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Resurrection of the Shroud: New Scientific, Medical, and Archeological Evidence Paperback – August 30, 2001

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Editorial Reviews

From Library Journal

The Shroud of Turin, which some claim to be the burial cloth of Jesus, has been surrounded in controversy, which this book is unlikely to settle. It will, however, provide an extensive, though not necessarily balanced, introduction to issues surrounding the Shroud. Attorney Antonacci reviews previous scientific investigations of the Shroud, examines the image embedded in it, and investigates theories that the image was produced by painting. He looks at archaeological artifacts and reviews scientific challenges to the issue of carbon dating. Antonacci concludes that Jesus emitted a kind of radiation "[that] did not harm [his] body or immediately affect his clothes. Interestingly, those are the same types of features that scientists have independently concluded could be the principal causes of the formation of all the unique features found on the body images and blood marks on the Shroud." Even if the Shroud is from the first century, it seems a bit of a jump to this reviewer that it actually draped Jesus. Nevertheless, patrons interested in this topic will find the book a very useful, interesting, and detailed presentation, and on that basis it is recommended.DDavid Bourquin, California State Univ., San Bernardino
Copyright 2000 Reed Business Information, Inc. --This text refers to the Hardcover edition.

From Kirkus Reviews

An attempt to demonstrate the scientific authenticity of the Shroud of Turin, believed by some to be the burial shroud of Jesus.Drawing on the research performed by the Shroud of Turin Research Project (STURP) in 1978, attorney and former law professor Antonacci assembles a superficially impressive body of evidence to discredit the 1988 carbon-dating of the Shroud, challenge the theory that the images on the Shroud were the creation of a medieval artist, and prove that the Shroud must have been imprinted during the Crucifixion. His refutation of the possibility that the Shroud was painted in the Middle Ages is engagingly presented and argued: the STURP scientists' examination of the Shroud's fibers found no trace of medieval paint pigments, and no attempts to replicate the Shroud using techniques available to medieval artists have succeeded so far. Antonacci also makes a strong case against the results of the 1988 carbon-dating, which assigned the Shroud's origin to the 14th century. Although the section is confusingly organized, he convincingly argues that the procedure violated existing protocols for carbon-dating, using a poorly chosen sample that compromised the results because it had sustained fire and water damage in 1532. He also provides some evidence that the carbon-dating methods available in the 1980s offered limited accuracy at best, especially when applied to textiles. There is a big difference, however, between calling for more research to explain the Shroud's anomalous features, and proving that those features resulted from miraculous forces. Antonacci attempts to fill this gap with hypotheses that he treats as facts, and with violent leaps of logic. The discussion of archaeological and historical evidence intended to establish the Shroud's compatibility with first-century practices and biblical accounts is riddled with inaccuracies, decontextualized information, circular reasoning, and unfounded assumptions.Antonacci's research will reinforce the faith of those who already believe in the Shroud, but is unlikely to win any converts among empirical-minded skeptics. -- Copyright © 2000 Kirkus Associates, LP. All rights reserved. --This text refers to the Hardcover edition.

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Product Details

  • Paperback: 320 pages
  • Publisher: M. Evans & Company (August 30, 2001)
  • Language: English
  • ISBN-10: 0871319632
  • ISBN-13: 978-0871319630
  • Product Dimensions: 6.1 x 1 x 9 inches
  • Shipping Weight: 1.2 pounds (View shipping rates and policies)
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (32 customer reviews)
  • Amazon Best Sellers Rank: #814,164 in Books (See Top 100 in Books)

