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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.

A digital copy of "Cruelty and Civilization : The Roman Games" by Roland Auguet. Download is immediately available upon purchase!

INCLUDES: Pack of 2 Dazzle Dry Manicures - Vegan & Cruelty free Both manicures must be redeemed by the same person Valid for new and existing clients HOW TO REEM: After you receive your order confirmation email, well send you a voucher within 24 hours with your custom voucher code. To redeem, please contact eyeLure Boutique at (212) 226-2223 and book your appointment. Specify the package purchased and provide your voucher code. Present your printed or digital voucher at your visit WHAT TO KNOW: Redeem by November 19, 2024 Location: eyeLure Boutique SoHo (580 Broadway #903, New York, NY 10012) Valid for new and existing clients Offer is final sale, non-refundable and non-transferable Appointments are required and subject to availability; please book in advance of desired date 24-hour cancellation policy applies or service will be forfeited Gratuity is not included; we recommend tipping on the full value of service(s) Tax is not included and will be charged upon redemption Vouchers cannot be combined for multiple services Voucher may not be combined with any other offer, promotion, coupon or discount or certificate and must be used in a single visit. Voucher is not valid for prior purchases, prior balances, or purchases of gift cards May be used to obtain the discount stated on the Voucher until November 19, 2024; after that time, and for a period of 5 years from the date of issue (or longer, if provided by law), the Voucher may be redeemed with the Vendor for the services stated on the Voucher equal to the value for which it was originally purchased

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

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.

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.

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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

"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.

This book: Cruelty/Killing Floor by Ali is a gem. This classic reprint series make available Ai's first two classic collection, including the Lamont Poetry Selection Killing Floor, in one volume Her poems are crystal clear, immediately engaging and often apocalyptic.

Melancholy, which came to be known as depression only in the twentieth century, continues to occupy a central place in psychoanalytic theory.The distinguished French psychoanalyst Jacques Hassoun offers here a brief but far-reaching treatise on the true nature and origins of depression, arguing that it is a matter of temperament, not a disease to by cured by Prozac or other drugs. Hassoun asserts that depression and all addictions are rooted in the same experience: a disruption in the weaning of the child from the mother that results in a profound sadness and an inability to experience loss. This disruption affects every aspect of the melancholic's life, and is at the core of his damaged existence.Hassoun believes that depression may be cured only by understanding the roots of the malady in early childhood. He analyzes the causes and manifestations of depression—using moving case studies from his own practice, literary examples (from Melville and Kafka, among others), and a framework based on the theory of the influential French psychoanalyst Jacques Lacan—to illustrate the melancholic's inability to grieve. Hassoun reinterprets Lacanian Theory to make it both more accessible and anecdotal, and he offers evidence that enlightened psychotherapy can treat the melancholic's agonizing condition.At once incisive and deeply personal, The Cruelty of Depression brings a sense of new possibilities fro relief from depressive suffering. It is an important and provocative addition to the growing debate on the treatment of depression.

This book: Cruelty/Killing Floor by Ali is a gem. This classic reprint series make available Ai's first two classic collection, including the Lamont Poetry Selection Killing Floor, in one volume Her poems are crystal clear, immediately engaging and often apocalyptic.

`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

Book is in NEW condition. 0.42

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.

Practitioners in the animal welfare field, law enforcement circles, and social services arena have often maintained that childhood cruelty to animals is a forerunner to violence against people. Does this behavior serve as a red flag with respect to extremely violent offenders, such as serial killers? MerzPerez and Heide provide the first scientific examination of this relationship and examine issues of cruelty across different types of animals (pet, wild, stray, farm). The authors evaluate the correlations between childhood cruelty and adult violent behavior, utilizing interviews and criminal records of violent and nonviolent inmates in a maximum security prison. Their findings will be of importance to a diverse audience, including researchers and practitioners in the field of juvenile justice, violence and domestic abuse, social welfare, animal welfare and animal rights and developmental psychologists and counselors, as well as law enforcement officers, district attorneys and judges, county and municipal officials, animal control officers, veterinarians, and school administrators, especially those concerned with intervention and prevention strategies.

This is book four in the A Glimpse into Hell series. Brad Johnson, a thief and lowlife, tortured and killed Kenneth Evans’ beloved pet, Roxie, during a burglary. Kenneth wanted to exact revenge against Brad in the most horrific way possible, so he sought out Seth Coker, a notorious vigilante. Kenneth didn’t realize the door he was opening would unleash a wrath of vengeance like no other. He was instantly drawn into Seth’s world. A world of torment and terror equal to the horrors found in the deepest and darkest parts of Hell. A world filled with violence and agony. A world of pure chaos. In this story, Seth Coker and Kenneth Evans, torture lowlifes that have been cruel to animals. Filled with gruesome and sadistic acts of punishment, this book is not for the meek. Only the seasoned extreme-horror reader should embark on this journey. WARNING! EXTREME-HORROR This book is extremely gruesome and contains over the top, inhumane, filthy and sadistic torture scenes combined with political incorrectness and dark humor. May be disturbing to sensitive readers.

Animal rights. Those two words conjure diverse but powerful images and reactions. Some nod in agreement, while others roll their eyes in contempt. Most people fall somewhat uncomfortably in the middle, between endorsement and rejection, as they struggle with the profound moral, philosophical, and legal questions provoked by the debate. Today, thousands of organizations lobby, agitate, and educate the public on issues concerning the rights and treatment of nonhumans.For the Prevention of Cruelty is the first history of organized advocacy on behalf of animals in the United States to appear in nearly a half century. Diane Beers demonstrates how the cause has shaped and reshaped itself as it has evolved within the broader social context of the shift from an industrial to a postindustrial society.Until now, the legacy of the movement in the United States has not been examined. Few Americans today perceive either the companionship or the consumption of animals in the same manner as did earlier generations. Moreover, powerful and lingering bonds connect the seemingly disparate American Society for the Prevention of Cruelty to Animals of the nineteenth century and the People for the Ethical Treatment of Animals of today. For the Prevention of Cruelty tells an intriguing and important story that reveals society's often changing relationship with animals through the lens of those who struggled to shepherd the public toward a greater compassion.

Mental Cruelty (Original Soundtrack) George Gruntz - LP 882119006018