Download Free Civilised By Beasts Book in PDF and EPUB Free Download. You can read online Civilised By Beasts and write the review.

This book offers a unique account of life in nineteenth-century Dublin, told through human-animal relationships. It argues that the exploitation of animals formed a key component of urban change, from municipal reform to class formation to the expansion of public health and policing.
Argues that the Bloomsbury group's fascination with beasts was integral to their exploration of imperialism, race, gender, sexuality and technology.
Tragic Seneca undertakes a radical re-evaluation of Seneca's plays, their relationship to Roman imperial culture and their instrumental role in the evolution of the European theatrical tradition. Following an introduction on the history of the Roman theatre, the book provides a dramatic and cultural critique of the whole of Seneca's corpus, analysing the declamatory form of the plays, their rhetoric, interiority, stagecraft and spectacle, dramatic, ideological and moral structure and their overt theatricality. Each of Seneca's plays is examined in detail, locating the force of Senecan drama not only in the moral complexity of the texts and their representations of power, violence, history, suffering and the self, but the semiotic interplay of text, tradition and culture. The later chapters focus on Seneca's influence on Italian, English and French drama of the Renaissance. A.J. Boyle argues that tragedians such as Cinthio, Kyd, Marlowe, Shakespeare, Webster, Corneille, and Racine owe a debt to Seneca that goes beyond allusion, dramatic form and the treatment of tyranny and revenge to the development of the tragic sensibility and the metatheatrical mind. Tragic Seneca attempts to restore Seneca to a central position in the European literary tradition. It will provide readers and directors of Seneca's plays with the essential critical guide to their intellectual, cultural and dramatic complexity.
In The Political Animal in Medieval Philosophy Juhana Toivanen investigates the foundations of human social life through the Aristotelian notion of ‘political animal’, as it was used in the thirteenth and fourteenth centuries.
From Hollywood Hills mansions and Century City towers, to South Central motels and the oceanside refinery, The Beasts of Electra Drive by Rohan Quine spans a mythic L.A., following seven spectacular characters (or Beasts) from games designer Jaymi’s game-worlds. The intensity of those Beasts’ creation cycles leads to their release into real life in seemingly human forms, and to their combative protection of him from destructive rivals at mainstream company Bang Dead Games. Grand spaces of beauty interlock with narrow rooms of terror, both in the real world and in cyberspace. A prequel to Quine’s other five tales (and Winner in the NYC Big Book Award 2021, and a Finalist in the IAN Book of the Year Awards 2018), The Beasts of Electra Drive is a unique explosion of glamour and beauty, horror and enchantment, exploring the mechanisms and magic of creativity itself. Jaymi is an independent games designer living on Electra Drive in the Hollywood Hills. Opposed to him are his former colleagues at Bang Dead Games. Their mounting competitiveness regarding his own extravagant game-creation reaches a point where they attack him physically with a flying drone. Bang Dead is preparing the global release of a game called Ain’tTheyFreaky!, centring on five tabloid-flavoured social-media “Newsfeeds” for the victimisation of certain people by others—the “Gal Score”, “Guy Score”, “Trivia Score”, “Arts Score” and “Cosy Score”. Jaymi decides to fight back, for self-protection and to counteract this game’s destructive effects. He takes an irrevocable step: after creating Amber, the most dangerous of the characters (or Beasts, as he calls them) who will populate Jaymi’s project The Platinum Raven, he releases Amber from that game, such that Amber slithers out from Jaymi’s computer monitor. Appearing human, this now-incarnated Beast is sent to stalk Ain’tTheyFreaky!’s creators in real life. While Amber terrorises them, Jaymi creates a second Beast, Evelyn, a woman of ease and freedom, from his project The Imagination Thief. Incarnated too, she joins Amber in sabotaging a Bang Dead venture in the physical world. As Jaymi’s output spawns three more titles—The Host in the Attic, Apricot Eyes and Hallucination in Hong Kong—he jumps into the creation cycles and subsequent incarnations of five more varied and human-seeming Beasts. These are Shigem, Kim, the Platinum Raven, Scorpio, and his own simulacrum the Jaymi Beast. Targeted by a more lethal drone attack than the first one, he decides that his Beasts’ missions must escalate: they will infiltrate the very substance of Ain’tTheyFreaky!. Evelyn, Shigem and Kim therefore sneak into one of the game’s visual environments (a mythically seedy Downtown L.A.), where they try to put an end to some of the casually-programmed cruelty in the game. Shigem shames one Bang Dead programmer into secretly working for Jaymi instead; and Kim persuades another high-ranking Bang Dead employee to join Jaymi likewise. Five of the Beasts proceed to sabotage Ain’tTheyFreaky! at code level, turning its own server farm into a radically different kind of environment than before. Their sabotage takes aim at the game in such a way as to break it down into its constituent glyphs and pixels—then electrifies these, recombining them into brand-new forms of such enchanted love and wickedness and originality that they’d certainly have been forbidden by Bang Dead. Amid the resultant conflict, a Beast is sent to kill a human; a Beast is arrested, before escaping and wreaking revenge; and another human is lashed to the top of the transmitter tower above the Hollywood Sign, where... After the ensuing convulsions of destruction and violent creation have run their course, Jaymi’s Beasts slip away to their appointed onscreen destinations, one by one; and he is left alone again, just as he was before he brought them into being. As he fires up his newly-completed game The Imagination Thief for the first time, however, it is clear that neither he nor the world around him will ever quite be as before.
