The Golden Plates Sword Of Laban And The Tree Of Life

The Golden Plates Vol.One: The Sword Of Laban And The Tree Of Life is the first of twelve graphic novels adapting the entire Book Of Mormon. It is thoroughly adapted and illustrated by world renowned comic book artist Michael Allred and award-winning colorist Laura Allred.

Late one night in 1823, Joseph Smith, Jr., was reportedly visited in his family's farmhouse in upstate New York by an angel named Moroni. According to Smith, Moroni told him of a buried stack of gold plates that were inscribed with a history of the Americas' ancient peoples, and which would restore the pure Gospel message as Jesus had delivered it to them. Thus began the unlikely career of the Book of Mormon, the founding text of the Mormon religion, and perhaps the most important sacred text ever to originate in the United States. Here Paul Gutjahr traces the life of this book as it has formed and fractured different strains of Mormonism and transformed religious expression around the world. Gutjahr looks at how the Book of Mormon emerged from the burned-over district of upstate New York, where revivalist preachers, missionaries, and spiritual entrepreneurs of every stripe vied for the loyalty of settlers desperate to scratch a living from the land. He examines how a book that has long been the subject of ridicule--Mark Twain called it "chloroform in print"--Has more than 150 million copies in print in more than a hundred languages worldwide. Gutjahr shows how Smith's influential book launched one of the fastest growing new religions on the planet, and has been featured in everything from comic books and action figures to feature-length films and an award-winning Broadway musical.--Publisher.

Comics traffic in stereotypes, which can translate into real danger, as was the case when, in 2015, two Muslim gunmen opened fire at the offices of Charlie Hebdo, which had published depictions of Islam and Muhammad perceived by many to be blasphemous. As a response to that tragedy, Ken Koltun-Fromm calls for us to expand our moral imaginations through readings of graphic religious narratives. Utilizing a range of comic books and graphic novels, including R. Crumb’s Book of Genesis Illustrated, Craig Thompson’s Blankets, the Vakil brothers’ 40 Sufi Comics, and Ms. Marvel, Koltun-Fromm argues that representing religion in these formats is an ethical issue. By focusing on the representation of Christian, Jewish, Muslim, and Hindu religious traditions, the comics discussed in this book bear witness to the ethical imagination, the possibilities of traversing religious landscapes, and the problematic status of racial, classed, and gendered characterizations of religious persons. Koltun-Fromm explores what religious stereotypes do and how they function in comics in ways that might expand or diminish our imaginative worlds. The pedagogical challenge, he argues, is to linger in that space and see those worlds well, with both ethical sensitivity and moral imagination. Accessibly written and vibrantly illustrated, this book sheds new light on the ways in which comic arts depict religious faith and culture. It will appeal to students and scholars of religion, literature, and comic studies.

Comic books have increasingly become a vehicle for serious social commentary and, specifically, for innovative religious thought. Practitioners of both traditional religions and new religious movements have begun to employ comics as a missionary tool, while humanists and religious progressives use comics' unique fusion of text and image to criticize traditional theologies and to offer alternatives. Addressing the increasing fervor with which the public has come to view comics as an art form and Americans' fraught but passionate relationship with religion, Graven Images explores with real insight the roles of religion in comic books and graphic novels. In essays by scholars and comics creators, Graven Images observes the frequency with which religious material—in devout, educational, satirical, or critical contexts—occurs in both independent and mainstream comics. Contributors identify the unique advantages of the comics medium for religious messages; analyze how comics communicate such messages; place the religious messages contained in comic books in appropriate cultural, social, and historical frameworks; and articulate the significance of the innovative theologies being developed in comics.

Dr. Morain's remarkable psychological study of Joseph Smith, Jr. will be of interest to a wide spectrum of readers -- as a social history, religious biography, an account of the dissociative elements in poetic and spiritual genius, or simply a gripping portrait of an ill-fated and tragic man.

Born in Oakland, California in 1927 the author received his High School education in California before joining the Marines at 17 before the end of WW 2. While pursuing vocal studies in Los Angeles he accepted an LDS Mission starting in Buffalo, NY. Finding many inconsistencies among missionaries he concluded to get his own witness. With 3 days of fasting and prayer he read the BOM relying on Moroni's promise of asking God to reveal the truth of the BOM. Positive confirmation never came. The Mission President advised him to complete his mission saying he needn't teach anything he didn't believe. A missionary chorus was formed and the choice made to tour his final months as soloist with the Utah Centennial Chorus. After his mission he appeared in a Broadway Musical. He left for Milan, Italy in 1952 meeting his future wife on the ship. After his operatic debut in Spain, successful engagements followed that soon led to Berlin and a three year contract at the Vienna State Opera. While singing in Rome a screen test led to Director William Wyler choosing Claude for the role of Jesus in the Academy Award film 'Ben Hur'. After the 'Ben Hur' experience Claude made another BOM attempt with a 3 day fast/prayer at the Holy Trinity chapel of St. Catherine Monastery at Mount Sinai, Egypt. As Dramatic Tenor he sang opposite such sopranos as Birgit Nilsson, Renata Tabaldi, Joan Southerland; as Tristan, Otello, Siegfried, Parsifal etc; at Bayreuth, La Scala and most major European opera houses. After retiring, he attended his local Ward with family, becoming counselor in the Sunday school until he felt enough was enough. Conducting a Testimony meeting he bore his lack of testimony publicly asking for excommunication as the only way to remove oneself from church rolls.

On a summer day in 1828, Book of Mormon scribe and witness Martin Harris was emptying drawers, upending furniture, and ripping apart mattresses as he desperately looked for a stack of papers he had sworn to God to protect. Those pages containing the only copy of the first three months of the Joseph Smith's translation of the golden plates were forever lost, and the detailed stories they held forgotten over the ensuing years--until now. In this highly anticipated work, author Don Bradley presents over a decade of historical and scriptural research to not only tell the story of the lost pages but to reconstruct many of the detailed stories written on them. Questions explored and answered include: Was the lost manuscript actually 116 pages? How did Mormon's abridgment of this period differ from the accounts in Nephi's small plates? Where did the brass plates and Laban's sword come from? How did Lehi's family and their descendants live the Law of Moses without the temple and Aaronic priesthood? How did the Liahona operate? Why is Joseph of Egypt emphasized so much in the Book of Mormon? How were the first Nephites similar to the very last? What message did God write on the temple wall for Aminadi to translate? How did the Jaredite interpreters come into the hands of the Nephite kings? Why was King Benjamin so beloved by his people? Despite the likely demise of those pages to the sands of time, the answers to these questions and many more are now available for the first time in nearly two centuries in The Lost 116 Pages: Reconstructing the Book of Mormon's Missing Stories.