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Academy Award-winning screenwriter Quentin Tarantino returns with his most infamous, most brilliant, most masterful screenplay yet?Ķ At the end of the Civil War, a stagecoach hurtles through the wintry Wyoming landscape. Bounty hunter John Ruth and his fugitive captive Daisy Domergue race toward the town of Red Rock, where Ruth will bring Domergue to justice. Along the road, they encounter Major Marquis Warren, a former Union soldier turned infamous bounty hunter; and Chris Mannix, a renegade who claims to be the town's new sheriff. Lost in a blizzard, Ruth, Domergue, Warren, and Mannix seek refuge at Minnie's Haberdashery, a stagecoach stopover. When they arrive, they are greeted by four unfamiliar faces: Bob, who takes care of Minnie's in the owner's absence; Oswaldo Mobray, the hangman of Red Rock; cow-puncher Joe Gage; and Confederate general Sanford Smithers. As the storm overtakes the mountainside, our eight travelers come to learn they may not make it to Red Rock after all ... The Hateful Eight is a Tarantino master class in tension-filled atmosphere, singular characters, and razor-sharp dialogue.
What is forgiveness? After the events of Exia, Lucifer asks that very question. Following the tragic end of his dream, he journeys to the city where that dream began. Kyrios. But Kyrios isn’t the same as he remembers. Now a haven for humanity and Hateful alike, the city challenges everything Lucifer thought he knew about being Hateful, thanks to the work of the enigmatic Hateful group known as Silver Wing. However, despite their work, one man still stands against them, believing that both races are living a lie. The Hateful Killer. Soon, Lucifer will find himself caught between two different ideologies, both of which will make him question what it means to be Hateful, and how to view a Hateful past. Can Lucifer find forgiveness? Or, is he doomed to repeat the same mistakes as before? Amid this, Megidra, Greene and Diana Skagen wrestle with these questions themselves, and as Ethero’s landscape changes, nothing will never be the same for either of them. Because war is coming. As the truths of Ethero arise, all four will question what it means to forgive, and whether their world can ever heal. Or does doom await it? The Titans stir again, ready to destroy everything…
In a series of landmark decisions since 1990, Canadian courts have shaped a distinctive approach to the regulation of obscenity, hate literature, and child pornography. Missing from the debate, however, has been any attempt to determine whether the legal status quo can be justified by reference to a framework of moral/political principles. The Hateful and the Obscene is intended to fill that gap. L.W. Sumner brings philosophical depth and theoretical rigour to some of the most important and difficult questions concerning free expression. Building on a framework set out by J.S. Mill – that a legal restriction of expression is justified only when the expression in question is harmful to others and when the benefits of the restriction will exceed its costs – Sumner shows how the Canadian courts have replicated Mill's framework in their interpretation of the Canadian Charter of Rights and Freedoms. The Hateful and the Obscene is a compelling interpretation of freedom of expression that combines serious philosophical thought with a focus on Canadian law, thus maintaining the breadth to deal with both obscenity and hate literature.
"Since 9/11, gay men and women have experienced relative liberation in parts of the Western world. Coinciding with queer and transgender mobilisations, contemporary queer identity is changing, homosexuality has become acceptable within the army and the police, and (heavily de-sexualised) images of same-sex affection have become mainstream. In Queer Lovers and Hateful Others, however, Jin Haritaworn challenges this progression by exposing what happens to this discourse when sexuality and the racial or religious 'Other' collide. He discusses how the sexual understanding of 'terror' has become increasingly prevalent across the globe in a destructive and overarching ideology. For example, he discusses how gendered images of Islam such as the veil and 'honour crimes' are circulated, largely unchallenged. He looks at movements on the ground, such as how anti-Islam activists have been able to mobilise existing notions of 'Muslim sexism' in order to mainstream a new discourse on 'Muslim homophobia'. Important, timely and innovative, this book provides an exciting engagement with pressing political issues regarding current trends within sexual and gender politics in the neo-colonial world order"--Publisher's description.
