Supernatural Series Spells
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The Truth About Angels
PROJECT CONNECT PROJECT CONNECT PROJECT CONNECT The Truth About Angels by Donald L. Deffner I grew up during the Great Depression in the early 1930s. My father was a minister. Behind our small home was a dirt alley which led nine blocks to downtown Wichita, Kansas. I can remember when I was a boy the hungry, destitute men who came to the back door begging for food. My mother never turned them down. She shared what little we had, even if only a couple of pieces of bread and a glass of milk. My mother didn’t just say, “Depart in peace! I’ll pray for you! Keep warm and well fed!” (See James 2:16.) No. She acted. She gave. Often I was curious about these mysterious and somewhat scary men. I had a sense that they were “different” than I was, not worse, not better, just different. I always watched these strangers heading back up the alley toward downtown, and sometimes, in a cops-and-robbers fashion, I secretly followed them, jumping behind bushes so I wouldn’t be seen. I think I half expected them to suddenly disappear. After all, my Sunday school teacher, encouraging us to be kind and care for strangers, told us the Bible says that, by doing so, many people have entertained angels without knowing it (see Hebrews 13:2). I never saw any of the men disappear. They were ordinary, hungry human beings. But my Sunday school teacher was right. God does send His angels to us, and they do interact with us—not just to test us and see if we are kind, but to protect us and guide us. -
Father Trumps Fate in Supernatural Lugene Rosen Chapman University, [email protected]
Chapman University Chapman University Digital Commons Library Books and Book Chapters Leatherby Libraries 9-2014 Who's Your Daddy: Father Trumps Fate in Supernatural Lugene Rosen Chapman University, [email protected] Follow this and additional works at: http://digitalcommons.chapman.edu/librarian_books Part of the Family, Life Course, and Society Commons, Gender and Sexuality Commons, and the Television Commons Recommended Citation Rosen, L. (2014). Who's your daddy? Father trumps fate in Supernatural. In S.A. George & R.M. Hansen (Eds.), Supernatural, humanity, and the soul: On the highway to hell and back (pp. 183-196). New York, NY: Palgrave Macmillan. This Book is brought to you for free and open access by the Leatherby Libraries at Chapman University Digital Commons. It has been accepted for inclusion in Library Books and Book Chapters by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. Rosen1 Who's Your Daddy: Father Trumps Fate in Supernatural From the pilot episode, Supernatural has clearly been rooted in family, specifically in a male-only family. The brief glimpse viewers have of the Winchester household together is quickly replaced by a family ravaged by the death of a beloved mother and wife. Following Mary’s death, the family becomes less like kin and more like an elite fighting squad with John as the stern general. John’s shift from loving, nurturing father to disciplinarian will have far- reaching effects on Dean and Sam and the men that they will ultimately become, yet their experiences with John as father are vastly different. -
The Storyworld Dynamics of Supernatural
PRODUCTIONS / MARKETS / STRATEGIES ANGELS, DEMONS AND WHATEVER COMES NEXT: THE STORYWORLD DYNAMICS OF SUPERNATURAL FLORENT FAVARD Name Florent Favard the series with an analysis of its writing, production and Academic centre IECA, Université de Lorraine reception contexts, and divides the long-running series into E-mail address [email protected] four eras, each defined by a specific showrunner. It starts by exploring the context of the series’ creation, before KEYWORDS cataloguing the shifting dynamics of the storyworld during Storyworld; narratology; writing; ethos; showrunner. the four eras: the ‘stealth teleological’ approach of series creator Eric Kripke; the complex reconfigurations of the Sera Gamble era; the ‘mythology reboot’ of the Jeremy ABSTRACT Carver era; and the ever-increasing stakes and expansionist This paper explores the narrative dynamics of the fantasy dynamics of the Andrew Dabb era. The aim of this paper television series Supernatural (2005-) in order to better is to show how ‘periodising’ a long-running series by using understand how this particular program has become a close-reading and studying the dynamics of a storyworld backbone of The CW network. Combining formal and can expand and complete analysis focused on audiences contextual narratologies, it blends a close-reading of and the genesis of the text. 19 SERIES VOLUME IV, Nº 2, WINTER 2018: 19-26 DOI https://doi.org/10.6092/issn.2421-454X/8164 INTERNATIONAL JOURNAL OF TV SERIAL NARRATIVES ISSN 2421-454X INVESTIGATING THE CW PRODUCTIONS / MARKETS / STRATEGIES > FLORENT FAVARD ANGELS, DEMONS AND WHATEVER COMES NEXT: THE STORYWORLD DYNAMICS OF SUPERNATURAL The Apocalypse has just been averted. -
