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Szívhang kül?nszám 36. k?tet
￥43.16
Szívhang kül?nszám 36. k?tet
Júlia 515. (A sárkányszelídít?)
￥18.72
Júlia 515. (A sárkányszelídít?)
Nyer? ajánlat
￥20.52
Nyer? ajánlat
A tengerszem? lány
￥20.52
A tengerszem? lány
Szívhang 442. (Bet?k a homokban)
￥18.72
Szívhang 442. (Bet?k a homokban)
Rabszolgám leszel!
￥20.52
Rabszolgám leszel!
Az els? karácsonyunk, Céges buli, Más ez a karácsony
￥52.73
Az els? karácsonyunk, Céges buli, Más ez a karácsony
Szívhang 440. (Egyszer révbe érünk)
￥18.72
Szívhang 440. (Egyszer révbe érünk)
Júlia 528. (Helyettesb?l igazi)
￥18.56
Júlia 528. (Helyettesb?l igazi)
Quanti buchi ha un anello?
￥70.96
Quanti buchi ha un anello?
Bianca 265–266. (Született sz?ke, Házasság határozott id?re)
￥48.74
Bianca 265–266. (Született sz?ke, Házasság határozott id?re)
Romana 515. (Az eladott menyasszony)
￥18.56
Romana 515. (Az eladott menyasszony)
A számolás joga: A 3 Oscar
￥100.47
A számolás joga: A 3 Oscar
Júlia 524. (Karácsonyi bébiszitter)
￥18.56
Júlia 524. (Karácsonyi bébiszitter)
Szívhang 556–557. - Felenged a jég, Az új kollégan?
￥40.30
Szívhang 556–557. - Felenged a jég, Az új kollégan?
Júlia 522. (Kegyetlen szeret?)
￥18.72
Júlia 522. (Kegyetlen szeret?)
Romana kül?nszám 54. k?tet
￥43.16
Romana kül?nszám 54. k?tet
Júlia 520. (Szenvedélyek hálójában)
￥18.72
Júlia 520. (Szenvedélyek hálójában)
Anekdoták
￥24.44
Vidám, r?vid valós t?rténetek a szerz? és családja életéb?l.
On Quiet Nights
￥65.32
There's a place inside us that is cloaked in darkness, rubbed raw with silence. It's a shadow wrapped in a shadow and it screams, but it screams in harsh whispers. This collection explores the blackness within, the gritty underground that hides inside memories and cowers just outside fear. The poems, paired with illustrations from Matthias Matthies work in sync to create a collage of blunt sexuality, masochistic, and sometimes sadistic recollections of love, reflection, and self-exploration.??Lindemann paints pictures with his poems, a slave to the vulnerability and sexuality that drives mankind. His words themselves are body modifications that settle on readers, piercing then slowly penetrating and pumping his audience full with a mix of pleasure and pain. A combination of longing, emotional depth, and bestial intuition, these pieces evoke an innate nature to seek pleasure, to ask for forgiveness, to instill blame. ??On Quiet Nights pulls back the curtains at night and asks readers to think about who they are. Lindemann holds a mirror to soul, capturing desire and need, with the courage to answer some of life's biggest questions: Who am I? What am I? Why am I?
Scrappy Rough Draft: Use science to strategically motivate yourself & finish wri
￥0.01
The canonical Gospels stand very differently, as respects origin, character and reception, with the Gospels, Acts and Apocalpyses known as ‘Apocryphal.’ These apocryphal writings began to be produced (so far as known) in the second century, mostly in Ebionitic and Gnostic circles, and, with few exceptions, were repudiated and condemned by the Church. Only later, and in modified and expurgated forms, did their stories pass into the general Catholic tradition. The second century seems to have been a perfect hot-bed for the production of this class of writings. The heretical Gospel of the Egyptians is already quoted in 2 Clement (circa a.d. 140). Iren?us speaks of the sect of the Marcosians as adducing ‘an unspeakable number of apocryphal and spurious writings, which they themselves had forged, to bewilder the minds of the foolish,’ and instances the story, found in the Gospel of Thomas, of Jesus confounding the schoolmaster who sought to teach Him His letters (Adv. Haer. i. 20). Later tradition attributed the composition of many of the apocryphal writings (Pseudo-Matthew, Acts of Apostles) to a mythical Leucius, a disciple of the Apostles (cp. art. ‘Leucius,’ Dict. of Christ. Biog.). Eusebius gives a list of spurious and disputed books: ‘That we may have it in our power to know both these books (the canonical) and those that are adduced by the heretics under the name of the Apostles, such, viz., as compose the Gospels of Peter, of Thomas, and of Matthew, and certain others beside these, or such as contain the Acts of Andrew and John, and of the other Apostles, of which no one of those writers in the ecclesiastical succession has condescended to make any mention in his works; and, indeed, the character of the style itself is very different from that of the Apostles, and the sentiments, and the purport of those things that are advanced in them, deviating as far as possible from sound orthodoxy, evidently proves they are the fictions of heretical men; whence they are not only to be ranked among the spurious writings, but are to be rejected as altogether absurd and impious’ (H. E. iii. 25). Only a small part of this extensive literature remains to us, and in no case in its original form, but solely in later, and often much-altered recensions. CrossReach Publications
