![]() Buyers are deemed to have to satisfied themselves on authenticity, condition, etc., before bidding and no-one in the Auctioneers employment has authority to make any representation of fact.Ĭ.ěidding. All statements on such matters, whether printed in the catalogue or made orally, are statements of opinion and not representations of fact. Every Lot is sold with all faults and errors of description and the Auctioneers disclaim, for themselves and for the Seller, all responsibility for authenticity, attribution, age, origin, provenance, date, condition, quality or estimated selling price. They accept no responsibility in connection with the commissioning of members of their staff to bid for Lots on behalf of intending Purchasers.ī.ĝescription. The Auctioneers do not guarantee the title of any Lot or Lots sold by them and will not be responsible for any defects in such title. The Auctioneer sells as Agent for the Seller and as such is not responsible for any default by Seller or Buyer. ![]() The ‘total amount due’ means the ‘hammer price’ in respect of the lot sold together with any premium, Value Added Tax chargeable and additional charges and expenses due from a defaulting buyer under Condition 12.Ī.Ěgency. The ‘hammer price’ means the price at which a lot is knocked down by the Auctioneer to the Buyer. In these Conditions, The Cotswold Auction Company, who act only as Auctioneers and Agents for the Vendor, are called ‘the Auctioneers’ and the representative of The Cotswold Auction Company conducting the auction is called ‘the Auctioneer’. He shall have no claim against The Cotswold Auction Company in respect of any accident which may occur or injury, damage or loss howsoever caused, save insofar as the injury, damage or loss shall be caused by the direct negligence of The Cotswold Auction Company employees.ġ.ĝefinitions. Every person on The Cotswold Auction Company premises at any time shall be deemed to be there at his own risk. In following the "aetiology of resistance" Chakravarty is at his.Third Party Liability. Chakravarty reveals that it was from the "hysterical popular media that counterinsurgency gathered energy and momentum" (40). ![]() 1859), while it is entirely absent from popular accounts that reveled in the lurid and ultimately unsubstantiated accounts of murder, rape, and slaughter of British subjects by rebellious Indian sepoys. Tracking the transformation of chronicle into history, Chakravarty points out that "the spectre of guilt returns with the trauma of the rebellion" (46) in official accounts such as Charles Ball's History of the Indian Mutiny (c. Chakravarty introduces readers to unknown literary texts and argues that they constitute a significant archive the volume also contributes to a new intellectual history of empire that delves into the complex administrative and bureaucratic concerns usually perceived as the monolith of "official ideology." Autobiographical accounts, contemporary histories by official and non-official observers, romances, and adventure fiction portray the British in India as triumphal, invincible, racially superior, and always already in control of the colony and its populations. He identifies accounts of the 1857 Indian Mutiny as a nodal point for understanding different phases of imperial ideology. Gautam Chakravarty's The Indian Mutiny and the British Imagination comprehensively explores the generic crossovers that result from the intersections of literature and history in nineteenth-century literature of empire. ![]() Cambridge and New York: Cambridge University Press, 2005, £45.00, $75.00. The Indian Mutiny and the British Imagination, by Gautam Chakravarty pp. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |