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Welcome to the bizarre and dangerous world of Victorian London, a city teetering on the edge of revolution. Its people are ushering in a new era of technology, dazzled each day by new inventions. Airships soar in the skies over the city, whilst ground trains rumble through the streets and clockwork automatons are programmed to carry out menial tasks in the offices of lawyers, policemen and journalists. But beneath this shiny veneer of progress lurks a sinister side. For this is also a world where lycanthropy is a rampant disease that plagues the dirty whorehouses of Whitechapel, where poltergeist infestations create havoc in old country seats, where cadavers can rise from the dead and where nobody ever goes near the Natural History Museum. The Immorality Engine is the third in the Newbury and Hobbes series.

This book addresses the question not how immoral the ancient Romans were but why the literature they produced is so preoccupied with immorality. The modern image of immoral Rome derives from ancient accounts which are largely critical rather than celebratory. Far from being empty commonplaces these accusations constituted a powerful discourse through which Romans negotiated conflicts and tensions in their social and political order. This study proceeds by a detailed examination of a wide range of ancient texts (all of which are translated), exploring the dynamics of their rhetoric, as well as the ends to which they were deployed. Roman moralising discourse, the author suggests, may be seen as especially concerned with the articulation of anxieties about gender, social status and political power. Individual chapters focus on adultery, effeminacy, the immorality of the Roman theatre, luxurious buildings and the dangers of pleasure.

This book addresses the question not how immoral the ancient Romans were but why the literature they produced is so preoccupied with immorality. The modern image of immoral Rome derives from ancient accounts which are largely critical rather than celebratory. Far from being empty commonplaces these accusations constituted a powerful discourse through which Romans negotiated conflicts and tensions in their social and political order. This study proceeds by a detailed examination of a wide range of ancient texts (all of which are translated), exploring the dynamics of their rhetoric, as well as the ends to which they were deployed. Roman moralising discourse, the author suggests, may be seen as especially concerned with the articulation of anxieties about gender, social status and political power. Individual chapters focus on adultery, effeminacy, the immorality of the Roman theatre, luxurious buildings and the dangers of pleasure.

This book addresses the question not how immoral the ancient Romans were but why the literature they produced is so preoccupied with immorality. The modern image of immoral Rome derives from ancient accounts which are largely critical rather than celebratory. Far from being empty commonplaces these accusations constituted a powerful discourse through which Romans negotiated conflicts and tensions in their social and political order. This study proceeds by a detailed examination of a wide range of ancient texts (all of which are translated), exploring the dynamics of their rhetoric, as well as the ends to which they were deployed. Roman moralising discourse, the author suggests, may be seen as especially concerned with the articulation of anxieties about gender, social status and political power. Individual chapters focus on adultery, effeminacy, the immorality of the Roman theatre, luxurious buildings and the dangers of pleasure.

Format Hardcover Subject Literary Collections

This book addresses the question not how immoral the ancient Romans were but why the literature they produced is so preoccupied with immorality. The modern image of immoral Rome derives from ancient accounts which are largely critical rather than celebratory. Far from being empty commonplaces these accusations constituted a powerful discourse through which Romans negotiated conflicts and tensions in their social and political order. This study proceeds by a detailed examination of a wide range of ancient texts (all of which are translated), exploring the dynamics of their rhetoric, as well as the ends to which they were deployed. Roman moralising discourse, the author suggests, may be seen as especially concerned with the articulation of anxieties about gender, social status and political power. Individual chapters focus on adultery, effeminacy, the immorality of the Roman theatre, luxurious buildings and the dangers of pleasure.

The new atheists are on the warpath. They come armed with arguments to show that belief in God is absurd and dangerous. In the name of societal progress, they promote purging the world of all religious practice. And they claim that people of faith are mentally ill. Some of the new atheists openly declare their hatred for the Judeo-Christian God.Christian apologists have been quick to respond to the new atheists’ arguments. But there is another dimension to the issue which begs to be addressed--the root causes of atheism. Where do atheists come from? How did such folks as Richard Dawkins, Sam Harris, Daniel Dennett, and Christopher Hitchens become such ardent atheists? If we are to believe them, their flight from faith resulted from a dispassionate review of the evidence. Not enough rational grounds for belief in God, they tell us. But is this the whole story?Could it be that their opposition to religious faith has more to do with passion than reason? What if, in the end, evidence has little to do with how atheists arrive at their anti-faith? That is precisely the claim in this book. Atheism is not at all a consequence of intellectual doubts. These are mere symptoms of the root cause--moral rebellion. For the atheist, the missing ingredient is not evidence but obedience.The psalmist declares, “The fool says in his heart there is no God” (Ps. 14:1), and in the book of Romans, Paul makes it clear that lack of evidence is not the atheist’s problem. The Making of an Atheist confirms these biblical truths and describes the moral and psychological dynamics involved in the abandonment of faith.

