He wants to control the map… but his ex marks the spot. Dolphin shifter and treasure hunter Vince Ito just got his dream mission: find King Arthur’s sword. Unfortunately, he also got his mission partner, the one man he ever let past his defenses, only to get wrecked. Now he has to see the guy every day. Travel with him over his home turf of northern Scotland. Well, no way is he going to eat with him too. Or share a room with him. Or crack open the whisky that led to his first intoxicating taste of command. + Hawk shifter and adventure photographer Lachlan McAlistair remembers exactly how it all went down. And he’ll be damned if he’ll give Vince that kind of power over him again. Any realist knows there’s no sword to be found. So Lach will play along and collect his check. No unnecessary time alone with Vince. No chatting, no joking, no reminiscing. And definitely no admitting he’s developed a craving for Vince’s brand of discipline. + Stripping His Armor is the 1st novel of the new Shift & Seek m/m shifter series. Set your coordinates for a disoriented control freak, a Scot who knows just how to push his buttons, some damn fine whisky, and two guys secretly hoping for a second chance. Tropes: second chances, opposites attract, forced proximity, fake relationship Content Notes: This story involves depictions/descriptions of a consensual D/s dynamic, production & consumption of alcohol, firearms & hunting, murder, and attempted murder.

Stripping Bare the Body shows at close hand how terrorism works and how war looks and smells and feels. Drawing on rich narratives of politics and violence and war from around the world, Stripping Bare the Body is a moral history of American power...

This book interprets the handling of costume in the plays of the ancient Greek comic playwright Aristophanes, using as evidence the surviving plays as well as vase-paintings and terracotta figurines. This book fills a gap in the study of ancient Greek drama, focusing on performance, gender, and the body.

The year is 2585. The galaxy is only just beginning to recover from the most destructive war in history between the now-defunct Sanhaeli Empire and the human United Interstellar Alliance. In the power vacuum left by the fallen empire, a private security corporation known as Blackout has risen to fill the void and challenge the UIA. At the center of this new cold war, a man awakes in a hospital on the edge of civilization. He has no memory of who he is or how he got there. Hunted by Blackout and a highly lethal but untested Alliance Special Forces team, he will uncover a conspiracy that threatens the balance of power and brew a rivalry that may well sow the seeds of war again.

Virgil’s Homeric Lens reevaluates the traditional view of the Aeneid’s relationship to Homer’s Iliad and Odyssey. Almost since the death of Virgil, there has been an assumption that the Aeneid breaks into two discrete halves: Virgil’s Odyssey, and Virgil’s Iliad. Although modified in various ways over the centuries, this neat dichotomy has generally diminished the complexity and resonance of the connection between the two canonical epic poets. This work offers an alternate approach in which Virgil uses the transformative power of the Odyssey as a precise filter through which to read the Iliadic experience. By examining the ways in which Virgil bases his own epic project on the dynamic interaction between the two Homeric poems themselves, Edan Dekel proposes a system in which the Aeneid uses the Odyssey both as a conceptual model for writing an intertextual epic and as a powerful refracting lens for the specific interpretation of the Iliad and its consequences. The traditional view of the Homeric poems as static sources for the construction of distinct "Odyssean" and "Iliadic" halves of the Aeneid is supplanted by an analysis which emphasizes the active and persistent influence of the Odyssey as a guide to processing the major thematic concerns of the Iliad and exploring the multiple aftermaths of the Trojan war.

Why did the male nude come to occupy such an important place in ancient Greek culture? Despite extended debate, the answer to this question remains obscure. In this book, Sarah Murray demonstrates that evidence from the Early Iron Age Aegean has much to add to the discussion. Her research shows that aesthetics and practices involving male nudity in the Aegean had a complicated origin in prehistory. Murray offers a close analysis of the earliest male nudes from the late Bronze and Early Iron Ages, which mostly take the form of small bronze votive figurines deposited in rural sanctuaries. Datable to the end of the second millennium BCE, these figurines, she argues, enlighten the ritual and material contexts in which nude athletics originated, complicating the rationalizing accounts present in the earliest textual evidence for such practices. Murray's book breaks new ground by reconstructing a scenario for the ritual and ideological origins of nudity in Greek art and culture.

In the Odes, Horace writes of his own work, “I have built a monument more enduring than bronze,”—a striking metaphor that hints at how the poetry and built environment of ancient Rome are inextricably linked. This fascinating work of original scholarship makes the precise and detailed argument that painted illustrations of the Trojan War, both public and private, were a collective visual resource for selected works of Virgil, Horace, and Propertius. Carefully researched and skillfully reasoned, the author’s claims are bold and innovative, offering a strong interpretation of the relationship between Roman visual culture and literature that will deepen modern readings of Augustan poets. The Museum of Augustus first provides a comprehensive reconstruction of paintings from the remaining fragments of the cycle of Trojan frescoes that once decorated the Temple of Apollo in Pompeii. It then finds the echoes of these paintings in the Augustan-dated Portico of Philippus, now destroyed, which was itself a renovation of Rome’s de facto temple of the Muses—in other words, a museum, both in displaying art and offering a meeting place for poets. It next examines the responses of the Augustan poets to the decorative program of this monument that was intimately connected with their own literary aspirations. The book concludes by looking at the way Horace in the Odes and Virgil in the Georgics both conceptualized their poetic projects as temples to rival the museum of Augustus.