This book provides an overview of preventing and countering violent extremism (P/CVE) to assist readers in developing a more complete understanding of P/CVE and the issues of radicalisation, disengagement and rehabilitation. It shines a light on some key P/CVE programmes and initiatives in Indonesia and is written to facilitate understanding preventing and countering violent extremism in a larger frame. It is intended to be of interest to civil society activists, security practitioners, communities, policy makers and researchers alike. It represents a collaboration, born out of partnership in the field, that brings together academic researchers and civil society activists from Indonesia and Australia. Around the world, far too little is known about Indonesian society in general and Indonesian Islam and civil society in particular. This is, in large measure, because of the barrier of language. This book represents a small, but hopefully significant, contribution to opening a window to Indonesia. The focus of this book is on the challenging issues entailed with violent and hateful extremism. The initiatives it portrays and the people it describes, and whose voices it channels, are filled with the hope of transforming the world to make it better.
This book surveys the state of knowledge regarding development and humanitarian non-government organisation (NGO) responses to preventing and countering violent extremism (P/CVE). It delineates the nexus and shared objectives between P/CVE and development/humanitarian NGO frameworks and outlines a reframing of the concept of VE into violent and hateful extremism (VHE) as a shift to a more nuanced understanding which addresses inherent complexities and entanglements more deeply. The diversity of case studies, datasets, and author perspectives serves to advance knowledge on this topic and provide useful evidence and insights to inform policy and practice. This book will be a valuable resource for students, academics and professionals interested in international humanitarian, development operations and conflict resolution. The chapters in this book were originally published as a special issue of Conflict, Security & Development.
These ten essays, written over a period from 1950 to 1962, are bound together by their common concern with questions of the meaning of criticism and the larger meaning of literature itself. These difficult questions W.K. Wimsatt treats with characteristic wit and penetration, ranging easily from a broad consideration of principles to incisive comment on individual writers and works. The first part of the book is devoted to a discussion of literary theory. Wimsatt reviews the development of critical dialectic from the German romanticism of Schelling and the Schlegels to the mythopeic bravura of Northrop Frye. Himself a classical ironist, he nevertheless exposes here some of the extravagances of the ironic principle as flourished by the systematic Prometheans. The second and third parts contain essays on more particular topics: the meaning of "symbolism," Aristotle's doctrines of the tragic plot and catharsis, the theory of comic laughter, and the objective reading of English meters. Here too are extended comment on particular writers—a study of the imagination of James Boswell, an analysis of the comedy of T. S. Eliot in The Cocktail Party, and a contrast in the handling of similar themes by Tennyson and Eliot. The fourth part is a comprehensive statement of the demands and opportunities confronting the critic in his or her role as teacher.
Is Henrietta really that hateful? She sure is! An angel named Tula-Mae, Biscuit the lamb Gravy his buddy he’s a goat, and Mugsy the mole; mushrooms that talk, an awesome placed called the Happy Hotel, and sand dollars that whisper in your ear! Is this place even for real? You decide when you join Hateful Henrietta on her exciting and lesson-filled journey into the entertaining and spectacular seaside Kingdom of Droves Cove! A fictional children’s book series Droves Cove books are written from an Evangelical Christian point of view and are based on biblical principles. Suitable for readers ages 8 to 12.
In a series of landmark decisions since 1990, Canadian courts have shaped a distinctive approach to the regulation of obscenity, hate literature, and child pornography. Missing from the debate, however, has been any attempt to determine whether the legal status quo can be justified by reference to a framework of moral/political principles. The Hateful and the Obscene is intended to fill that gap. The Hateful and the Obscene is an interpretation of freedom of expression that combines serious philosophical thought with a focus on Canadian law, thus offering the breadth capable of dealing with both obscenity and hate literature
Mona Awad’s Bunny meets Stranger Things when a summer storm sweeps through a sleepy town, unleashing a monstrous power that threatens to bend reality, from the Bram Stoker award winning author of Queen of Teeth. Three years after running away from home, Olivia is stuck with a dead-end job in nowhere town Chapel Hill, Pennsylvania. At least she has her best friend, Sunflower. Olivia figures she’ll die in Chapel Hill, if not from boredom, then the summer night storm which crashes into town with a mind-bending monster in tow. If Olivia’s going to escape Chapel Hill and someday reconcile with her parents, she’ll need to dodge residents enslaved by the storm’s otherworldly powers and find Sunflower. But as the night strains friendships and reality itself, Olivia suspects the storm, and its monster, may have its eyes on Sunflower and everything she loves. Including Olivia.