Edward Said's Orientalism (1978) is a seminal work in the field of postcolonial culture studies. It critiqued Western scholarship about the Eastern world for its patronizing attitude and tendency to view it as exotic, backward and uncivilized. Arvind Sharma, longstanding professor of comparative religion at McGill University in Montreal, Canada, now takes up the Palestinian academic's groundbreaking ideas - originally put forth predominantly in a Middle Eastern context - and tests them against Indian material. He explores in an Indian context Said's contention that the relationship between knowledge and power is central to the way the West depicts the non-West.Scholarly and accessible,The Ruler's Gaze throws fresh light on Indian colonial history through a Saidian lens.

The long and intricate history of the beautifully carved Hellenistic style Egyptian bowl, from the days of Cleopatra to Constantinople, the French Revolution, and to near destruction by a deranged museum guard in 1925.

A translation of a key commentary on perhaps the most broadly influential text of classical China This book is a translation of a key commentary on the Book of Changes, or Yijing (I Ching), perhaps the most broadly influential text of classical China. The Yijing first appeared as a divination text in Zhou-dynasty China (ca. 1045-256 bce) and later became a work of cosmology, philosophy, and political theory as commentators supplied it with new meanings. While many English translations of the Yijing itself exist, none are paired with a historical commentary as thorough and methodical as that written by the Confucian scholar Cheng Yi, who turned the original text into a coherent work of political theory.

'Gaze on him . . . Consider him . . . Contemplate him . . . As you desire to imitate him.' This advice from St Clare of Assisi is the key to unlocking the door to the heart of Jesus' teaching. Her words provide a pattern of meditation that brings alive the Gospel reading for every Sunday of the Revised Common Lectionary. 'At every point the author persuades the reader that the Gospel readings really are relevant to our contemporary lives . . . she offers many images that will help congregations and preachers alike . . . For its sheer poetry and imagination, Judith Dimond's Gazing on the Gospels . . . is well worth buying'. Robin Gill, in Outlook

An engrossing narrative of a colonial subject’s life contemplating his Imperial masters at the height of colonialism in India; based upon the first eight years of his life-long diary

“So why am I here?” Marriet asked. “You are here because you’ve been chosen,” said Palmators. “Chosen? Chosen for what?” Marriet said. “Marriet Sworn, you have no idea what is coming, do you?” said Palmators. Marriet stood looking serious now in front of the Caretaker. “No,” she said. Marriet Sworn is invited into the divine museum, Alcha Prunchtis, by the museum’s caretaker, Palmators Squild, when a mysterious thief somehow ends up stealing some of the divine relics inside the museum. In order to restore balance to life and all of its possibilities, she must track down this thief, stop him, and bring back the Eternity Cube, the most powerful of all the divine relics. On her new journey, she will go through time, and through many possibilities of life, and from these possibilities, she will finally meet Harlay Colspo, discover the criminal mastermind, Depthtus, learn of the missing angel, Varyl, and experience the wrath of her father, Alatar Skyrise. She will know the feud between Colspo and Volance Melthom, and amongst the battles, the war, and all the miracles, she will find out a shocking truth that will change everything.

How Romans used the world of the house to interpret and interrogate the role of the emperor. The Julio-Claudian dynasty, beginning with the rise of Augustus in the late first century BCE and ending with the death of Nero in 68 CE, was the first ruling family of the Roman Empire. Elite Romans had always used domestic space to assert and promote their authority, but what was different about the emperor's house? In The Ruler's House, Harriet Fertik considers how the emperor's household and the space he called home shaped Roman conceptions of power and one-man rule. While previous studies of power and privacy in Julio-Claudian Rome have emphasized the emperor's intrusions into the private lives of his fellow elites, this book focuses on Roman ideas of the ruler's lack of privacy. Fertik argues that houses were spaces that Romans used to contest power and to confront the contingency of their own and others' claims to rule. Describing how the Julio-Claudian period provoked anxieties not only about the ruler's power but also about his vulnerability, she reveals that the ruler's house offered a point of entry for reflecting on the interdependence and intimacy of ruler and ruled. Fertik explores the world of the Roman house, from family bonds and elite self-display to bodily functions and relations between masters and slaves. She draws on a wide range of sources, including epic and tragedy, historiography and philosophy, and art and architecture, and she investigates shared conceptions of power in elite literature and everyday life in Roman Pompeii. Examining political culture and thought in early imperial Rome, The Ruler's House confronts the fragility of one-man rule.

This book considers cultural identity and power relations in early fourth-century BCE Greece through a reading of Xenophon's historical narratives, the Hellenica, Anabasis and Cyropaedia. These texts depict conflicts between Greek states, conflicts between Greeks and non-Greeks, and relations between the elite individual and society. In all three texts, politically significant moments are imagined in visual terms. We witness spectacles of Spartan military victory, vistas of Asian landscape or displays of Persian imperial pomp, and historical protagonists are presented as spectators viewing and responding to events. Through this visual form of narration, the reader is encouraged imaginatively to place themselves in the position of the historical protagonists. In viewing events from different perspectives, and therefore occupying multiple, often conflicting political positions, the reader not only experiences the problems faced by historical actors, but becomes engaged in the political conflicts acted out in the narratives. The reader is prompted to take pleasure in the sight of Panhellenic achievement, but also to witness the divisions and conflicts between Greeks on class and ethnic lines. Similarly the reader is invited to identify with spectacular Greek and non-Greek figures of power as emblems of Greek imperial potential, but also to see through the eyes of those communities subjugated at their hands. The depiction of spectacles and spectators draws the reader into an active participation in the ideological contradictions of their time, in a period when Panhellenic aspiration co-existed with hegemonic competition between Greek states, and when Greeks could be both beneficiaries and victims of imperialism.

Now a major film, starring George Clooney, Ewan McGregor, and Jeff Bridges, this New York Times bestseller is a disturbing and often hilarious look at the U.S. military's long flirtation with the paranormal—and the psy-op soldiers that are still fighting the battle. Bizarre military history: In 1979, a crack commando unit was established by the most gifted minds within the U.S. Army. Defying all known laws of physics and accepted military practice, they believed that a soldier could adopt the cloak of invisibility, pass cleanly through walls, and—perhaps most chillingly—kill goats just by staring at them. They were the First Earth Battalion, entrusted with defending America from all known adversaries. And they really weren’t joking. What’s more, they’re back—and they’re fighting the War on Terror. An uproarious exploration of American military paranoia: With investigations ranging from the mysterious “Goat Lab,” to Uri Geller’s covert psychic work with the CIA, to the increasingly bizarre role played by a succession of U.S. presidents, this might just be the funniest, most unsettling book you will ever read—if only because it is all true and is still happening today.