Sherlock Holmes and Dr. Watson traverse the British Isles and the Italian peninsula in a rousing new series of adventures. After a thrilling jaunt in the far east, Holmes and Watson return to England to address an inheritance left by one of Watson’s relatives in Cornwall, half of which he gave to his dear friend, Sherlock Holmes. Financially secure, the two are now free to spend as much time on Baker Street and the Continent as they please, and the duo find themselves as comfortable in Rome on the banks of the Tiber as the Thames. As Holmes rationalizes and ratiocinates his way through case after case, from “The Case of Two Bohemes” to “A Singular Event in Tranquebar,” it’s all in a day’s work, until clues surface that his great nemesis, Professor James Moriarty, might still be alive . . .

This comprehensively illustrated study fills the need for an accessible English guide to new discoveries in the archaeology of Rome.

Architects and artists have always acknowledged over the centuries that Rome is rightly called the 'eternal city'. Rome is eternal above all because it was always young, always 'in its prime'. Here the buildings that defined the West appeared over more than 2000 years, here the history of European architecture was written. The foundations were laid even in ancient Roman times, when the first attempts were made to design interiors and thus make space open to experience as something physical. And at that time the Roman architects also started to develop building types that are still valid today, thus creating the cornerstone of later Western architecture. In it Rome's primacy remained unbroken -- whether it was with old St Peter's as the first medieval basilica or new St. Peter's as the building in which Bramante and Michelangelo developed the High Renaissance, or with works by Bernini and Borromini whose rich and lucid spatial forms were to shape Baroque as far as Vienna, Bohemia and Lower Franconia, and also with Modern buildings, of which there are many unexpected pearls to be found in Rome. All this is comprehensible only if it is presented historically, i. e. in chronological sequence, and so the guide has not been arranged topographically as usual but chronologically.This means that one is not led in random sequence from a Baroque building to an ancient or a modern one, but the historical development is followed successively. Every epoch is preceded by an introduction that identifies its key features. This produces a continuous, lavishly illustrated history of the architecture of Rome -- and thus at the same time of the whole of the West. Practical handling is guaranteed by an alphabetical index and detailed maps, whose information does not just immediately illustrate the historical picture, but also makes it possible to choose a personal route through history.

Examining both familiar and underappreciated texts, Hassan Melehy foregrounds the relationships that early modern French and English writers conceived with both their classical predecessors and authors from flourishing literary traditions in neighboring countries. In order to present their own avowedly national literatures as successfully surpassing others, they engaged in a paradoxical strategy of presenting other traditions as both inspiring and dead. Each of the book's four sections focuses on one early modern author: Joachim Du Bellay, Edmund Spenser, Michel de Montaigne, and William Shakespeare. Melehy details the elaborate strategies that each author uses to rewrite and overcome the work of predecessors. His book touches on issues highly pertinent to current early modern studies: among these are translation, the relationship between classicism and writing in the vernacular, the role of literature in the consolidation of the state, attitudes toward colonial expansion and the "New World," and definitions of modernity and the past.

The resonant opening lines of Virgil's Aeneid rank among the most famous and consistently recited verses to have been passed down to later ages by antiquity. And after The Odyssey and the Iliad, Virgil's masterpiece is arguably the greatest classical text in the whole of Western literature. This sinuous and richly characterised epic vitally influenced th poetry of Dante, Petrarch and Milton. The doomed love of Dido and Aeneas inspired Purcell, while for T.S. Eliot Virgil's poem was 'the classic of all Europe'. The poet's stirring tale of a refugee Trojan prince, 'torn from Libyan waves' to found a new homeland in Italy, has provided much fertile material for writings on colonialism and for discourses of ethic and national identity. The Aeneid has even been viewed as a template and source of justification for British and European imperialisms and for American nation-building. In his major and much anticipated new book Philip Hardie explores the many remarkable afterlives- ancient, medieval and modern- of the Aeneid in literature, music, politics, the visual arts and film. The Last Trojan Hero, by one of Virgil's leading interpreters, put continually fresh and surprising perspectives on one of the outstanding works of civilization. Placing the Aeneid on a broad artistic and historical canvas, it shows with elegance, originality and creative insight how and in what ways this remarkably durable text continues so powerfully to capture the cultural imagination and why it still speaks to us over a gulf of centuries.

Mukti: Free to Be Born Again is a history-based autobiographical nonfiction created on three decades of fieldwork in Muslim-majority Bangladesh and Hindu-majority India. Many strands of real-life drama have been weaved together with 1947 Hindu-Muslim, secular-Islamic, and 1971 Islamic-secular, ruling-minority vs. oppressed-majority partitions of India, Pakistan, and Bangladesh. Because of precarious plight, individual and village names have been fictionalized. The story focuses on transformation of a society by the oppressor, oppressed, Islam, and Hinduism. The story ties Indian and Bengali history, views of Muslims and Hindus, role of Bangladeshi Hindu refugee elites in India, pogroms, devastation of minority communities, role of anti-Hindu Islamism and anti-tradition Communism, life of poor oppressed-caste Hindus left behind in Muslim-majority Bangladesh, and more. Dastidar is the first to break a taboo by writing in 1989 about the poor, oppressed Hindu minority left behind by the Hindu-refugee elites in India.

vol. 3-4 include appendix: "The Political cabinet."