Central Intelligence Agency (CIA) Freedom of Information Act (FOIA) Case Log October 2000 - April 2002
Description of document: Central Intelligence Agency (CIA) Freedom of Information Act (FOIA) Case Log October 2000 - April 2002 Requested date: 2002 Release date: 2003 Posted date: 08-February-2021 Source of document: Information and Privacy Coordinator Central Intelligence Agency Washington, DC 20505 Fax: 703-613-3007 Filing a FOIA Records Request Online The governmentattic.org web site (“the site”) is a First Amendment free speech web site and is noncommercial and free to the public. The site and materials made available on the site, such as this file, are for reference only. The governmentattic.org web site and its principals have made every effort to make this information as complete and as accurate as possible, however, there may be mistakes and omissions, both typographical and in content. The governmentattic.org web site and its principals shall have neither liability nor responsibility to any person or entity with respect to any loss or damage caused, or alleged to have been caused, directly or indirectly, by the information provided on the governmentattic.org web site or in this file. The public records published on the site were obtained from government agencies using proper legal channels. Each document is identified as to the source. Any concerns about the contents of the site should be directed to the agency originating the document in question. GovernmentAttic.org is not responsible for the contents of documents published on the website. 1 O ct 2000_30 April 2002 Creation Date Requester Last Name Case Subject 36802.28679 STRANEY TECHNOLOGICAL GROWTH OF INDIA; HONG KONG; CHINA AND WTO 36802.2992 CRAWFORD EIGHT DIFFERENT REQUESTS FOR REPORTS REGARDING CIA EMPLOYEES OR AGENTS 36802.43927 MONTAN EDWARD GRADY PARTIN 36802.44378 TAVAKOLI-NOURI STEPHEN FLACK GUNTHER 36810.54721 BISHOP SCIENCE OF IDENTITY FOUNDATION 36810.55028 KHEMANEY TI LEAF PRODUCTIONS, LTD. -
Indigo in Motion …A Decidedly Unique Fusion of Jazz and Ballet
A Teacher's Handbook for Pittsburgh Ballet Theatre's Production of Indigo in Motion …a decidedly unique fusion of jazz and ballet Choreography Kevin O'Day Lynne Taylor-Corbett Dwight Rhoden Music Ray Brown Stanley Turrentine Lena Horne Billy Strayhorn Sponsored by Pittsburgh Ballet Theatre's Arts Education programs are supported by major grants from the following: Allegheny Regional Asset District Claude Worthington Benedum Foundation Pennsylvania Council on the Arts The Hearst Foundation Sponsoring the William Randolph Hearst Endowed Fund for Arts Education Additional support is provided by: Alcoa Foundation, Allegheny County, Bayer Foundation, H. M. Bitner Charitable Trust, Columbia Gas of Pennsylvania, Dominion, Duquesne Light Company, Frick Fund of the Buhl Foundation, Grable Foundation, Highmark Blue Cross Blue Shield, The Mary Hillman Jennings Foundation, Milton G. Hulme Charitable Foundation, The Roy A. Hunt Foundation, Earl Knudsen Charitable Foundation, Lazarus Fund of the Federated Foundation, Matthews Educational and Charitable Foundation,, McFeely-Rogers Fund of The Pittsburgh Foundation, William V. and Catherine A. McKinney Charitable Foundation, Howard and Nell E. Miller Foundation, The Charles M. Morris Charitable Trust, Pennsylvania Department of Community and Economic Development, The Rockwell Foundation, James M. and Lucy K. Schoonmaker Foundation, Target Corporation, Robert and Mary Weisbrod Foundation, and the Hilda M. Willis Foundation. INTRODUCTION Dear Educator, In the social atmosphere of our country, in this generation, a professional ballet company with dedicated and highly trained artists cannot afford to be just a vehicle for public entertainment. We have a mission, a commission, and an obligation to be the standard bearer for this beautiful classical art so that generations to come can view, enjoy, and appreciate the significance that culture has in our lives. -
Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas. -
Goodbye Stranger Free
