Did Jesus enjoy the beatific vision of God on earth that Christians hope to enjoy only in heaven? This important question is related to a whole series of questions about Jesus, his knowledge and self-consciousness. Did he know he was God's Son? What did he know of his saving mission? These issues are linked to a fundamental question: Is the Saviour we need one who is altogether like us or one who is in some ways unlike us? This book argues that God gave us a Saviour with beatific knowledge, and who in this respect is very unlike us indeed. The answer commonly given by Catholic theologians to this question underwent a dramatic shift in the middle of the 20th century. Previously there had been a general unanimity based on the teaching of Thomas Aquinas that the answer was 'Yes': the earthly Christ did indeed possess heavenly knowledge. The theological situation was then radically altered to one where the answer 'No' became predominant. Theologians preferred to treat Christ's knowledge in terms of self-consciousness, ordinary human knowing, faith, prophecy and mysticism, not the beatific vision. This book addresses the reasons why theologians abandoned Aquinas's thesis, arguing it has been too easily dismissed. Considering the evidence of Scripture and Tradition, and then moving from Christ's extraordinary knowledge through his ordinary knowledge, to his will, emotions and bodily life, the book sketches an outline of the extraordinary Saviour God has in fact given us and who is indeed the Saviour humanity truly needs.

Just before Christmas 1999, various prominent public figures, teachers, clergymen and others received a set of ten religious questions from the BBC's Today programme. All were predictable save one: "Will there be free will in heaven?" This book addresses this important question.

Simon Gaine sets out the arguments of two modern philosophers, one who concludes that heaven is undesirable because it excludes freedom by excluding the possibility of sin (Wall), and the other who responds that an orthodox notion of heaven in fact implies the real possibility of sin (Donnelly). He shows how such modern concerns have arisen against the background of theologians such as Suarez, who limits freedom in the face of heavenly impeccability, and asks whether a high value placed on freedom can be successfully combined with heavenly impeccability.

He then goes on to investigate the theories of Duns Scotus and William of Ockham, two theologians who hold a high view of freedom in general as well as heavenly impeccability, but they are found wanting. Gaine then introduces an alternative conception of freedom through an account of Servais Pinckaers' connection of two different ideas of freedom ("indifference" and "excellence") with two different moral theologies. He applies these two conceptions to eschatology.

He concludes that the most pleasing theory combines freedom for excellence and an intrinsic theory of impeccability develops this suggestion by drawing on and developing some ideas found in Thomas Aquinas.

Contributions by Cynthia Baron, Elizabeth Binggeli, Kimberly Nichele Brown, Terri Simone Francis, Priscilla Layne, Eric Pierson, Charlene Regester, Ellen C. Scott, Tanya L. Shields, and Judith E. Smith Intersecting Aesthetics: Literary Adaptations and Cinematic Representations of Blackness illuminates cultural and material trends that shaped Black film adaptations during the twentieth century. Contributors to this collection reveal how Black literary and filmic texts are sites of negotiation between dominant and resistant perspectives. Their work ultimately explores the effects racial perspectives have on film adaptations and how race-inflected cultural norms have influenced studio and independent film depictions. Several chapters analyze how self-censorship and industry censorship affect Black writing and the adaptations of Black stories in early to mid-twentieth-century America. Using archival material, contributors demonstrate the ways commercial obstacles have led Black writers and white-dominated studios to mask Black experiences. Other chapters document instances in which Black writers and directors navigate cultural norms and material realities to realize their visions in literary works, independent films, and studio productions. Through uncovering patterns in Black film adaptations, Intersecting Aesthetics reveals themes, aesthetic strategies, and cultural dynamics that rightfully belong to accounts of film adaptation. The volume considers travelogue and autobiography sources along with the fiction of Black authors H. G. de Lisser, Richard Wright, Ann Petry, Frank Yerby, and Walter Mosley. Contributors examine independent films The Love Wanga (1936) and The Devil’s Daughter (1939); Melvin Van Peebles's first feature, The Story of a Three Day Pass (1967); and the Senegalese film Karmen Geï (2001). They also explore studio-era films In This Our Life (1942), The Foxes of Harrow (1948), Lydia Bailey (1952), The Golden Hawk (1952), and The Saracen Blade (1954) and post-studio films The Learning Tree (1969), Shaft (1971), Lady Sings the Blues (1972), and Devil in a Blue Dress (1995).

