The phrase "afterlife from" is not correct and does not convey a clear meaning in written English.
It may be intended to refer to a concept or belief about what comes after death, but it lacks clarity and context.
Example: "The book explores various theories about the afterlife from different cultures."
Alternatives: "afterlife of" or "afterlife regarding".
We do learn one thing about the afterlife from these two episodes: the dead enjoy communicating through numbers.
This is where Mr. Vaughn, a star slugger for the Boston Red Sox who quit baseball in 2003 after a lackluster run with the Mets, decided to build what he called his "afterlife" from the ashes of his baseball career.
In the Pharaoh Tutankhamun's tomb, the walls told the story of how Tutankhamun would travel to the afterlife, from his burial procession to the passage through the Underworld and in to the afterlife.
The pinnacle is a rendition of "How Glory Goes," Adam Guettel's epic contemplation of the afterlife (from "Floyd Collins"), that carries the song from here to eternity and back.
In Mail Tubes, Hope Of Fiber-Optic Afterlife From the 1890's to the 1950's, much of Manhattan's mail moved among United States Post Office stations from the Battery to Harlem through an underground network of pneumatic tubes.
The collection, which considers different versions of the afterlife, from a microbe-sized God unaware of humanity's existence to an afterlife where the dead are split into all their different ages, subsequently shot to number two in Amazon's bestseller charts.
"One Night," fleetingly framed as a visit by Brice from the afterlife, bounds from her childhood in New Jersey to a vaudeville amateur night in Brooklyn, where her singing prompted a shower of coins from the audience, to tours in burlesque (when it meant satire, not stripping) and her discovery by Florenz Ziegfeld.
I've given radio shows about my afterlife research from Sydney to Toronto, and from London to LA.
In search of an afterlife, buds from the tree are being grafted to seedlings.
These approaches to the afterlife differ from most of the world religions in that they have no moral aspect.
One solution was to fit it into a different frame: Jeyasingh's version begins with a young man blogging about his experience of having seen La Bayadère, and it ends by giving the ballet's characters a different afterlife, untethered from the bonds of the Romantic imagination.