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Customer Reviews

Most Helpful Customer Reviews

39 of 41 people found the following review helpful By Robert S. Ogle on October 15, 2000
Format: Hardcover
Kirkus Reviews states that the author "assembles a superficially impressive body of evidence to discredit the 1988 carbon-dating of the Shroud" that is "is unlikely to win any converts among empirical-minded skeptics." Folks, there is absolutely nothing "superficial" about this book and the empirically-minded will only be impressed. (There are literally hundreds of notes documenting the findings.) This effort represents the culmination of almost twenty years of research by the author that summarizes an estimated 250 thousand man-hours of study of the Shroud over the past twenty-five years by many individuals. This linen is absolutely unique. There is no other naturally occurring linen like it nor does anyone know how to fabricate it. While you may or may not agree with the author's theory of how the image was formed, after finishing this book, you most certainly will known why this cloth holds such fascination for so many.
For those who have never read on this topic, you might want to consider first reading Ian Wilson's "The Blood and the Shroud" and perhaps Gilbert Lavoie's "Resurrected". Wilson's book provides an excellent overview of what is known regarding the Shroud and Lavoie's book contains some information regarding shadowing on the Shroud that I have seen nowhere else. Antonacci's book is a must read for the hardy because of its impressive coverage, but the print is quite small and the text is less than scintillating. If you start this book, but do not finish it, find one that you will complete so that you will know what all the fuss is about!
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42 of 46 people found the following review helpful By A Customer on August 18, 2001
Format: Hardcover Verified Purchase
Bertrand Russell, a well-known atheist, was once asked what he would say if, after he died, he found that God indeed did exist. Unfazed in the least, Russell answered: "I would tell him: 'Not enough evidence, God. You didn't provide enough evidence.'"

Well, it's 2001, and scientists have been busy at work studying the Shroud of Turin for the past twenty years. But as usual, the mass media have told everybody "the scoop" about the Shroud: "It's a fake. Radiocarbon dating proves without a doubt---three well-respected international labs all agree---the cloth of the Shroud dates no earlier than 1260 A.D."

Read this book if you want to get the rest of the story. Antonacci does a fine job of reviewing all of the reasons why no skeptics have been able to demonstrate how the image on the cloth, which turns out to be an overlay of two different images, laid down at different moments---one relating to the blood flowing from over 140 wounds on the body, and the other relating to the 3-dimensional image of the body itself---could have been created by a medieval trickster. Even today, after the majority of the data hidden in the image has been revealed only by ultramodern techniques that no one in the Middle Ages could ever have conceived of, let alone anticipated by "painting" details onto the Shroud, the most dedicated and disinterested scientists who have spent years investigating the image are at a loss to explain a definitive mechanism that would account for the incredible wealth of details they can observe.
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19 of 20 people found the following review helpful By Jeffrey J. Messenger on December 5, 2005
Format: Hardcover
This book's "radiation" theory of image creation isn't as far fetched or a radical leap of reasoning as skeptics would have you believe. Why? Because the peer reviewed, scientific findings of a image composed of dehydrated, surface linen fibrils defies any "natural" explanation.

The image isn't a paint, powder, stain or transfer image. It's not imitated by decomposition stains, sweat stains, oils or herb stains. A heat scorch can't contain the subtlety or sophistication of this relic's image. If "vapors" created the image, there would be no possibility that the image would have any focus or definition. Nor is body contact the catalyst for image creation, since a body impression would have a fattened, "fun house mirror" effect.

Add to the exclusion of these past explainations the possible x-ray qualities of the Shroud image, the 3- dimensional "distance sensitive" intensity of the image, the exterior objects near the body "imaged" on the cloth... AND...

The MOST RECENT feature discovered, one Mr. Antonacci wasn't yet informed about as he wrote this book... a faint face image on the backside of the Shroud!

Why the imprinting of only the highest image features on the backside of the cloth? If it was paint or sweat responsible, it would diffuse outward and not be limited to (mostly) the face. Skin oils and sweat would had also darkened the Shroud man's "posterior" image dramatically... the back and buttocks which had the most weight pressure on the linen... yet the Shroud's back image is as subtle as the front image!!

Mark promoted the theory that the cloth collapsed through an image creating field of energy. The faint imprinting on the exterior side of the Shroud seems to validate this!

This theory now has support...
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