Josephine Baker, the first Black woman to star in a major motion picture, was both liberated and delightfully undignified, playfully vacillating between allure and colonialist stereotyping.    Nicknamed the "Black Venus," "Black Pearl," and "Creole Goddess," Baker blended the sensual and the comedic when taking 1920s Europe by storm. Back home in the United States, Baker's film career brought hope to the Black press that a new cinema centered on Black glamour would come to fruition. In Josephine Baker's Cinematic Prism, Terri Simone Francis examines how Baker fashioned her celebrity through cinematic reflexivity, an authorial strategy in which she placed herself, her persona, and her character into visual dialogue. Francis contends that though Baker was an African American actress who lived and worked in France exclusively with a white film company, white costars, white writers, and white directors, she holds monumental significance for African American cinema as the first truly global Black woman film star. Francis also examines the double-talk between Baker and her characters in Le Pompier de Folies Bergère, La Sirène des Tropiques, Zou Zou, Princesse Tam Tam, and The French Way, whose narratives seem to undermine the very stardom they offered. In doing so, Francis artfully illuminates the most resonant links between emergent African American cinephilia, the diverse opinions of Baker in the popular press, and African Americans' broader aspirations for progress toward racial equality.    Examining an unexplored aspect of Baker's career, Josephine Baker's Cinematic Prism deepens the ongoing conversation about race, gender, and performance in the African diaspora.

Josephine Baker, the first Black woman to star in a major motion picture, was both liberated and delightfully undignified, playfully vacillating between allure and colonialist stereotyping.    Nicknamed the "Black Venus," "Black Pearl," and "Creole Goddess," Baker blended the sensual and the comedic when taking 1920s Europe by storm. Back home in the United States, Baker's film career brought hope to the Black press that a new cinema centered on Black glamour would come to fruition. In Josephine Baker's Cinematic Prism, Terri Simone Francis examines how Baker fashioned her celebrity through cinematic reflexivity, an authorial strategy in which she placed herself, her persona, and her character into visual dialogue. Francis contends that though Baker was an African American actress who lived and worked in France exclusively with a white film company, white costars, white writers, and white directors, she holds monumental significance for African American cinema as the first truly global Black woman film star. Francis also examines the double-talk between Baker and her characters in Le Pompier de Folies Bergère, La Sirène des Tropiques, Zou Zou, Princesse Tam Tam, and The French Way, whose narratives seem to undermine the very stardom they offered. In doing so, Francis artfully illuminates the most resonant links between emergent African American cinephilia, the diverse opinions of Baker in the popular press, and African Americans' broader aspirations for progress toward racial equality.    Examining an unexplored aspect of Baker's career, Josephine Baker's Cinematic Prism deepens the ongoing conversation about race, gender, and performance in the African diaspora.

Napoleon Bonaparte’s defeat in 1815 came at an inconvenient time for John Monk, an ambitious young naval officer. Forced to rethink his plans, John turned to the merchant service, where he encountered storms, shipwreck and even piracy as he traded between Liverpool and the Mediterranean through the 1830s and 1840s. ‘Bonaparte and Brimstone’ is the fascinating and engaging biography of a little-known Georgian naval lieutenant and mariner from Parkgate on the Wirral and brings him unforgettably to life. Vibrantly written, it is the beguiling story of one man’s hopes and fortunes, and is ultimately an emotional tale of family and belonging, enriched with abundant personal documents, among them the remarkable diary of a stormy voyage to Italy in 1824. John Monk saw ten years’ service across the seas of Europe and survived the horrific bloodshed on HMS Impregnable during the Bombardment of Algiers in 1816, but he grew dismayed at his lack of progress and battled the Admiralty just as he had once battled the French. ‘Bonaparte and Brimstone’ paints a portrait in miniature of British society in the nineteenth century and of the country’s seafarers who attempted to navigate a path through it.

