Defining John Bull demonstrates that caricature played a vital role in the redefinition of what it meant to be British. The public's increasing interest in political controversies meant that satirists turned their attention to individuals and the issues involved. This long reign was marked by political crises, both foreign and domestic and caricaturists responded with an outpouring of work that led the era to be called the 'golden age' of caricature. These multitudinous prints, produced in response to public demands and sensitive to public attitudes, indicate the redefinition of existing ideals.

Late Georgian England was a period of great social and political change, yet whether this was for good or for ill was by no means clear to many Britons. In such an era of innovation and revolution, Britons faced the task of deciding which ideals, goals and attitudes most closely fitted their own conception of the nation for which they struggled and fought; the controversies of the era thus forced ordinary people to define an identity that they believed embodied the ideal of 'Britishness' to which they could adhere in this period of uncertainty. Defining John Bull demonstrates that caricature played a vital role in this redefinition of what it meant to be British. During the reign of George III, the public's increasing interest in political controversies meant that satirists turned their attention to the individuals and issues involved. Since this long reign was marked by political crises, both foreign and domestic, caricaturists responded with an outpouring of work that led the era to be called the 'golden age' of caricature. Thus, many and varied prints, produced in response to public demands and sensitive to public attitudes, provide more than simply a record of what interested Britons during the late Georgian era. In the face of domestic and foreign challenges that threatened to shake the very foundations of existing social and political structures, the public struggled to identify those ideals, qualities and characteristics that seemed to form the basis of British society and culture, and that were the bedrock upon which the British polity rested. During the course of this debate, the iconography used to depict it in graphic satire changed to reflect shifts in or the redefinition of existing ideals. Thus, caricature produced during the reign of George III came to visually express new concepts of Britishness.

To make money in this troubled economy you need to understand where the markets are headed, not where they?ve been. Clinging to outdated strategies and played out market trends are sure ways to miss out on new investments, and in The Little Book of Bull?s Eye Investing, acclaimed investment expert John Mauldin teaches you how to read the direction of the markets to make decisions that capitalize on today?s investment opportunities. A practical road map to what?s in store for the markets to help you stay ahead of the curve, the book debunks many of the myths that have come to govern investment logic, particularly the buy-and-hold, relative return vehicles that Wall Street peddles to unsuspecting investors. Giving you a clear view of the trends shaping the markets right now which are likely to provide investment options for the decade ahead, The Little Book of Bull?s Eye Investing teaches the value of careful research before you put your money to work. Whether the market is on its way up or down, there are always excellent opportunities to invest profitably. You just need to know where they are. Looking at how the markets have behaved in the past to make an educated prediction about where they?re going, The Little Book of Bull?s Eye Investing explains how to make investment decisions that make sense today, whether you?re trading stocks, bonds, gold, real estate, or anything else. Making the most of the markets is like hitting a moving target?difficult, but not impossible?and with The Little Book of Bull?s Eye Investing in hand, you have everything you need to improve your eye for investing and make stable and secure trading decisions that can turn a profit in even the most turbulent of times.

John 'The Bull' Hayes is an Irish rugby legend. Keith Wood calls him a 'rugby giant', Donncha O'Callaghan calls him 'the heart and soul of the team', but Hayes is adored as much for his down-to-earth personality and background as his legendary status on the pitch. The phenomenon that is The Bull grew up in GAA farming heartland and was a late recruit to the game, picking up a rugby ball only at the age of 18. His determination on the pitch and passion for the shirt comes through in many a tale of graft and glory in the front row. Hayes relates his story of over 100 caps for his country, including four Triple Crowns and a glorious Grand Slam in 2009. Two Heineken Cup-winning campaigns gild an incredible career of over 200 games for Munster. This is the story of a giant of a man, and a rugby legend who is of the people.

The androgynous, asexual Buddha of contemporary popular imagination stands in stark contrast to the muscular, virile, and sensual figure presented in Indian Buddhist texts. In early Buddhist literature and art, the Buddha’s perfect physique and sexual prowess are important components of his legend as the world’s “ultimate man.” He is both the scholarly, religiously inclined brahman and the warrior ruler who excels in martial arts, athletic pursuits, and sexual exploits. The Buddha effortlessly performs these dual roles, combining his society’s norms for ideal manhood and creating a powerful image taken up by later followers in promoting their tradition in a hotly contested religious marketplace. In this groundbreaking study of previously unexplored aspects of the early Buddhist tradition, John Powers skillfully adapts methodological approaches from European and North American historiography to the study of early Buddhist literature, art, and iconography, highlighting aspects of the tradition that have been surprisingly invisible in earlier scholarship. The book focuses on the figure of the Buddha and his monastic followers to show how they were constructed as paragons of masculinity, whose powerful bodies and compelling sexuality attracted women, elicited admiration from men, and convinced skeptics of their spiritual attainments.

Nobel Laureate George Bernard Shaw remains one of the world's most important and popular writers. His plays are regularly performed around the world, from the boards of Broadway and the West End to regional, community, and college stages.The three plays selected here are widely considered to be three of the most important in the canon of modern British theatre:Man and Superman: a four-act comedy for serious people, staged in part at Royal court in 1905, it is one of the early works of Modernism to take an ancient myth and restage it in contemporary mode (and its influence extends across world literature, palpable in writings from Mann to Joyce). Its storyof how a sensitive woman compels a superman-figure to adjust to her needs and those of the real world provides an updated commentary on Nietzsche's still-fashionable notions of ubermensch; and its famous third act introduces a persistent Shavian theme, which goes back as far as earliest religiousliterature-that the truly damned are those who are happy in hell.John Bull's Other Island takes up that idea: to the visionary, hell may be the ultimate modern dream of efficiency and rational administration, as manifested in a colonial Ireland run by liberal exploiters. Commissioned by WB Yeats to mark the opening of Ireland's National Theatre, the Abbey, theplay was promptly refused by its Directors (who disliked its mechanical mockeries of mechanism but may have missed its visionary qualities). It was performed to huge acclaim in London in November 1904 and it made Shaw famous, the supreme example of the Playwright as Thinker and, ever afterwards,one of the most valued commentators on Anglo-Irish relations.Major Barbara: a three-act drama which in classic Shavian style unmasks the motivation of puritan idealists and dedicated industrialists, this work (like the previous two) pits a strong woman against a sardonic, practical man. Having exposed the mendacity of apostles of efficiency, Shaw seems thento submit to their doctrine, arguing that a pure private charity towards the destitute is no adequate substitute. Like the previous two works, this is a problem play, in the course of which the audience sympathy is aroused and then repelled in all directions. The suggestion that it may be acceptableto take money from tainted sources, such as arms manufacturers, caused much debate in 1905 - and even more after the carnage wrought by mechanized guns in World War One.