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Step out in style with these Versace Jeans Couture Lace-up Boots for women. Made from cruelty-free leather, these boots feature a logo plaque and a heel tab for added flair. The round toe and front lace-up closure provide a comfortable fit, while the hidden side zip closure adds convenience. The non-slip rubber sole ensures stability, making these boots perfect for any occasion. Composition: 100% Polyurethane.

Step out in style with these Versace Jeans Couture Lace-up Boots for women. Made from cruelty-free leather, these boots feature a logo plaque and a heel tab for added flair. The round toe and front lace-up closure provide a comfortable fit, while the hidden side zip closure adds convenience. The non-slip rubber sole ensures stability, making these boots perfect for any occasion. Composition: 100% Polyurethane.

Step out in style with these Versace Jeans Couture Lace-up Boots for women. Made from cruelty-free leather, these boots feature a logo plaque and a heel tab for added flair. The round toe and front lace-up closure provide a comfortable fit, while the hidden side zip closure adds convenience. The non-slip rubber sole ensures stability, making these boots perfect for any occasion. Composition: 100% Polyurethane.

Introducing the Stella Mc Cartney Borsa Falabella Three Chain Handbag, crafted with a hammered texture and cruelty-free leather. This stylish bag measures 37 x 36/28 x 9cm and features a convenient 11cm handle drop and a 22cm shoulder strap. With a weight of approximately 0.95kg, it is perfect for the modern woman on the go. Made from 100% polyester, this handbag is a must-have addition to any fashion-forward female's collection.

Not content with pouring their bleak urgency all over the trials and tribulations of modern existence with 2017 LP Gestalt, Negative Space return with a seven-song slab of brutalist post-punk - and it's another triumph. Seething with fury, it almost (but not quite) masks it's venomously-spat lyrical content behind angular basslines that Steve Hanley would've been proud to call his own and guitar chords that teeter and totter between the blunt force of Black Flag and the dissonant crunch of Gang

"One of the most important books ever written on the state of the modern Middle East." ―Geraldine Brooks, Wall Street Journal The Iraqi dissident Kanan Makiya brought the attention of the world to the brutality of Saddam Hussein's regime in his powerful 1989 bestseller Republic of Fear. Now, writing for the first time under his own name, Makiya confronts the broad realities of tyranny in the Middle East and the moral failure of Arab and pro-Arab intellectuals to repudiate it. Makiya first gives us the stories of Khalil, Abu Haydar, Omar, Mustafa, and Taimour―the Arab and Kurdish heroes of this book. Their testimony, revealing the true extent of occupation, prejudice, revolution, and routinized violence, is a compelling example of the literature of witness. He then links these tales of survival to an examination of the Arab intelligentsia's response to Saddam Hussein and the Gulf War, comparing the flood of condemnation of the West with the trickle of protest over Saddam's mass murder campaign against the Kurds. In his exploration of these "landscapes of cruelty and silence," Kanan Makiya lays out the nationalist mythologies that underlie them. He calls for a new politics in the Arab world―a politics that puts absolute respect for human life above all else.

`original, imaginative and challenging...brings concerns together about gender, the family, and wider currents in British social, cultural and even political experience in the second half of the 19th century.' - Leonore Davidoff

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In late January 1879, following news of the terrible disaster to befall British forces at Isandlwana, Colonel Henry Evelyn Wood, commanding officer of the northern No. 4 Column, withdraws his forces to Khambula, near the Natal and Transvaal borders. Adding to their woes, the southern No. 1 Column finds itself trapped under siege at the abandoned mission station of Eshowe. The General Officer Commanding, Lord Chelmsford, orders Wood to continue harassing the Zulus, keeping the pressure off their central and southern forces while he rallies reinforcements to relieve Eshowe. In light of the disaster at Isandlwana, Wood knows he must temper aggression with caution, as he does not have the numbers necessary to face the entire Zulu amabutho.Facing the British in the north are the semi-autonomous abaQulusi tribe and their venerable ally, an exiled Swazi prince named Mbilini. A master of guerrilla warfare, Mbilini harries the British invaders relentlessly while awaiting reinforcements from the Zulu king, Cetshwayo. Fifty miles to the east, at the royal kraal of Ulundi, Cetshwayo’s triumphant albeit terribly bloodied regiments return home to take in the harvest following their victory at Isandlwana. The king’s subsequent overtures of peace are soundly rebuffed by Lord Chelmsford, and he knows he must soon summon his regiments once again. With shouts of ‘We are the boys of Isandlwana!’ the Zulus turn their attention north, seeking to join with Mbilini and send another British invasion column to oblivion.

