instead of focusing on selling CDs, the music industry's digital Achilles' heel, 'Idol' has given the music industry an integrated platform for displaying its expanded palette of products and venues for consumption. When understood in specific relation to the battle against piracy, Fairchild's analysis of 'Idol' and the emerging promotional cultures of the music industry it exhibits shows how multiple sites of consumption, and attempts to mediate and control the circulation of popular music, are being used to combat the foundational challenges facing the music industry.