It's election day in Mega-City One, and Judge Death is leading the polls. He's running for mayor on the 'All Life is a Crime' ticket. But if the Psi-Judges' predictions are right, the Big Meg may soon be a crime-free zone. Out on the streets, the city's top lawman is doing his job. A robot-torturing maniac has taken over Weather Control - but Judge Dredd can handle it. Then he finds out a satellite housing development is heading straight to the ground, and someone has let the supervillains out of iso-block 666. Meanwhile, a clone-killing virus is spreading through the ranks of the Judges . . . Even for Mega-City One, it's shaping up to be a bad day.

In this cogent and well-researched book, Harold Schechter argues that, unlike the popular conception of the media inciting violence through displaying it, without these outlets of violence in the media a basic human need would not be met and would have to be acted out in much more destructive ways. Schechter demonstrates how violent images saturated the earliest newspaper, how art and disturbing images are not incompatible and how the demoaisation of comic books in the 1950s det up a pattern of equating testosterone fuelled entertainment with aggression.

John Colet (1467-1519) was Dean of St. Paul's Cathedral and founder of St. Paul's School, London. Colet lectured at Oxford on St. Paul's Epistles, introducing a new treatment by abandoning the purely textual commentary then common, in favor of a study of the personality of St. Paul and of the text as a whole. In 1498 he met Erasmus at Oxford, with whom he immediately became intimate, arousing in him especially a distrust of the later school men. Colet's lectures on the New Testament continued for five years, until in 1504 he was made Dean of St. Paul's. In London he became the intimate friend and spiritual adviser of Sir Thomas More. In 1509 he began the foundation of the great school with which his name will ever be associated. This biography by noted Oxford reform scholar J.H. Lupton was the standard for one hundred years and remains a classic today.

able of Contents LIMBERHAM. TO THE RIGHT HONOURABLE JOHN, LORD VAUGHAN, and c [ 1]. PROLOGUE. DRAMATIS PERSONÆ LIMBERHAM; KIND KEEPER. A SONG. I. II. ACT II. SCENE I. SCENE changes to Limberham's apartment. LIMBERHAM SINGING. ACT III.—SCENE I. A SONG FROM THE ITALIAN. SCENE II.—Mr Woodall's Chamber. ACT IV.—SCENE I. SCENE opens to Brainsick's Apartment. SCENE II.—Woodall and Tricksy discovered in the Garden-house. ACT V.—SCENE I. ŒDIPUS. ŒDIPUS. PREFACE. PROLOGUE. DRAMATIS PERSONÆ. ŒDIPUS. SONG TO APOLLO. ACT IV. SCENE I. ACT V.—SCENE I. EPILOGUE. CARDINAL NORFOLK. PLEBEIANS. TROILUS AND CRESSIDA: TRUTH FOUND TOO LATE. TROILUS AND CRESSIDA. THE PREFACE. DRAMATIS PERSONÆ. TROILUS AND CRESSIDA SCENE II.—Troy. SCENE II. SCENE III.—The Camp. ACT III. SCENE I. SCENE II. I. II. ACT IV. SCENE I. SCENE II. ACT V. SCENE I. SCENE II—The Camp. SPANISH FRIAR; THE DOUBLE DISCOVERY. THE SPANISH FRIAR. TO THE RIGHT HONOURABLE JOHN, LORD HAUGHTON [ 1]. PROLOGUE. DRAMATIS PERSONÆ. SPANISH FRIAR: DOUBLE DISCOVERY. ACT I.—SCENE I. SCENE II. SCENE II.—A Chamber. A Table and Wine set out. SCENE III.—A Chamber. SCENE II.—Elvira's Chamber. SCENE III.—A Bed Chamber. SCENE II.—The Court. SONG. SCENE II.—The Palace-Yard. Drums and Trumpets within.