Contributions by Cynthia Baron, Elizabeth Binggeli, Kimberly Nichele Brown, Terri Simone Francis, Priscilla Layne, Eric Pierson, Charlene Regester, Ellen C. Scott, Tanya L. Shields, and Judith E. Smith Intersecting Aesthetics: Literary Adaptations and Cinematic Representations of Blackness illuminates cultural and material trends that shaped Black film adaptations during the twentieth century. Contributors to this collection reveal how Black literary and filmic texts are sites of negotiation between dominant and resistant perspectives. Their work ultimately explores the effects racial perspectives have on film adaptations and how race-inflected cultural norms have influenced studio and independent film depictions. Several chapters analyze how self-censorship and industry censorship affect Black writing and the adaptations of Black stories in early to mid-twentieth-century America. Using archival material, contributors demonstrate the ways commercial obstacles have led Black writers and white-dominated studios to mask Black experiences. Other chapters document instances in which Black writers and directors navigate cultural norms and material realities to realize their visions in literary works, independent films, and studio productions. Through uncovering patterns in Black film adaptations, Intersecting Aesthetics reveals themes, aesthetic strategies, and cultural dynamics that rightfully belong to accounts of film adaptation. The volume considers travelogue and autobiography sources along with the fiction of Black authors H. G. de Lisser, Richard Wright, Ann Petry, Frank Yerby, and Walter Mosley. Contributors examine independent films The Love Wanga (1936) and The Devil’s Daughter (1939); Melvin Van Peebles's first feature, The Story of a Three Day Pass (1967); and the Senegalese film Karmen Geï (2001). They also explore studio-era films In This Our Life (1942), The Foxes of Harrow (1948), Lydia Bailey (1952), The Golden Hawk (1952), and The Saracen Blade (1954) and post-studio films The Learning Tree (1969), Shaft (1971), Lady Sings the Blues (1972), and Devil in a Blue Dress (1995).

Did Jesus enjoy the beatific vision of God on earth that Christians hope to enjoy only in heaven? This important question is related to a whole series of questions about Jesus, his knowledge and self-consciousness. Did he know he was God's Son? What did he know of his saving mission? These issues are linked to a fundamental question: is the Saviour we need one who is altogether like us or one who is in some ways unlike us? This book argues that God gave us a Saviour with beatific knowledge, and who in this respect is very unlike us indeed. The answer commonly given by Catholic theologians to this question underwent a dramatic shift in the middle of the 20th century. Previously there had been a general unanimity based on the teaching of Thomas Aquinas that the answer was 'Yes': the earthly Christ did indeed possess heavenly knowledge. The theological situation was then radically altered to one where the answer 'No' became predominant. Theologians preferred to treat Christ's knowledge in terms of self-consciousness, ordinary human knowing, faith, prophecy and mysticism, not the beatific vision. This book addresses the reasons why theologians abandoned Aquinas's thesis, arguing it has been too easily dismissed. Considering the evidence of Scripture and Tradition, and then moving from Christ's extraordinary knowledge through his ordinary knowledge, to his will, emotions and bodily life, the book sketches an outline of the extraordinary Saviour God has in fact given us and who is indeed the Saviour humanity truly needs.

This is the sixth edition of Global Import Regulations for Pre-Owned Medical Devices, which was first issued in May 1999. This report seeks to collect and compile information on the regulations relating to the importation of pre-owned (used and refurbished) capital medical equipment in countries around the world. It also includes some information on market demand for such equipment.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

This scarce antiquarian book is included in our special Legacy Reprint Series. In the interest of creating a more extensive selection of rare historical book reprints, we have chosen to reproduce this title even though it may possibly have occasional imperfections such as missing and blurred pages, missing text, poor pictures, markings, dark backgrounds and other reproduction issues beyond our control. Because this work is culturally important, we have made it available as a part of our commitment to protecting, preserving and promoting the world's literature.

This scarce antiquarian book is included in our special Legacy Reprint Series. In the interest of creating a more extensive selection of rare historical book reprints, we have chosen to reproduce this title even though it may possibly have occasional imperfections such as missing and blurred pages, missing text, poor pictures, markings, dark backgrounds and other reproduction issues beyond our control. Because this work is culturally important, we have made it available as a part of our commitment to protecting, preserving and promoting the world's literature.

This scarce antiquarian book is included in our special Legacy Reprint Series. In the interest of creating a more extensive selection of rare historical book reprints, we have chosen to reproduce this title even though it may possibly have occasional imperfections such as missing and blurred pages, missing text, poor pictures, markings, dark backgrounds and other reproduction issues beyond our control. Because this work is culturally important, we have made it available as a part of our commitment to protecting, preserving and promoting the world's literature.

This scarce antiquarian book is included in our special Legacy Reprint Series. In the interest of creating a more extensive selection of rare historical book reprints, we have chosen to reproduce this title even though it may possibly have occasional imperfections such as missing and blurred pages, missing text, poor pictures, markings, dark backgrounds and other reproduction issues beyond our control. Because this work is culturally important, we have made it available as a part of our commitment to protecting, preserving and promoting the world's literature.