Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Set in Italy in the year 1977, "The Road to Chianti" follows two young orphans as they struggle to find a place to call home.

When their parents are killed in a devastating accident on the eve of the Epiphany, nine-year-old Alessandra DeSantis and her older brother, Salvatore, are left alone. With no one to care for them, the children soon end up in a run-down orphanage far from their home in Chianti. Still emotionally scarred from losing their parents, they now face an even greater challenge-the cruel Agostina, who works Alessandra and Salvatore to the point of exhaustion.

Deciding they must escape, Alessandra and Salvatore flee in the night and unknowingly embark on a harrowing adventure across the Italian countryside. With Agostina's goons hot on their trail, Alessandra and Salvatore vow to do whatever it takes to survive, and above all else, find their way home to Chianti. But one nagging question always hangs over them-what will they find when they finally get home?

An action-packed journey through cobblestone streets, dark forests, and gorgeous piazzas, "The Road to Chianti "explores the power of love to triumph over adversity and the importance of having a place to call your own.

The Berber identity movement in North Africa was pioneered by the Kabyles of Algeria. But a preoccupation with identity and language has obscured the fact that Kabyle dissidence has been rooted in democratic aspirations inspired by the political traditions of Kabylia itself, a Berber-speaking region in the north of Algeria. The political organisation of pre-colonial Kabylia, from which these traditions originate, was well-described by nineteenth-century French ethnographers. But their inability to explain it led to a trend amongst later theorists of Berber society, such as Ernest Gellner and Pierre Bourdieu, to dismiss Kabylia's political institutions, notably the jema'a (assembly or council), and to reduce Berber politics to a function of social structure and shared religion. In Berber Government, Hugh Roberts, a renowned expert on North Africa, uncovers and explores the remarkable logics of Kabyle political organisation. Combining political anthropology and political and social history in an interdisciplinary analysis, Roberts challenges the excessive emphasis on kinship and religion in the study of the Maghreb. He instead explores the political structures and processes of the Kabyles, examining the organisation of the Kabyle polity and its intricate frameworks of law, political representation and self-government. Additionally, in a pioneering account of Kabylia's relations with the Ottoman Regency, he provides the first in-depth historical explanation of the genesis of the Kabyle polity as this existed at the moment of the French conquest of the region in 1857. In thus grounding the explanation of Kabyle political organisation in a resolutely historical analysis spanning the Ottoman era, Berber Government offers a radical alternative to previous paradigms and lays the foundation of new way of understanding the complex place and role of the Kabyles in Algerian political life from the pre-colonial era to the present day.

Loved Egyptian Night fundamentally reassesses the Arab Spring, refuting the stories the Western powers fed to the world. There is no doubt that the toppling of Ben Ali in Tunisia in January 2011 and what it led to amounted to a political revolution. But the uprisings in Egypt, Libya and Syria - countries with quite different histories and political traditions - were never revolutions. As Hugh Roberts explains, the bitter ends of these episodes were inscribed in their misunderstood beginnings. To celebrate these uprisings as 'revolutions' preempts and inhibits critical analysis and expresses an abdication of intellectual responsibility. After so much wishful thinking, what remains is the debris of a cynical pretension. Outside interference, ostensibly on behalf of these 'revolutions', reduced Libya to anarchy and condemned Syria to a devastating proxy war now in its twelfth year. In Egypt, the Free Officers' state was re-booted in its most brutal ever form. The Americans and Europeans did not vainly try to help the Egyptians or anyone else escape from authoritarian rule. Instead, they contrived to seal them up in it. The long oppression of these societies, Kipling's 'loved Egyptian night', is not going to be ended by the Western powers; these days it is guaranteed by them.

Percy Bysshe Shelley's utopian vision was largely a product of the tumultuous final quarter of the eighteenth century, when the American, French, and industrial revolutions profoundly changed the way in which social, political, and economic relationships were viewed. In A Brighter Morn, noted Shelley scholars identify the qualities of this unique brand of utopianism, which was a complex and frequently conflicted blend of the personal, poetical, and political realms. This collection of essays sorts through these perplexities and discords, exploring Shelleyan utopianism in a variety of contexts- place and placelessness, time and timelessness, publicity and privacy, and physicality and spirituality- and concluding with a snapshot of the Western psyche at a crucial point in its development.

In The Corinthian Correspondence, Frank W. Hughes and Robert Jewett argue that there were eight original letters by the Apostle Paul to the church in Corinth. In the first part of the book, they use literary and redaction criticism to show the reasons for the partition theory of 1 and 2 Corinthians. Analyzing each of the eight letters using rhetorical criticism, they show how the original Corinthian letters were edited and reshaped into 1 and 2 Corinthians in the New Testament. After reflections on the rhetoric of these letters and the historical meaning of the reshaping of the images of Paul, a final chapter traces the consequences of the reshaping of the Corinthian correspondence and the adoption of the bound book (codex) instead of the original papyrus scrolls. Several figures help the reader understand the redactional process, and a new translation of the eight reconstructed Corinthian letters is provided.

Second edition of a book which caused huge controversy in its first printing - now completely revised and updated. Argues that research into the cultural history of music can significantly help our understanding of the evolution of English national identity. Only book of its kind to cover such a revolutionary period in British music. Looks at how music reflected the privileged elite, ignoring the vast majority of 'music lovers', and was crucial in the construction of a British national identity. The second edition features a new and expanded introduction, a new chapter on Mendelssohn's Elijah - and the complete text has also been updated and revised. -- .