In Search of the Truth is a bold and straightforward study of what we believe to be the most important subjects today. Satanic attack and efforts to intervene adds to that importance. As the reader will find from the very first sentence, no subject it off limits, and every effort is made to give as complete an answer as God will help us supply. The writing style of Rev. Church is an intended effort to use normal and common language we're all familiar with; and as He's said "I'll break every rule or tradition, grammar or punctuation if it will help those who read this understand the lesson we're trying to teach". One of the more important answers we give in this work is to the question of "why does it seem that God is delaying the rapture?" When we see this answer, and what it means to those who won't be allowed to go in rapture: the fear and burden so many of us carry, is going to be changed into an even greater effort to glorify and honor our God!

Authenticity is a notion much debated, among discussants as diverse as cultural theorists and art dealers, music critics and tour operators. The desire to find and somehow capture or protect the “authentic” narrative, art object, or ceremonial dance is hardly new. In this masterful examination of German and American folklore studies from the eighteenth century to the present, Regina Bendix demonstrates that the longing for authenticity remains deeply implicated in scholarly approaches to cultural analysis. Searches for authenticity, Bendix contends, have been a constant companion to the feelings of loss inherent in modernization, forever upholding a belief in a pristine yet endangered cultural essence and fueling cultural nationalism worldwide. Beginning with precursors of Herder and Emerson and the “discovery” of the authentic in expressive culture and literature, she traces the different, albeit intertwined, histories of German Volkskunde and American folklore studies. A Swiss native educated in American folklore programs, Bendix moves effortlessly between the two traditions, demonstrating how the notion of authenticity was used not only to foster national causes, but also to lay the foundations for categories of documentation and analysis within the nascent field of folklore studies. Bendix shows that, in an increasingly transcultural world, where Zulu singers back up Paul Simon and where indigenous artists seek copyright for their traditional crafts, the politics of authenticity mingles with the forces of the market. Arguing against the dichotomies implied in the very idea of authenticity, she underscores the emptiness of efforts to distinguish between folklore and fakelore, between echt and ersatz.

Originally published in 1961, this study challenges the stereotype of Kierkegaard as being socially aloof and politically conservative. Bukdahl does a through job of contextualizing Kierkegaard in nineteenth-century Denmark, shedding light on his relationships with his family, various religious groups, and the leading intellectual figures of his time. At the same time, Kierkegaards fundamental interest in the plight of the common man is revealed both from his writings and his social encounters. In addition to crafting a fine translation, Bruce Kirmmse has expanded the usefulness of Bukdahl's work by including a significant biographical introduction, informative notes identifying events and figures referenced in the text, and a guide pointing readers to English translations of all of Kierkegaard's writings.

In Search of Myself is an autobiography written by a woman, in which she wrote the difficulties that she faced and speaks about how she overcame them. Through this book, the author shares about her life and travel experiences. She talks about how her life circumstances shaped her outlook.. Her desire to be something more than a housewife and to be recognized for her own accomplishments guided her throughout her life. Craving for settlement abroad after marriage reflects her ambitious state of mind. She has overtly expressed her viewpoint over this issue in the chapter titled “From Pebbles to Pearls”

Included in the anthology are previously published poems contained within SECTOR#7 and of Ares and Men, also Sketches and Reflections of 2012. This covers in full the poetic output of the author since 2009. The overall design is a deliberate step away from the abstract modern poetry preoccupied with syllabic dissection and abstract notions to the intentional exclusion of tangible subjects. Modern poetry isn't supposed to make sense, we're told, and it is more a play with words and sounds. The free-flowing style here, whilst of variable meter, does no more than serve the purpose. Substance rule over style first and last. It is how it used be before modernists turned it on the head. In this book, preoccupation is with here and now; real people in all kinds of predicament and lifelike situations. It will be instantly recognized. It comes down on sham democracy, war mongers, banksters, and other vermin. Spared is none, least of all the author himself. His sporting inadequacies exposed for one should tickle the funny bone. Above all, the book is an antiwar crusade. On second level, it is on side of those creating the wealth, not those cashing in on the fat spoils. It is poetry of the common man in the street. Enough for young and old and young at heart

The purpose of this revised and extended book is to try to explain how the policies of the Community are meant to achieve its primary objectives. A short history of the foundation and major events are included and the formal institutions and the actual decision-making processes are explained.

In the 1930s, Aaron Copland began to write in an accessible style he described as "imposed simplicity." Works like El Salón México, Billy the Kid, Lincoln Portrait, and Appalachian Spring feature a tuneful idiom that brought the composer unprecedented popular success and came to define an American sound. Yet the cultural substance of that sound--the social and political perspective that might be heard within these familiar pieces--has until now been largely overlooked. While it has long been acknowledged that Copland subscribed to leftwing ideals, Music for the Common Man is the first sustained attempt to understand some of Copland's best-known music in the context of leftwing social, political, and cultural currents of the Great Depression and Second World War. Musicologist Elizabeth Crist argues that Copland's politics never merely accorded with mainstream New Deal liberalism, wartime patriotism, and Communist Party aesthetic policy, but advanced a progressive vision of American society and culture. Copland's music can be heard to accord with the political tenets of progressivism in the 1930s and '40s, including a fundamental sensitivity toward those less fortunate, support of multiethnic pluralism, belief in social democracy, and faith that America's past could be put in service of a better future. Crist explores how his works wrestle with the political complexities and cultural contradictions of the era by investing symbols of America--the West, folk song, patriotism, or the people--with progressive social ideals. Much as been written on the relationship between politics and art in the 1930s and '40s, but very little on concert music of the era. Music for the Common Man offers fresh insights on familiar pieces and the political context in which they emerged.