When Cruelty was published in 1973, I read the collection repeatedly, transported by the mystery in the poems and by the politics of gender on almost every page. The way the first poem in the collection, "Twenty-Year Marriage," opens is a clue to this poet's psychology: "You keep me waiting in a truck / with its one good wheel stuck in a ditch, / while you piss against the south side of a tree. / Hurry. I've got nothing on under my skirt tonight." The speaker's insinuation is calculated. The intentional, invented tension breathes on the page. She has our attention. But Ai knows-like any great actor-that language and pace are also crucial. Sometimes a poem may seem like personalized folklore, a feeling culled from the imagination. The characters hurt each other out of a fear of being hurt, and often they are doubly hurt. Do we believe her characters because they seem to evolve from some uncharted place beyond us but also inside us? They are of the soil, as if they've always been here; but they also reside on borders-spiritually, psychologically, existentially, and emotionally-as if only half-initiated into the muscular terror of ordinary lives. All the contradictions of so-called democracy live in her speakers. Most of the characters in Ai's poetry are distinctly rural, charged in mind and belly with folkloric signification, always one step or one trope from homespun violence and blasphemy. What first deeply touched me in Cruelty is this: Ai's images-tinctured by an unknown folklore-seemed to arise from some deep, unsayable place, translated from a pre-language of knowing or dreaming with one's eyes open, as if something from long ago still beckoned to be put into words Yusef Komunyaka

An exciting history of gladiators, chariot racing and other Roman games, investigating their function and significance within society, and what they reveal about the Roman mentality.

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Eighteenth-century British culture is often seen as polite and sentimental—the creation of an emerging middle class. Simon Dickie disputes these assumptions in Cruelty and Laughter, a wildly enjoyable but shocking plunge into the forgotten comic literature of the age. Beneath the surface of Enlightenment civility, Dickie uncovers a rich vein of cruel humor that forces us to recognize just how slowly ordinary human sufferings became worthy of sympathy.Delving into an enormous archive of comic novels, jestbooks, farces, variety shows, and cartoons, Dickie finds a vast repository of jokes about cripples, blind men, rape, and wife-beating. Epigrams about syphilis and scurvy sit alongside one-act comedies about hunchbacks in love. He shows us that everyone—rich and poor, women as well as men—laughed along. In the process, Dickie also expands our understanding of many of the century’s major authors, including Samuel Richardson, Lady Mary Wortley Montagu, Tobias Smollett, Frances Burney, and Jane Austen. He devotes particular attention to Henry Fielding’s Joseph Andrews, a novel that reflects repeatedly on the limits of compassion and the ethical problems of laughter. Cruelty and Laughter is an engaging, far-reaching study of the other side of culture in eighteenth-century Britain.

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Muzan-e ("cruel pictures") and Chimidoro-e ("bloody pictures") together constitute a significant strand of ukiyo-e, the populist art of late Edo-period Japan. The most famous example of this genre remains Eimei Nijuhasshuku (1868) by the artists Yoshitoshi and Yoshiiku. Yoshiiku's violent contributions to this series are matched in horror by many other of his prints, ranging from news-sheet illustrations of misogynistic murder to kabuki scenes of torture and images of warriors harvesting severed heads in battle. Such gore-splashed pictures were also produced by numerous other artists, including Kunisada, Kuniyoshi, Yoshitoshi, Yoshiyuki, Kunichika, and the unsung creators of garish Osaka sex-crime news-sheets."Cruelty And Carnage", edited by Jack Hunter (who also edited the ground-breaking extreme ukiyo-e anthology "Dream Spectres"), collects and considers over 100 of the most blood-drenched and disturbing artworks produced by Yoshiiku and others, presented in large-format and full-colour throughout.The Ukiyo-e Master Series: presenting seminal collections of art by the greatest print-designers and painters of Edo-period and Meiji-period Japan.

Ancient heresies have modern expressions that influence our churches and culture, creating cruel dilemmas for today’s Christian in the form of error, sin, and various distortions on orthodox faith. In Cruelty of Heresy, Bishop Allison captures the drama and relevance of the Councils of the fourth and fifth centuries and shows how the remarkable achievements of these early struggles provide valuable guidelines for believers today.

In late January 1879, following news of the terrible disaster to befall British forces at Isandlwana, Colonel Henry Evelyn Wood, commanding officer of the northern No. 4 Column, withdraws his forces to Khambula, near the Natal and Transvaal borders. Adding to their woes, the southern No. 1 Column finds itself trapped under siege at the abandoned mission station of Eshowe. The General Officer Commanding, Lord Chelmsford, orders Wood to continue harassing the Zulus, keeping the pressure off their central and southern forces while he rallies reinforcements to relieve Eshowe. In light of the disaster at Isandlwana, Wood knows he must temper aggression with caution, as he does not have the numbers necessary to face the entire Zulu amabutho.Facing the British in the north are the semi-autonomous abaQulusi tribe and their venerable ally, an exiled Swazi prince named Mbilini. A master of guerrilla warfare, Mbilini harries the British invaders relentlessly while awaiting reinforcements from the Zulu king, Cetshwayo. Fifty miles to the east, at the royal kraal of Ulundi, Cetshwayo’s triumphant albeit terribly bloodied regiments return home to take in the harvest following their victory at Isandlwana. The king’s subsequent overtures of peace are soundly rebuffed by Lord Chelmsford, and he knows he must soon summon his regiments once again. With shouts of ‘We are the boys of Isandlwana!’ the Zulus turn their attention north, seeking to join with Mbilini and send another British invasion column to oblivion.

Buy with confidence! Book is in good condition with minor wear to the pages, binding, and minor marks within 0.82

Book is in NEW condition. 0.82