Erik Larson, New York Times bestselling author of Devil in the White City, delivers a remarkable story set during Hitler’s rise to power. The time is 1933, the place, Berlin, when William E. Dodd becomes America’s first ambassador to Hitler’s Nazi Germany in a year that proved to be a turning point in history. A mild-mannered professor from Chicago, Dodd brings along his wife, son, and flamboyant daughter, Martha. At first Martha is entranced by the parties and pomp, and the handsome young men of the Third Reich with their infectious enthusiasm for restoring Germany to a position of world prominence. Enamored of the “New Germany,” she has one affair after another, including with the suprisingly honorable first chief of the Gestapo, Rudolf Diels. But as evidence of Jewish persecution mounts, confirmed by chilling first-person testimony, her father telegraphs his concerns to a largely indifferent State Department back home. Dodd watches with alarm as Jews are attacked, the press is censored, and drafts of frightening new laws begin to circulate. As that first year unfolds and the shadows deepen, the Dodds experience days full of excitement, intrigue, romance—and ultimately, horror, when a climactic spasm of violence and murder reveals Hitler’s true character and ruthless ambition. Suffused with the tense atmosphere of the period, and with unforgettable portraits of the bizarre Göring and the expectedly charming--yet wholly sinister--Goebbels, In the Garden of Beasts lends a stunning, eyewitness perspective on events as they unfold in real time, revealing an era of surprising nuance and complexity. The result is a dazzling, addictively readable work that speaks volumes about why the world did not recognize the grave threat posed by Hitler until Berlin, and Europe, were awash in blood and terror.
The book presented here is the first work of Western literary criticism to examine the Hindi laghukathā - a modern Indian prose genre that has been published since the 1970s in Hindi newspapers and magazines and is characterised by its concise form (500 words on average) and socio-political agenda. The importance of the genre within the Hindi literary scene lies in the fact that the laghukathā is based on indigenous genres which have been modernised, whereas the Hindi short story and the novel are Western genres that have been appropriated and Indianised. A thorough investigation of around 280 primary texts accompanied by an evaluation of the relevant Hindi criticism gives a comprehensive literary analysis of this genre and its historical development. This allows, in conclusion, to delineate an "ideal type" of laghukathā, suggesting a range of compulsory, desirable and optional features. English translations of almost 50 representative Hindi texts complete the picture and thus provide an insight into this genre so far unknown to a Western audience.
This volume makes clear how Nazism was not only an attack on the human species and the Jewish people in particular, but also an attack on nature. Further, it examines the victims of the Holocaust for whom nature was not only a source of supplementary pain, but also a source of hope and redemption. The book reveals parallels between the attitudes of the bystanders during the Holocaust and us - bystanders today - watching the ecological disaster with the same passivity. The book's unique conclusion will challenge each reader. In addition to teaching us to be critical about our concepts of nature, as well as to remember the victims, the Holocaust also teaches us to become rescuers rather than bystanders in light of the contemporary destruction of nature. (Series: Geschichte des Holocaust - Vol. 8)