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.

Cambridge scholar and political philosopher John Neville Figgis examines how ideas concerning politics and religion changed during the Renaissance. Drawing on a range of pertinent texts from a period spanning over two centuries, Figgis examines how some of the finest scholars of the Renaissance era established and refined their ideas. In the earlier part of the period, politics was deeply intertwined with the Catholic Church and the authority of the Pope. Later on, the upheaval of the Reformation resulted in a dramatic surge of ideas, changing forever how the rule of a given monarch was connected with Christendom. By the 17th century, the controversial notion of the divine, God-given right of kings to rule had emerged. As Figgis recalls, the notion met with opposition and eventual revolt in the Netherlands; the deposing of the Dutch monarch sent shockwaves through Europe, and foresaw the beginnings of the Enlightenment era.

The trial and imprisonment of Nicola Sacco and Bartolomeo Vanzetti and the resulting press coverage catapulted the two immigrant anarchists from the margins of obscurity to international celebrity in 1926 and 1927. This study examines this press coverage and the political movement that set the tone for one of the 20th century's most debated and least understood political causes. Neville argues that, while casting about for a case to champion in 1926, the Comintern of the USSR discovered in Sacco-Vanzetti the perfect vehicle to discredit and shame the United States. As an international cause celebre, this event did not occur spontaneously but, rather, was managed behind the scenes in Europe to discredit the reputation of the United States through a carefully orchestrated propaganda campaign. Perhaps the most formidable enemies of the Commonwealth of Massachusetts and the U.S. government were ultimately their own political leaders, who seemed powerless to rebut an all-or-nothing international propaganda campaign designed to succeed with Sacco and Vanzetti playing the role of willing martyrs. That few supporters of the Sacco-Vanzetti movement realized this effort distorted the historical accuracy of the case for decades after the men were executed. More than 70 years later, historians and scholars must separate the myth from the reality, an extremely difficult task given the passage of time and the still largely accepted view that Sacco and Vanzetti were victims of political persecution.

This book is a study of cold war agenda setting in relation to the Julius and Ethel Rosenberg spy case. Its primary interest is with press coverage of the case from 1950 to 1953, although the historical focus of the case extends before and beyond those years. The purpose of the book is not to debate the Rosenbergs' guilt or innocence, but rather to provide a fresh view of the case in its most political terms: news coverage filtered through the dynamics of cold war patriotism. A large sample of U.S. and foreign newspapers and magazines was monitored to determine if the Rosenbergs were victims of sensational pretrial and during-trial newspaper publicity. Neville also determines if the press reported on the claims of a U.S. left-wing newspaper, the National Guardian, that the Rosenbergs were framed by the U.S. government with the complicity of the news media. His conclusions question whether the mainstream press and news media ignore issues of justice for radicals in time of war and political crisis.

Former 'Monty Python' animator Terry Gilliam directs this epic fantasy adventure. In the seventeenth century, a theatrical troupe are acting out the legendary adventures of mythical hero Baron Munchausen for the visiting Minister of War (Jonathan Pryce) when their performance is interrupted by an eccentric old man (John Neville) who claims to be the Baron himself. Protesting that the version of his life being presented is all wrong, the Baron proceeds to regale the audience with his own fantastic tale...