The non-use of biological weapons has been described as the 'great mystery of biological warfare.' The Biological Weapons Taboo solves that mystery by analysing the bioweapons taboo, in the first comprehensive study of the concept. Bentley explains precisely why bioweapons are perceived as repulsive and how this sentiment is consequently expressed in the form of political behaviours, including the refusal to engage in biological aggression. Drawing on extensive archival evidence, this volume looks back on United States' foreign policy decision-making (particularly in relation to the Geneva Protocol and the Biological Weapons Convention) to demonstrate how and why the taboo has comprised a decisive factor in shaping both biowarfare strategy and political rhetoric - and why the taboo needs to be recognised as a necessary consideration in the study of bioweapons. In analysing a taboo, the volume also takes the debate on international norms forward by questioning and challenging the wider analytic comprehension of 'taboo' itself. Rejecting current definitions of the concept as inadequate, Bentley proposes a new and original model of understanding based on the normative characteristics of disgust, stigmatization, and fetishization.
This book examines the use of concepts – specifically ‘weapons of mass destruction’ (WMD) – in US foreign policy discourse. Current analysis of WMD definition has made headway into identifying the repercussions that the conceptual conflation of such diverse weapons – typically understood as a reference to nuclear, biological and chemical weapons – has for international security. While the concept assumes these weapons are ‘equal’, the vast disparity between them, and their disparity from the conventional weapons from which they are supposedly distinct, means this approach is seen as unreflective of reality, causing miscalculations in security policy. Not least, this has highlighted that the issue of WMD definition is a priority concern where this has direct implications for strategy. In contrast, Weapons of Mass Destruction and US Foreign Policy argues that this approach does not accurately portray conceptual meaning, particularly where it overlooks how political language is constructed. In demonstrating this, the book presents a conceptual history of WMD detailing how this has been defined and used since its emergence into political discourse c.1945. Specifically, it argues that definition is an inherently strategic act; policymakers have deliberately included (or excluded) certain weapons and threats from the classification in order to shape foreign policy dialogues. As such, understanding the WMD concept is not a search for a single interpretation, but an analysis that seeks to comprehend what the concept means at any given time, especially where this relates to the political circumstances of its use. By identifying a variety of ways in which WMD has been defined, the book constructs a dynamic view of conceptual meaning that recognises and, more importantly explains, the inherent diversity in interpretation as the consequence of epistemic and institutional context and the strategic response of policymakers.This book will be of much interest to students of Weapons of Mass Destruction, US foreign and security policy, security studies, political narratives and IR.
Did you know? In 1939 the famous Illumination lights were set up but never switched on, due to the outbreak of the Second World War. High winds can make the Blackpool Tower sway up to an inch. Blackpool can boast some of the best examples of Victorian architecture in Britain. From the momentous to the outlandish, this book is packed full of fun facts and trivia about everything to do with the self-styled ‘Vegas of the North’. Much more than a tourist guide, residents too will discover things they never knew about the town. Facts, history, humour; it’s all here in this engaging little book.
This book analyses the Syria crisis and the role of chemical weapons in relation to US foreign policy. The Syrian government's use of such weapons and their subsequent elimination has dominated the US response to the conflict, where these are viewed as particularly horrific arms - a repulsion known as the chemical taboo. On the surface, this would seem to be an appropriate reaction: these are nasty weapons and eradicating them would ostensibly comprise a 'good' move. But this book reveals two new aspects of the taboo that challenge this prevailing view. First, actors use the taboo strategically to advance their own self-interested policy objectives. Second, that applying the taboo to Syria has actually exacerbated the crisis. As such, this book not only provides a timely analysis of Syria, but also a major and original rethink of the chemical taboo, as well as international norms more widely.
This book analyses the Syria crisis and the role of chemical weapons in relation to US foreign policy. The Syrian government's use of such weapons and their subsequent elimination has dominated the US response to the conflict, where these are viewed as particularly horrific arms - a repulsion known as the chemical taboo. On the surface, this would seem to be an appropriate reaction: these are nasty weapons and eradicating them would ostensibly comprise a 'good' move. But this book reveals two new aspects of the taboo that challenge this prevailing view. First, actors use the taboo strategically to advance their own self-interested policy objectives. Second, that applying the taboo to Syria has actually exacerbated the crisis. As such, this book not only provides a timely analysis of Syria, but also a major and original rethink of the chemical taboo, as well as international norms more widely.
