Fallen Reality

Maxiel Greene is a normal teen who lives a normal life, but as time passes, he realizes that there is something wrong with his surroundings. He keeps having nightmares around the woods near his high school, and then it becomes a lot weirder as a girl in a white dress shows up. What could all this mean? What could she be trying to tell him?

Bonhoeffer's theology continues to prove richly fruitful in the 21st century. This book gathers together Stephen Plant's scholarly engagement with Bonhoeffer's life and theology over two decades. This collection makes accessible distinctive perspective on Bonhoeffer's theology, in particular on the key themes of biblical hermeneutics, ethics, and the intimate connections Bonhoeffer discerns between them.

Moving from monasticism to constitutionalism, and from antinomianism to anarchism, this book reveals law's connection with love and freedom.

In Dr. Faustus, Christopher Marlowe wrote a profoundly religious drama despite the theater's newfound secularism and his own reputation for anti-Christian irreverence. The Aesthetics of Antichrist explores this apparent paradox by suggesting that, long before Marlowe, Christian drama and ritual performance had reveled in staging the collapse of Christianity into its historical opponents—paganism, Judaism, worldliness, heresy. By embracing this tradition, Marlowe's work would at once demonstrate the theatricality inhering in Christian worship and, unexpectedly, resacralize the commercial theater. The Antichrist myth in particular tells of an impostor turned prophet: performing Christ's life, he reduces the godhead to a special effect yet in so doing foretells the real second coming. Medieval audiences, as well as Marlowe's, could evidently enjoy the constant confusion between true Christianity and its empty look-alikes for that very reason: mimetic degradation anticipated some final, as yet deferred revelation. Mere theater was a necessary prelude to redemption. The versions of the myth we find in Marlowe and earlier drama actually approximate, John Parker argues, a premodern theory of the redemptive effect of dramatic representation itself. Crossing the divide between medieval and Renaissance theater while drawing heavily on New Testament scholarship, Patristics, and research into the apocrypha, The Aesthetics of Antichrist proposes a wholesale rereading of pre-Shakespearean drama.

Was Jesus Christ a fallen human being, like us? Was His human nature corrupt and sinful, inherently and necessarily subject to suffering and death? Did He inherit a fallen humanity? If His humanity was fallen how was He sinless? Did He have human ignorance? In what way was His human will involved in the plan of salvation? What effect did the hypostatic union have on His humanity? In Jesus: Fallen?, Emmanuel Hatzidakis, a Greek Orthodox priest, addresses these and other controversial questions pertaining to the human nature of Christ, which are debated in many Christian denominations, and in his own Church. The theology advanced in the book is the traditional theology of the historic Church. In all the modern confusio of multiple Christs, here we have the perennial image of the incarnate God, the Theanthropos Christ. The book should appeal to every serious Christian and student of theology, history of dogma and Church History who is comfortable neither with liberalism nor fundamentalism, but who is searching for the authentically true teachings of Christianity. Hatzidakis draws richly from the patristic inheritance of East and West in an original, refreshing, and accessible way. He refutes opinions formed by many eminent postlapsarian theologians. This pivotal study is the first to address this topic from an Eastern Orthodox perspective and in this regard it constitutes an important contribution to Christology. A well-researched study it sheds light from an Eastern Orthodox perspective on this intriguing and crucial topic. It maintains that the subject of Christ’s humanity and its understanding is neither a theologoumenon nor an abstract intellectual cogitation, but a matter of profound soteriological and anthropological import.

Revelation of the fall: The Blasphemy of Astrial Belthromoto The name of the book is called Revelation of the Fallen: The Blasphemy of Astrial Belthromoto. The story begins at the end of creation, the end of our lives in this universe and the destruction of them by a being called Eversor. The main character Astrial is a fallen angel telling the story from his perspective beyond the creation of this universe and into a reality where the a Creator of all Creator resides. He was the angel of intelligence and the most high scribe before he fell himself. He takes you through his torment by Evil and how he is forced to chose between these world that he doesn't really belong to. He shares insight into how evil was born and most importantly how everything we think we know about good and evil is really motivated by agendas. He introduces you to the four Eternals that have a lot to with how this story plays out. He then gives you insight into the war in heaven, the fall of the angels and how a small decision by a being led to this obsession with man. He gives you the history of the earth and the makers of mankind and their civilizations that still exist today. He leads you out of the garden of Eden and shows you the very rocky relationship between Adam and eve. Astrial finally leads you into the final wars of mankind when there was ordered a mass exodus from this planet leaving us totally alone.