[Siren Menage & More: Erotic romance, Menage, BDSM, Bondage, Paranormal, Supernatural, MFMM, HEA] Rose isn’t a delicate flower as her name suggests. When kidnapped and faced with the threat of death by creatures that she didn’t know existed, she is left in the care of her very own brutal kidnappers. Though there is no denying the chemistry between them, she continues to challenge their authority and risks her own life to undo the sins of their past. Dane, Camden and Blaze. Brothers and bounty hunters by fates choosing after being visited by a mysterious messenger of the supernatural. Desperate to get out from under the rule of the messenger, they resort to selling succubi to the biggest supernatural crime bosses to gain connections in the Underwood. Kidnapping Rose turns into a beautiful accident, but can they win her heart after becoming the monsters she is so determined to defeat? NOTE: Contains scenes of dubious consent and forced seduction.

ÿCupid is the moving and inspiring true story of a war horse, one of many thousands that were shipped across the English Channel a hundred years ago to play their part on the Western Front during the First World War. Cupid had been a father?s gift to his 15-year-old son, and when war broke out father, son and horse found themselves facing the horrors of the conflict together. They did not all return. Martin Laurie is the grandson of the young man who owned Cupid and rode her to war. With the aid of his grandfather?s letters and family documents and photographs, he has pieced together an astonishing story.

Printed Musical Propaganda in Early Modern England reveals how consistently music, in theory and practice, was used as propaganda in a variety of printed genres that included or discussed music from the English Civil Wars through the reign of William and Mary. These printed items—bawdy broadside ballads, pamphlets paid for by Parliament, sermons advertising the Church of England’s love of music, catch-all music collections, music treatises addressed to monarchs, and masque and opera texts—when connected in a contextual mosaic, reveal a new picture of not just individual propaganda pieces, but multi-work propaganda campaigns with contributions that cross social boundaries. Musicians, Royalists, Parliamentarians, government officials, propagandists, clergymen, academics, and music printers worked together setting musical traps to catch the hearts and minds of their audiences and readers. Printed Musical Propaganda proves that the influential power of music was not merely an academic matter for the early modern English, but rather a practical benefit that many sought to exploit for their own gain.

The notion of the frame in art can refer not only to a material frame bordering an image, but also to a conceptual frame. Both meanings are essential to how the work is perceived. In Framing Russian Art, art historian Oleg Tarasov investigates the role of the frame in its literal function of demarcating a work of art and in its conceptual function affectingthe understanding of what is seen. The first part of the book is dedicated to the framework of the Russian icon. Here, Tarasov explores the historical and cultural meanings of the icon’s,setting, and of the iconostasis. Tarasov’s study then moves through Russian and European art from ancient times to the twentieth century, including abstract art and Suprematism. Along the way, Tarasov pays special attention to the Russian baroque period and the famous nineteenth century Russian battle painter Vasily Vereshchagin. This enlightening account of the cultural phenomenon of the frame and its ever-changing functions will appeal to students and scholars of Russian art history.