FREE GOODBYE STRANGER PDF Rebecca Stead | 304 pages | 02 Jun 2016 | Andersen Press Ltd | 9781783443994 | English | London, United Kingdom Goodbye Stranger - Wikipedia It was an early morning yesterday I was up before Goodbye Stranger dawn And I really have enjoyed my stay But I must be moving on. Like a king without a castle Like a queen without a throne I'm an early morning lover And I Goodbye Stranger be moving on. Now I believe in what you say Is the undisputed truth But I have to have things my own way To keep me in my youth. Like a ship without an anchor Like a slave without a chain Just the thought of those sweet ladies Sends a shiver through my veins. And I will go Goodbye Stranger shining Shining like brand new I'll never look behind me My troubles will be few. Goodbye stranger it's been nice Hope you find your paradise Tried to see your point of view Hope your dreams will all come true. Goodbye Mary, goodbye Jane Will we ever meet again Feel no Goodbye Stranger, feel no shame Come tomorrow, feel no pain. Meet again? Now some they do and some they don't And some you just can't tell And some they will and Goodbye Stranger they won't With some it's just as well. You can laugh at my behaviour And that'll never bother me Say the devil is my saviour But I don't pay no heed. Goodbye, stranger, it's been nice Hope you find your paradise Tried to see your point of view Hope your dreams will all come true. -
De-Demonising the Old Testament
De-Demonising the Old Testament An Investigation of Azazel , Lilith , Deber , Qeteb and Reshef in the Hebrew Bible Judit M. Blair Doctor of Philosophy University of Edinburgh 2008 Declaration I declare that the present thesis has been composed by me, that it represents my own research, and that it has not been submitted for any other degree or professional qualification. ______________________ Judit M. Blair ii ACKNOWLEDGEMENTS There are many people to thank and acknowledge for their support and help over the past years. Firstly I would like to thank the School of Divinity for the scholarship and the opportunity they provided me in being able to do this PhD. I would like to thank my ‘numerous’ supervisors who have given of their time, energy and knowledge in making this thesis possible: To Professor Hans Barstad for his patience, advice and guiding hand, in particular for his ‘adopting’ me as his own. For his understanding and help with German I am most grateful. To Dr Peter Hayman for giving of his own time to help me in learning Hebrew, then accepting me to study for a PhD, and in particular for his attention to detail. To Professor Nick Wyatt who supervised my Masters and PhD before his retirement for his advice and support. I would also like to thank the staff at New College Library for their assistance at all times, and Dr Jessie Paterson and Bronwen Currie for computer support. My fellow colleagues have provided feedback and helpful criticism and I would especially like to thank all members of HOTS-lite I have known over the years. -
Will This Manhattan Projects Original Artwork Cliffhanger Make Another
COMICS COSPLAY TV/FILM GAMES SUBMIT CGC Search … Will This Manhattan Projects Original Artwork Cliffhanger Make Another Big Splash? Posted by Mark Seifert March 19, 2014 0 Comments Facebook Twitter Pinterest LinkedIn Tumblr Email Reddit [The Manhattan Projects #18 has been out for a couple weeks, but still — if you haven’t read this issue and plan to, you might want to skip this post for now.] Several years into the digital era for both comics reading and comics production, I still love to look at original comic art up close. The look and feel of the art board, the subtle texture of the ink, the faint traces of changes and corrections… it all adds up to a little extra insight into the time and circumstances behind the comics book’s creation. We’ve mentioned a bunch of noteworthy original art sales here in recent times — from that awe-inspiring Golden Age Action Comics #15 cover by Fred Guardineer, to this Silver Age Fantastic Four #55 page by Jack Kirby, to this Bronze Age classic Amazing Spider- Man #121 cover by John Romita Sr, down to the current record holder for a piece of American comic book art with this Amazing Spider-Man #328 cover by Todd McFarlane. And increasingly, original art sales from much more recent comics are turning heads as well. It’s probably no surprise that Skottie Young original art is highly sought after, or that Walking Dead original art — even panel pages — can command some eye- popping prices. But modern comic art collectors have broadened their interests to many other artists and titles of quality in recent times, such as this Pia Guerra Y: The Last Man panel page that recently went for $1000. -
Episode 47 – “A Very Merry Supernatural Christmas”
