When Evan's father dies suddenly, he finds the book his father had been reading, a diary of a Japanese soldier stranded on a Pacific Island during World War II. There was also an American soldier stranded there.

The Oxford Handbook of Dance and Politics presents cutting edge research investigating not only how dance achieves its politics, but also how notions of the political are themselves expanded when viewed from the perspective of dance.

Domitian, Emperor of Rome AD 81-96, has traditionally been portrayed as a tyrant, and his later years on the throne as a `reign of terror'. Brian Jones' biography of the emperor, the first ever in English, offers a more balanced interpretation of the life of Domitian, arguing that his foreign policy was realistic, his economic programme rigorously efficient and his supposed persecution of the early Christians non-existent. Central to an understanding of the emperor's policies, Brian Jones proposes, is his relationship with his court, rather than with the senate. Roamn historians will have to take account of this new biography which in part represents a rehabilitation of Domitian.

This collection contains Eugene O'Neill's first three full-length plays: BEYOND THE HORIZON, THE EMPEROR JONES, and ANNA CHRISTIE. BEYOND THE HORIZON: Winner of the 1920 Pulitzer Prize for Drama "...an absorbing, significant, and memorable tragedy... ...a playwright of real power and imagination... ...the play has greatness in it and marks O'Neill as one of our foremost playwrights...." Alexander Woolcott, Times "Only once or twice in the course of the dramatic season does a playof such terrific force and such simple directness award the patient theatrical chroniclers..." Robert Gilbert Welsh, Evening Telegram "...this season's most notable play of a serious theme and purpose by an American author...." World THE EMPEROR JONES: "...for strength and originality [O'Neill] has no rivals among the American writers for the stage." Alexander Woolcott, Times "An odd and extraordinary play, written with imaginative genius..." Kenneth Macgowan, Globe "...the most interesting play which has yet come from the most promising playwright in America..." Heywood Broun, Tribune ANNA CHRISTIE: Winner of the 1922 Pulitzer Prize for Drama "...a rich and salty play that grips the attention with the rise of the first curtain and holds it fiercely to the end.... A play written with that abundant imagination, that fresh and venturesome mind and that sure instinct for the theatre which set this young author apart...." Alexander Woollcott, Times

The appearance in 1964 of A.H.M. Jones’ The Later Roman Empire 284–602: A Social, Economic, and Administrative Survey transformed the study of the Late Antique world. In this volume a number of leading scholars reassess the impact of Jones’ great work, the influences that shaped his scholarship, and the legacy he left for later generations. Jones’ historical method, his fundamental knowledge of Late Roman political, social, economic and religious structures, and his famous assessment of the Decline and Fall of Rome are re-examined here in the light of modern research. This volume offers a valuable aid to academics and students alike who seek to better understand and exploit the priceless resource that is the Later Roman Empire. Contributors are Averil Cameron, Peter Garnsey, David Gwynn, Peter Heather, Caroline Humfress, Luke Lavan, Wolfgang Liebeschuetz, Stefan Rebenich, Alexander Sarantis, Roger Tomlin, Bryan Ward-Perkins, and Michael Whitby.

"Eugene O'Neill's groundbreaking 1921 play, The Emperor Jones, was the first American play that featured an African-American actor in the lead role on Broadway. Charles S. Gilpin's portrayal of Emperor Brutus Jones was hailed as "revelatory," and he was named the finest actor of the age. The opening of The Emperor Jones made stars of both men; it was O'Neill's first commercial success, and Charles Gilpin became the toast of the theater world. But by 1926, O'Neill was a legend and Gilpin was lost to history. N explores the challenging relationship between Gilpin and O'Neill and how it ultimately hinged on one word--the N word; a word that lifted one of them to the heights of American theater, and a word that destroyed the other."--back cover.