Gabriel Il Profeta


Book Description

Gabriel il Profeta was raised in the Vatican ever since he was a young boy and was mentored and educated by priests, scholars and has attended numerous colleges. But this information isn't available to anyone except the Pope. All of Gabriel's information is inside the "Book of Secrets" and explains all his hidden talents. The committee of Cardinals that oversee all paranormal investigations have no knowledge of Gabriel's attributes and talents, and Cardinal Leonetti wants to get a hold of that book. When an exorcism takes the wrong turn and the family of the possessed child describe Gabriel as "God's Reaper", Cardinal Leonetti and the committee want answers. The Pope intervenes and suspends Gabriel indefinitely and orders him to leave the Vatican and Italy (for his own good). The Pope instructed Gabriel not to conduct any business on behalf of the church during his suspension. Gabriel eludes the Swiss Guards while enroute to the airport and manages to flee Italy incognito. Gabriel eventually ends up in Jarden, Montana, a small town in the middle of nowhere to sit out his suspension. Gabriel immediately has an encounter with a young boy (Willie) at the local diner and a malevolent spirit that's haunting the boy. Willie tells Gabriel about other spirits at his house and at school that have been tormenting him. Gabriel vowed to help Willie and his mother even though he had been instructed by the Pope not to involve himself with ghosts or demons. Everywhere Gabriel turns someone needs his talents and tries to keep his activity hidden with the help of the local priest (Father McDunnough), who is an old friend. Gabriel helps an older couple with a problem in their basement, a friend's mother at the nursing home and a paranormal investigations team at the old Montana State School. All the while Cardinal Leonetti has his "Sicario's" feverishly looking for Gabriel, even though the Pope has instructed them to leave him alone. Gabriel's intention is to return to the Vatican and face Cardinal Leonetti and the committee, but Cardinal Leonetti and the demons are intent on that not happening. Gabriel has an "uncanny" knack of changing the lives of the people he encounters, and inflicting pain on the non-living! Gabriel begins his long journey back to the Vatican and concludes with a showdown between Cardinal Leonetti, the committee and himself. Gabriel discovers that Cardinal Leonetti has been scheming with a dark entity who is very insistent on finding out if Gabriel is "Living" or "Non-Living"! Gabriel battles it out with the demon "Nazzar" in the Cardinal's Chambers within the Vatican, as the committee, Cardinal Leonetti and the Pope witness Gabriel's skills and attributes come forth.




Il Giro di Boa


Book Description




Opera Plot Index


Book Description

First Published in 1990. Information about individual operas and other types of musical theater is scattered throughout the enormous literature of music. This book is an effort to bring that data together by comprehensively indexing plots and descriptions of individual operatic background, criticism and analysis, musical themes and bibliographical references. The principal audience for this general reference guide will be for the non-specialist, but its hoped that persons specialising in opera would also find it useful.




Early Modern Philosophers and the Renaissance Legacy


Book Description

When does Renaissance philosophy end, and Early Modern philosophy begin? Do Renaissance philosophers have something in common, which distinguishes them from Early Modern philosophers? And ultimately, what defines the modernity of the Early Modern period, and what role did the Renaissance play in shaping it? The answers to these questions are not just chronological. This book challenges traditional constructions of these periods, which partly reflect the prejudice that the Renaissance was a literary and artistic phenomenon, rather than a philosophical phase. The essays in this book investigate how the legacy of Renaissance philosophers persisted in the following centuries through the direct encounters of subsequent generations with Renaissance philosophical texts. This volume treats Early Modern philosophers as joining their predecessors as ‘conversation partners’: the ‘conversations’ in this book feature, among others, Girolamo Cardano and Henry More, Thomas Hobbes and Lorenzo Valla, Bernardino Telesio and Francis Bacon, René Descartes and Tommaso Campanella, Giulio Cesare Vanini and the anonymous Theophrastus redivivus.




