Notes Explanatory And Practical On The New Testament By Rev Albert Barnes Reprinted Verbatim From The Latest American Editions Revised By The Author Edited With Headings Improved Readings And Biographical Sketch By Rev Ingram Cobbin With The Text

This complete and unabridged edition of Spurgeon's great work will make it possible for today's generation to appreciate Spurgeon's combination of discerning wit and refreshingly practical advice.

Charles Spurgeon (19 June 1834 – 31 January 1892) is one of the church’s most famous preachers and Christianity’s foremost prolific writers. Called the “Prince of Preachers,” he was one of England's most notable ministers for most of the second half of the nineteenth century, and he still remains highly influential among Christians of different denominations today. His sermons have spread all over the world, and his many printed works have been cherished classics for decades. Spurgeon preached to more than 10 million people in his lifetime and many times each week. For 38 years in London he was the pastor of the congregation of the New Park Street Chapel later known as Metropolitan Tabernacle. He was a prolific writer and produced many kinds of works including sermons, commentaries, and autobiography, as well as books on prayer, devotionals, magazines, poetry, hymns and much more. His ability to speak and provoke thought with divine inspiration has amazed audiences in his lifetime as well as now. Spurgeon’s messages have been considered the best literature worldwide. While he is most remembered for being a minster and having a church, his most powerful influence was that he exercised on his fellow ministers and theological students. He organized a college, trained approximately 850 students, spoke at an annual conference of ministers, and looked at this as just part of ’life’s labour and delight’ and these facts are not known as well today. These lectures are filled with down to earth practical points and advice for young ministers. His sense of humor seasons his lectures with an air of refreshment that cannot be found elsewhere. Spurgeon's Lectures to my Students, contains the substance of Spurgeon's regular Friday afternoon addresses to the college students. This new complete and unabridged publication by Delmarva Publications offers a linked table of contents and a new format for ease of reading.

The student or pastor with a small but growing library, as well as the pastor possessing an extensive one, will welcome the opportunity to secure this reprint of Spurgeon's catalog of Biblical commentaries and expositions. Once you begin to dip into this volume it will become a faithful friend by your side. Worth its weight in gold! "New commentaries on the Bible abound, but often the cutting edge is dull. With few exceptions, the old works are better by far. Spurgeon's Commenting and Commentaries is invaluable for identifying the best works of past generations, many of which have been reprinted in our day." - Dr. Robert P. Martin

Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.