By the age of seventeen, Bentley was accustomed to traveling from place to place on a whim.Her mother, Cindy, never seemed to have a worry, as they followed some imaginary line across a map.After breaking down on a two-lane highway in the middle of nowhere, Bentley comes face to face with a past she did not know existed...could even possibly exist.It was impossible that she could know the handsome, mysterious Frenchman, and as flashbacks invaded her dreams and daydreams, Bentley becomes more and more convinced she is not who she thought she was. But who is she?How could she have memories from an age before she was born? Danger ensues, as Bentley begins to unravel the details of...The Curse.
"The Survival of Bentley Knox," is the second book in the Bentley Knox series.After finding out that her soul is hundreds of years old, Bentley finds herself taken hostage. Torn away from the boy she loves, she plunges deeper into the world of the Karankawa Indians.Old enemies become trusted allies, as more and more secrets come to light. Events begin to unfold that change the lives of the four in ways not even the seers could predict.
The Pupil’s Book contains: An introductory unit (Starter) A nine main units and three additional units related to festivals Cut-out materials and stickers Access to Digital Resources
The Pupil’s Book contains: An introductory unit (Starter) A nine main units and three additional units related to festivals Cut-out materials and stickers Access to Digital Resources
Anna Freeman Bentley (b. 1982) is an artist based in London. Her painting practice explores the built environment, architecture and interiors, inviting emotive, psychological and semiotic readings of space. This publication, Complete Reality, documents Freeman Bentley’s latest series of paintings, which she created after visiting the film set for My Driver and I (2024), a coming-of-age drama set in the port city of Jeddah in Saudi Arabia. Over the course of the shoot, Freeman Bentley took over two thousand photographs, which she edited and worked from in her London studio. The paintings show lavish rooms, filled with fringed lamps, dusty chandeliers, vast mirrors and ornate furniture, juxtaposed with the incongruous signs of a film set: screens, leads, computers and plastic chairs. Exploring the relationship between ‘reality’ and ‘fabrication’, the series continues the artist’s interest in spaces that have an inherent tension or transience. Alongside the paintings that comprise Complete Reality, the publication also includes a series of oil studies on paper that explore additional rooms, angles and spaces from the film set. Installation images of the artist’s most recent solo exhibitions – Video Village at MASSIMODECARLO Pie`ce Unique, Paris (2024), make shift at Monica de Cardenas, Zuoz (2024), and Complete Reality at Anat Ebgi, Los Angeles (2024–25) – showcase the works staged in different configurations and gallery environments. In her introduction, Jennifer Higgie considers the interiority of Freeman Bentley’s elusive scenes, and her interest in temporary and unreal spaces. The curator and writer Elisabetta Fabrizi interviews Freeman Bentley about the interplay of reality and illusion in her paintings. They reflect on themes of authenticity and narrative tension, and discuss Freeman Bentley’s earlier explorations of cinema, particularly Andrei Tarkovsky’s Stalker (1979). Kathryn Lloyd writes about the conceptual and historical relationships between cinema, photography and painting. She analyses how Freeman Bentley forges an interdependence between these three distinct media, creating an unmistakably painterly language that somehow distils the essence of both film and photography. In an interview with Michele Robecchi, the artist discusses her recent solo exhibition in Switzerland, make shift. Freeman Bentley reflects on her personal connections to the work, the significance of the temporary and transitory nature of the film set and her use of triptychs, mirrors and fragmentation to disrupt conventional readings of space. In her contribution, the film producer Georgie Paget offers a speculative film script based on the exhibition Video Village at MASSIMODECARLO Pie`ce Unique, Paris. Edited by Matt Price and designed by Joanna Deans, the book is published by Anomie Publishing, London. Anna Freeman Bentley (b.1982) is an artist based in London. She completed her BA at Chelsea College of Arts, London, in 2004, and also undertook an Erasmus exchange at Kunsthochschule Weissensee in Berlin in 2003. She received her MA from the Royal College of Art, London, in 2010.