Catalogue


Book Description




Dante and the Mediterranean Comedy


Book Description

In recent decades the concept of Mediterranean has been cited with increasing frequency in relation to the study of medieval literatures. And yet, in what sense would Dante’s Comedy be ‘Mediterranean’? Is it because of its Greek-Arabic and Islamic sources? Dante and the Mediterranean Comedy analyzes the ideological function of references to the sea in the study of the Comedy undertaken by Enrico Cerulli, a scholar of Somali-Ethiopian languages, and a colonial governor of ‘Italian East Africa.’ Then it presents novel lines of inquiry on the reception and appropriation of the poem, such as the presence of Islamic sources in early commentaries of the Comedy, and cross-cultural allusions to Dante’s Hell in some graffiti on the walls of the Spanish Inquisition prison in Palermo. The image of the Mediterranean that seeps through the poem and through the history of its circulation is vivid yet hardly idyllic.




Encyclopedia of Renaissance Philosophy


Book Description

Gives accurate and reliable summaries of the current state of research. It includes entries on philosophers, problems, terms, historical periods, subjects and the cultural context of Renaissance Philosophy. Furthermore, it covers Latin, Arabic, Jewish, Byzantine and vernacular philosophy, and includes entries on the cross-fertilization of these philosophical traditions. A unique feature of this encyclopedia is that it does not aim to define what Renaissance philosophy is, rather simply to cover the philosophy of the period between 1300 and 1650.




Elijah Prophet of Carmel


Book Description

For Carmelites, Elijah is considered their legendary founder and patron. This study explores Elijah in Scripture, legend, and Carmelite documents. Members of the three monotheistic faiths have always told stories of what the prophet Elijah has done and is still expected to do in sacred history. He is perhaps most appreciated by members of the Carmelite Order, known for its contemplative and pastoral orientation. Elijah is considered their legendary founder and traditional patron. Carmelites rank him as one of their greatest spiritual models. Their coat of arms displays his flaming sword, Mount Carmel, and Elijah's proclamation, "With zeal I have been zealous for the Lord God of Hosts." This book inquires into this deep appreciation. It examines the linkage between the Order and the prophet over time. More Information Beginning with the oldest knowledge we have about Elijah, coming from Scripture, Elijah Prophet of Carmel briefly sketches his role in the three faiths of Judaism, Christianity, and Islam. It then turns to what the distant, but influential, Christian antecedents of the Carmelite Order, the desert hermits and the early Fathers, wrote about the zealous man of God. As the Carmelite Order was founded, achieved its corporate identity, and changed over time, so did its views of its legendary model. Interaction between storytelling about Elijah and Carmelites' understanding of themselves continues even to the present. As thoughts from the past about the prophet continue to influence them, both Teresian Carmelites and Carmelites of the Ancient Observance of our times are developing a brand-new tradition of him, the tradition of Elijah's double charism.




Puro Fonte


Book Description




An Introduction to the Dramatic Works of Giacomo Meyerbeer: Operas, Ballets, Cantatas, Plays


Book Description

Giacomo Meyerbeer (1791-1864) was a great musical dramatist in his own right. The fame of his operas rests on his radical treatment of form, his development of scenic complexes and greater plasticity of structure and melody, his dynamic use of the orchestra, and close attention to all aspects of presentation and production, all of which set new standards in Romantic opera and dramaturgy. This book carries forward the process of rediscovery and reassessment of Meyerbeer‘s artincluding not just his famous French operas, but also his German and Italian ones placing them in the context of his entire dramatic oeuvre, including his ballets, oratorios, cantatas and incidental music. From Meyerbeer‘s first stage presentation in 1810 to his great posthumous accolade in 1865, some 24 works mark the unfolding of this life lived for dramatic music. The reputation of the famous four grand operas may well live on in the public consciousness, but the other works remain largely unknown. This book provides an approachable introduction to them. The works have been divided into their generic types for quick reference and helpful association, and placed within the context of the composer‘s life and artistic development. Each section unfolds a brief history of the work‘s origins, an account of the plot, a critical survey of some of its musical characteristics, and a record of its performance history. Robert Letellier examines each work from a dramaturgical view point, including the essential often challenging philosophical and historical elements in the scenarios, and how these concepts were translated musically onto the stage. A series of portraits and stage iconography assist in bringing the works to life.