Pre-Code Hollywood explores the fascinating period in American motion picture history from 1930 to 1934 when the commandments of the Production Code Administration were violated with impunity in a series of wildly unconventional films―a time when censorship was lax and Hollywood made the most of it. Though more unbridled, salacious, subversive, and just plain bizarre than what came afterwards, the films of the period do indeed have the look of Hollywood cinema―but the moral terrain is so off-kilter that they seem imported from a parallel universe.In a sense, Doherty avers, the films of pre-Code Hollywood are from another universe. They lay bare what Hollywood under the Production Code attempted to cover up and push offscreen: sexual liaisons unsanctified by the laws of God or man, marriage ridiculed and redefined, ethnic lines crossed and racial barriers ignored, economic injustice exposed and political corruption assumed, vice unpunished and virtue unrewarded―in sum, pretty much the raw stuff of American culture, unvarnished and unveiled.No other book has yet sought to interpret the films and film-related meanings of the pre-Code era―what defined the period, why it ended, and what its relationship was to the country as a whole during the darkest years of the Great Depression... and afterward.

Vice was one of the primary shared interests of the global community at the turn of the twentieth century. Anti-vice activists worked to combat noxious substances such as alcohol, drugs and cigarettes, and 'immoral' sexual activities such as prostitution. Nearly all of these activists approached the issue of vice by expressing worries about the body, its physical health, and functionality. By situating anti-vice politics in their broader historical contexts, Global Anti-Vice Activism, 1890-1950 sheds fresh light on the initiatives of various actors, organizations and institutions which have previously been treated primarily within national and regional boundaries. Looking at anti-vice policy from both social and cultural historical perspectives, it illuminates the centrality of regulating vice in imperial and national modernization projects. The contributors argue that vice and vice regulation constitute an ideal topic for global history, because they bridge the gap between discourse and practice, and state and civil society.

Vice was one of the primary shared interests of the global community at the turn of the twentieth century. Anti-vice activists worked to combat noxious substances such as alcohol, drugs and cigarettes, and 'immoral' sexual activities such as prostitution. Nearly all of these activists approached the issue of vice by expressing worries about the body, its physical health, and functionality. By situating anti-vice politics in their broader historical contexts, Global Anti-Vice Activism, 1890-1950 sheds fresh light on the initiatives of various actors, organizations and institutions which have previously been treated primarily within national and regional boundaries. Looking at anti-vice policy from both social and cultural historical perspectives, it illuminates the centrality of regulating vice in imperial and national modernization projects. The contributors argue that vice and vice regulation constitute an ideal topic for global history, because they bridge the gap between discourse and practice, and state and civil society.

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Representing transformation, immorality and healing with flowing golden lines, twisting and turning like a serpents celebratory dance. Serpent Ring is available in sterling silver and 18ct yellow gold vermeil. Sterling silver and 18ct yellow gold vermeil.

Representing transformation, immorality and healing with flowing golden lines, twisting and turning like a serpents celebratory dance. This ring features dark onyx round, marquise and pear cut jewels shed from the golden snaking ring. The ring is available in 2 high-gloss finishes; 925 Sterling Silver with Rhodium Plating or 925 Sterling Silver with 18 Carat Yellow Plating. 925 Sterling Silver with 18 Carat Yellow Plating.

Representing transformation, immorality and healing with flowing golden lines, twisting and turning like a serpents celebratory dance. Serpent Ring is available in sterling silver and 18ct yellow gold vermeil. Sterling silver.

A dark collection of Golden exotic fruits, tainted with indulgence of pleasure & immorality. Imbued within every piece is the classic aesthetic from Kasun London & typical handcrafted fine details. Available in 2 high-gloss finishes; 925 Sterling Silver with Rhodium Plating or 925 Sterling Silver with Rhodium Plating with 18 Carat Yellow Plating. 925 Sterling Silver with 18 Carat Yellow Plating.

A dark collection of Golden exotic fruits, tainted with indulgence of pleasure & immorality. Imbued within every piece is the classic aesthetic from Kasun London & typical handcrafted fine details. Available in 2 high-gloss finishes; 925 Sterling Silver with Rhodium Plating or 925 Sterling Silver with Rhodium Plating with 18 Carat Yellow Plating. 925 Sterling Silver with Rhodium Plating and 18 Carat Yellow Plating.

Representing transformation, immorality and healing with flowing golden lines, twisting and turning like a serpents celebratory dance. The earrings are made from Sterling Silver or Sterling Silver with a gloss 18ct Yellow Gold Vermeil. Sterling Silver with a gloss 18ct Yellow Gold Vermeil.

A dark collection of Golden exotic fruits, tainted with indulgence of pleasure & immorality. Imbued within every piece is the classic aesthetic from Kasun London & typical handcrafted fine details. Available in 2 high-gloss finishes; 925 Sterling Silver with Rhodium Plating or 925 Sterling Silver with Rhodium Plating with 18 Carat Yellow Plating. 925 Sterling Silver with Rhodium Plating.

A dark collection of Golden exotic fruits, tainted with indulgence of pleasure & immorality. Imbued within every piece is the classic aesthetic from Kasun London & typical handcrafted fine details. Available in 2 high-gloss finishes; 925 Sterling Silver with Rhodium Plating or 925 Sterling Silver with Rhodium Plating with 18 Carat Yellow Plating. 925 Sterling Silver with 18 Carat Yellow Plating.

A dark collection of Golden exotic fruits, tainted with indulgence of pleasure & immorality. Imbued within every piece is the classic aesthetic from Kasun London & typical handcrafted fine details. Available in 2 high-gloss finishes; 925 Sterling Silver with Rhodium Plating or 925 Sterling Silver with Rhodium Plating with 18 Carat Yellow Plating. 925 Sterling Silver with Rhodium Plating with 18 Carat Yellow Plating.