Dr. H. M. Baagil's Muslim Christian Dialogue is a proselytic tract that sets forth Islam's primary charges against Christianity: the corruption of Scriptures revealed to earlier prophets and the adoption of false and idolatrous doctrine. Dr. Baagil's treatise has been used by countless Islamic organizations to urge Christians to return to the pure, authentic, uncorrupted religion of Islam. Yet Dr. Baagil's tract employs insidious and subtle twists of logic to support its conclusions. The book is especially dangerous to the Christian or Muslim unschooled in Christian doctrine or having shallow biblical knowledge. Such a reader will fall prey to Dr. Baagil's traps, thus being led astray from the truth of the Gospel to an impotent form of religion that denies Jesus' salvific power. At last-there is now an answer to Dr. Baagil's treatise. In this volume, A. Yousef Al-Katib sets forth a systemic reply to each of Dr. Baagil's attacks on Christianity. A. Yousef Al-Katib, himself a Christian convert who spent more than five years in religious study before experiencing the miraculous power of Jesus to heal and to save, thoroughly replies to, refutes and rebuts each of Dr. Baagil's arguments on a detailed point-by-point basis. He reveals Dr. Baagil's innumerable contradictions, false statements, circular arguments, illogicisms and erroneous biblical interpretations. The present volume is indispensable to the Christian studying Islam and to the Muslim studying the Jesus of the Bible. In these pages, it vindicates Christianity from the charges that have been waged against it and guides the reader to the light of Jesus Christ-Savior, Messiah and Son of God.
A Trip to Niagara; or, Travellers in America, a three-act comedy, opened at New York's Bowery Theatre on November 28, 1828, for a long run. Scripted and later published by William Dunlap (1766-1839), the so-called "father of the American stage," this play offers a bounty to theater historians, dramatic critics, and all those interested in the American culture during Dunlap's lifetime. This study explores the Bowery, the play's moving diorama, the text, and the playwright, and emphasizes their interrelationships. This analysis of A Trip to Niagara as a theatrical event joins hands with dramatic criticism. An annotated transcript of the play is helpfully provided in the appendix of the book. This study contends that had there been no moving diorama, there would have been no play. Since William Dunlap called his text a "running accompaniment," it should be analyzed in terms of this function. The play's few critics have failed to do this. Hence, the interplay of the moving diorama (and conventional scenic backdrops) with the plot and characters comprises another significant segment of this study. This book makes significant contributions to studies of antebellum American theater, the Nationalist Period in American culture, and William Dunlap.
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