Episode 47 – “A Very Merry Supernatural Christmas” Release Date: December 24, 2018 Running Time: 1 hour, 11 minutes Sally: Kay. Fuck, marry, kill. Sam, Dean, Cas. Emily: Ah, fu-- (laugh) Brie: I feel like that’s easy. (laugh) Emily: That’s super easy. Sally: I just -- we gotta start the episode somehow. Emily: OK, kill Sam, obviously. Brie: Duh. Yeah, no, duh. Yeah. Emily: Yeah. Brie: Yeah. Mm. Sally: (laugh) Emily: Uh, then I guess I’d marry Cas? Brie: Yeah … Sally: Fuck Dean? Emily: Yeah. Sally: That’s where I was sitting too. Brie: Yeah. Sally: So we’re all in agreement. Brie: Yeah. Emily: I just -- Cas actually has a personality I can stand. When he actually develops a personality, which is later, I guess, in the series. Sally: Yeah. Brie: I do think, though, that, like, the emotional parts of Dean -- Emily: Yeah. Brie: If that -- if that was, like, turned on all the time. Marry. Emily: My idealized version of Dean -- Brie: Yeah. Emily: I would marry. Brie: Yeah. Yeah. Emily: But the Dean that’s actually on the show? Mm-mm. Fuckin’ leave. Sally: OK! (all laugh) Emily, singing: Have a holly, jolly Christmas … Sally: Um, earlier I was reading an article called -- Brie: Oh! Oh, yeah. Yeah. Emily: Don’t repeat it. It’s the worst. Sally: (laughing) Emily: I know we’re an explicit podcast, but this might be the line of what’s too explicit. Brie: (laugh) Sally: K, it was an article about monster erotica, and the title of the article is also a title for the book. -
ABSTRACT the Women of Supernatural: More Than
ABSTRACT The Women of Supernatural: More than Stereotypes Miranda B. Leddy, M.A. Mentor: Mia Moody-Ramirez, Ph.D. This critical discourse analysis of the American horror television show, Supernatural, uses a gender perspective to assess the stereotypes and female characters in the popular series. As part of this study 34 episodes of Supernatural and 19 female characters were analyzed. Findings indicate that while the target audience for Supernatural is women, the show tends to portray them in traditional, feminine, and horror genre stereotypes. The purpose of this thesis is twofold: 1) to provide a description of the types of female characters prevalent in the early seasons of Supernatural including mother-figures, victims, and monsters, and 2) to describe the changes that take place in the later seasons when the female characters no longer fit into feminine or horror stereotypes. Findings indicate that female characters of Supernatural have evolved throughout the seasons of the show and are more than just background characters in need of rescue. These findings are important because they illustrate that representations of women in television are not always based on stereotypes, and that the horror genre is evolving and beginning to depict strong female characters that are brave, intellectual leaders instead of victims being rescued by men. The female audience will be exposed to a more accurate portrayal of women to which they can relate and be inspired. Copyright © 2014 by Miranda B. Leddy All rights reserved TABLE OF CONTENTS Tables -
The Confessions of Aleister Crowley
The Confessions of Aleister Crowley The Confessions of Aleister Crowley www.Empirical-Academy.com Forward "It seemed to me that my first duty was to prove to the world that I was not teaching Magick for money. I promised myself always to publish my books on an actual loss on the cost of production --- never to accept a farthing for any form of instruction, giving advice, or any other service whose performance depended on my magical attainments. I regarded myself as having sacrificed my career and my fortune for initiation, and that the reward was so stupendous that it made the price pitifully mean, save that, like the widow's mite, it was all I had. I was therefore the wealthiest man in the world, and the least I could do was to bestow the inestimable treasure upon my poverty-stricken fellow men. I made it also a point of absolute honour never to commit myself to any statement that I could not prove in the same sense as a chemist can prove the law of combining weights. Not only would I be careful to avoid deceiving people, but I would do all in my power to prevent them deceiving themselves. This meant my declaring war on the spiritualists and even the theosophists, though I agreed with much of Blavatsky's teachings, as uncompromisingly as I had done on Christianity." file:///C|/Documents and Settings/Doc/Desktop/venomous-magick.com/members/confess/pdf cover.htm (1 of 2) [10/4/2004 5:52:45 PM] The Confessions of Aleister Crowley CONTENTS PART ONE: Towards the Golden Dawn {29} Chapter: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15,