"Daddy... can't we come with you when you leave this time?" When Michelle asked to be taken away from her abusive mother, she never expected to lose everyone she loved in the process. They said they would keep her and Kenny together. Her daddy said he would be back. And she never even got to say good-bye to Marcie. All too soon, they were trying to reunite her with her mother, and Michelle is forced to take to the streets, seeking safety in the gang life. Michelle is third in the Ruby, Between the Cracks series, a winner of the Top Ten Best Books for Teens 2015. A heartbreaking story. "Something about P.D. Workman's writing just blows my mind... I hate when I get too tired to read anymore and I have to wait until the next day."
Als die lesbische Michelle in das Leben von Wilma eintritt ndert sich mit einem Schlag alles. Grundlegend. Auch f r Gustav ist die Situation alles andere als 'Allt glich'. Als Wilma Gustav ihre Freundin Michelle vorstellt, ahnt sie noch nicht, dass dieser Tag ihr ganzes Leben auf den Kopf stellen wird. W hrend Gustav zun chst mit scheinbarer Gelassenheit akzeptiert, dass Wilma ihre erotischen Tr ume mit Michelle verwirklicht, wird ihm schnell bewusst, dass Wilmas Freundin ihm alles andere als gleichg ltig ist, zumal sie ihn an seine gro e Liebe Willeke erinnert. Aber was genau sollte das jetzt bedeuten? Ein einmaliges Erlebnis? Eine Erfahrung, die man einfach im Leben gemacht haben muss? Als Wilma eine M nage trois vorschl gt, kann sich Gustav zun chst nur z gerlich mit diesem Gedanken anfreunden. Nach einer hei en Nacht mit beiden Frauen, steht f r Gustav dann allerdings schnell fest, dass Michelle bei ihnen einziehen soll. Ein ungew hnliches Experiment, in dem Toleranz, Akzeptanz und vielleicht auch etwas Eifersucht eine Rolle spielen, nimmt seinen Lauf.
Als die lesbische Michelle in das Leben von Wilma eintritt ndert sich mit einem Schlag alles. Grundlegend. Auch f r Gustav ist die Situation alles andere als 'Allt glich'. Als Wilma Gustav ihre Freundin Michelle vorstellt, ahnt sie noch nicht, dass dieser Tag ihr ganzes Leben auf den Kopf stellen wird. W hrend Gustav zun chst mit scheinbarer Gelassenheit akzeptiert, dass Wilma ihre erotischen Tr ume mit Michelle verwirklicht, wird ihm schnell bewusst, dass Wilmas Freundin ihm alles andere als gleichg ltig ist, zumal sie ihn an seine gro e Liebe Willeke erinnert. Aber was genau sollte das jetzt bedeuten? Ein einmaliges Erlebnis? Eine Erfahrung, die man einfach im Leben gemacht haben muss? Als Wilma eine M nage trois vorschl gt, kann sich Gustav zun chst nur z gerlich mit diesem Gedanken anfreunden. Nach einer hei en Nacht mit beiden Frauen, steht f r Gustav dann allerdings schnell fest, dass Michelle bei ihnen einziehen soll. Ein ungew hnliches Experiment, in dem Toleranz, Akzeptanz und vielleicht auch etwas Eifersucht eine Rolle spielen, nimmt seinen Lauf.
Der alleinstehende englische Lord Richard Anilingus III., in seinem Heimatst dtchen Tupperware-upon-Avon auch einfach nur "Lord Dickie" genannt, verliebt sich Hals ber Kopf in die sehr blonde und blutjunge Krankenschwester Michelle, woraufhin diese nur kurz darauf zu ihm auf seinen Landsitz, nach Rimmdale Manor, zieht, wo beide fortan den bukolischen Freuden des Landlebens fr nen. Obwohl Michelle nicht gerade aus Fortunas F llhorn mit berbordender Intelligenz gesegnet ward, w nscht sie sich doch nichts mehr, als eine weltber hmte Dichterin und vergeistigte Intellektuelle vom Kaliber einer Madame de Sta l zu werden. Bei einem von K nigin Elizabeth II. ins Leben gerufenen, nationalen Dichterwettbewerb kann sie schon bald ihr K nnen unter Beweis stellen... Dieser Roman ist eine Burlesque, eine genauso geistreiche wie plumpe Parodie eines herk mmlichen Liebes- und Schundromans der belsten Sorte.
